Orchestra Baobab, Shepherd's Bush Empire, London

Specialists in their own style

The looming war has cast its shadow over concert schedules: two weeks ago, an Iraqi group failed to make it to the South Bank, and last week the same fate befell some feminist singers from Tunisia. Meanwhile, Youssou N'Dour has called off a seven-week tour of the United States. In the event of war, we can look forward to more cancellations.

So it was good to welcome Youssou's compatriots Orchestra Baobab on Sunday. For those who missed the hoo-ha when Specialist in All Styles was released last autumn, that was the triumphant comeback album by a group that spent 15 years in the wilderness after riding high as the smartest band in Dakar. "How are you?" was their leader's first question to the audience at the Empire – but that was the question they wanted to ask him.

The answer came in the form of a seductive number mixing Cuban and Mandinka styles: very well indeed! And when they broke into the wonderful song that was their signature tune in the days of Pirates Choice, the whole building swayed in pleasurable delight. Ibrahim Ferrer may not have been there to add his vocal stamp, but with a range of vocalists of their own – including the new recruit Assane Mboup – that didn't matter. And Baobab's unique selling point emerged ever more strongly in the shape of the guitarist Barthelemy Atisso, laconically extracting a spookily human wail from his instrument.

The warm-up act was the London debut of the singer-guitarist Manecas Costa, now Guinea Bissau's brightest musical hope. Having listened to an early copy of the CD he's releasing on the Late Junction label in May, I was looking forward to his beguiling acoustic blend of West Africa, Cape Verde and Portugal. Alas! Not only was he fighting a bout of malaria: he also had bog-standard amplification to contend with. What on earth is the point of putting a harpist on stage if no one can hear him?