Live Review: Nitin Sawhney

For his first performance in three years, An Evening with Nitin Sawhney looked to be a night full of promise. He had a frontline of four singers each with very different and distinct voices, but for the opening vocals of Sunset, they blended together beautifully in rich harmonies.

Ian Burdge alternated between plucking the cello like a double bass and bowing it in languid peddle notes. The tabla added an earthy pulse and Sawhney's skilful guitar playing wove the whole sequence together with an array of drum beats ranging from hip hop to drum'n'bass. Despite having a library of nine albums to work with, the set was heavy with tracks from 1999's Beyond Skin.

Providing the only male vocals, Ashwin Srinivasan's voice was rich and warm like chocolate as he masterfully embellished Indian style melodies. In a surprising combination, Nicki Wells shadowed him in delicate harmony, her bell-like voice perfectly mirroring his complex Hindi vocal lines. Oozing soul, Rahel took the lead for the opening number, but as the set progressed, each of the singers took their turn in the spotlight.

Tina Grace's Bjork-meets-Julia Stone voice was a nice contrast on Letting Go with its breathy and clipped texture, but it was Wells' vocals that really featured throughout the show. Standing as still as a tree she effortlessly shimmied and cascaded around the melodies, blending beautifully with Srinivasan's virtuosic wooden flute playing, which harmonised like a voice itself.

The sound took a Latino turn as Sawhney showcased his considerable Flamenco guitar skills with Homelands. Grace broke the 'ensemble' mould with a fiery solo in what sounded like Spanish, gliding precariously across the stage in her wedges. A little drum'n'bass was splashed about with Nadia before a special local guest, Lior, was welcomed on stage for a cutesy duet with Wells.

Closer, Dead Man, had a gutsy, blues feel to it, with repetition building the momentum to the end of the set. An encore was in progress before the applause had even finished and this was the real highlight of the night. Sawhney took up a 12-string guitar and was joined only by Aref Durvesh on the Tabla and Dholak, for Prophesy. Steady drone notes drove the instrumental faster and faster with Durvesh expertly kneading his drums like a baker with dough. His hands were hypnotic as they worked the drums over, the sound rolling around the concert hall like thunder, leaving a dull rumble even after the song had finished.