Ladysmith Black Mambazo

at Massey Hall

in Toronto on Thursday

A Zulu warrior breaking chains (presumably symbolizing apartheid), an elephant, a soccer player and fragmented phrases (End Racism, Free Mandela, South African Human Rights): This was the literal backdrop to Ladysmith Black Mambazo's Thursday-night concert, a floor-to-ceiling tapestry smiling its broad political messages in bright South African colours.

And at the centre of it all — a crucifix. For although the members of Mambazo are best known for their joyous a cappella take on isicathamiya, the traditional music of South African miners, the message is clearly Christian.

It's a message the packed house was ready to receive — sung, as it is, in Zulu, and presented, as it is, with wry humour, gorgeous harmonies and trademark high kicks. Athletic, rambunctious and at times startlingly graceful, dancing was even more central to their show than in previous years — in part, perhaps, because of the slight but clearly evident diminishment of lead singer Joseph Shabalala's vocal powers. Where once his distinctive nasally voice consistently soared above the nine-man chorus, now it only occasionally reaches those heights.

Although they roamed through their 40-year repertoire (including the inevitable crowd pleaser, Homeless), the focus was on the latest recording, Wenyukela — their first in seven years featuring all new material. The somewhat sombre tone of much of that music was reflected in the concert — lightness was in the stage antics and horseplay, less in the music itself (with the notable exception of the perennial Hello My Baby). Not surprising in light of the events of Shabalala's life in recent years — the death of a daughter to AIDS, the murder of his wife and subsequent accusation of one of his sons (charges were eventually dropped). Wenyukela is the musical result of some very hard times, but the name translates as "raise your spirit higher," pointing to the essence of what Mambazo's appeal is all about — music that makes people feel better.

The tenor, alto, bass batting order of Mambazo ensures this tradition continues — vocally, they were as solid as ever. There is no "heart of the order" musically speaking; it's teamwork allowing for only one star, Shabalala, who maintains that status primarily through his charismatic presence.

The members of Mambazo are without question rightfully exalted cultural emissaries for South Africa, but one question does present itself. Will its leader pass down the front-man torch in time for the group to reclaim the fire it really needs to be musically relevant? In the meantime, they continue to make music that makes people feel better.