Acoustic Africa brought a sold-out audience to its feet — more than once — when it performed at the Opera House Saturday, and deservedly so.

Any of three performers in Acoustic Africa easily hold the stage for an entire show; together they formed a powerhouse capable transporting an audience, not just out of their seats, but deep into the sensual, haunting, rhythmic and stunning world of African music.

Habib Koité, Vusi Mahlasela and Dobet Gnahoré, gifted singer/songwriters and mesmerizing performers from the African nations of Mali, the Ivory Coast and South Africa were in Napa as part of a world tour, brought together for the first time by Putumayo. 

Koité and Mahlasela have both toured the U.S. separately before; it’s the first tour for Gnahoré, the youngest at 23. They performed singly and together against a backdrop of African banners, backed by musicians playing a range of pipes, guitars and drums.

Their styles diverge, underscoring the complexity of the continent itself. Mahlasela, a self-taught guitarist and looking deceptively teddy-bearish, is joined his country’s struggle against apartheid, and whose lyrical music with its message of peace, has inspired the country’s young democracy. “It is 12-years-old,” he told the audience before singing a song dedicated to the women of the revolution.

The charismatic Koité has a sultry, bluesy style, yet he has drawn together divergent musical styles in his native Mali, which had its first democratic elections in 1992.

Gnahore studied music and dance amid the social conflicts in the Ivory Coast, and eventually immigrated to France. Her animated performance was nothing short of astonishing. Entering the stage, wearing a native dress and matching headdress, she had established herself as a vibrant vocalist, when she exploded into dance — a mind-boggling display of athleticism and grace. At times she seemed to have transformed into a snake with 1,000 legs, at others she appeared to be on the verge of taking flight.

Adding their energy, humor and engaging personalities, they succeed in connecting with the audience in a way few performers can manage, and this connecting grew as clapped along at times, then, when invited, sang along, and finally, gave way and started dancing in the aisles. Although the performers’ mission was music, and they spoke little of the troubles facing their continent, but their passionate performance not only opened a window to their world, it brought home the humanity of the people living behind it. At intermission people were gathered around maps and information tables in the Opera House lobby, clearly searching for just where Mali is on a map.

 It was, hands down, the best show I’ve seen at the Opera House, one of the best I’ve seen anywhere, and Napa was privileged to be a stop on their world tour.