For those who thought jubilee performances had to be safe and predictable, this was a revelation. Five stages scattered around the Serpentine represented a different continent, and, frustratingly, there were sometimes three good bands playing at the same time.
Bounding on to one of the stages came an extraordinary-looking figure in red, white and purple robes, with his face covered by an elaborate matching mask. His band included six percussionists, and he started with a lengthy jazz improvisation on the saxophone as an introduction to his first song, "which asks politicians to give a simple yes or no to a question". It was like listening to a mixture of Fela Kuti and Jeremy Paxman.
Lagbaja, as the masked man calls himself, is one of the new Nigerian exponents of Fela's afro-beat style and has an intriguing blend of angry populist political songs. He has also developed a slightly unnerving charisma, despite the mask, which is worn, he explained, in solidarity with the "faceless masses". His songs ranged from a dance work-out, "because the working classes must have some fun", through to songs of slavery and the spread of black music. He is going to be a celebrity far beyond Lagos.
Earlier, the emphasis had been on South Africa. There were sets from classical-jazz fusion act Sibongile Khumalo, celebrity choristers Ladysmith Black Mambazo (warming up for their appearance at the Party at the Palace with All You Need Is Love, before thankfully easing into their unaccompanied harmony work), and the disappointing Pops Mohammed, who demonstrated early African instruments against wailing vocals and a wash of synthesizers.
There was a better blend of old and new from Wai, a Maori band playing on the Australasia stage. Three girl singers with attitude, good harmonies and a sense of history ("This is a song about where our ancestors hang out") were backed by drums and funky electronics, and made the fusion work. Also worth checking out were Manchester's Homelife (on the Europe stage), with their wacky, rambling big-band collision of jazz, dub and show tunes.
On the Asia stage, Susheela Raman and, later, the Bollywood Brass Band showed how Indian styles can be fused with anything from reggae and Ethiopian songs to trad jazz. On the Americas stage, French-Canadian band La Bottine Souriante provided the most exuberant set of the day, mixing folk songs with jazz and funk. This was a truly brave jubilee show.
