With more and more natives of the Aloha State relocating to the mainland and a growing interest in all things Hawaiian, it should not have been a surprise to find that Copia had posted a “sold out” notice for its Community Spotlight series concert last Saturday night.

“The Sights and Sounds of Aloha” attracted all manner of Hawaiiana fans and more brown skins than I’d seen since, well, I was in Honolulu over the Christmas holidays.

It was a program designed by the Bay Area-based quintet Manaleo, aided by Halau o’ Kawainuhi, a small troupe of young hula dancers who brought to life the stories told by the affable minstrels.

Patterned after a popular radio show, “Hawaii Calls,” first broadcast from Honolulu’s Royal Hawaiian Hotel in 1935 and popular for nearly three decades, the format of Saturday night’s Manaleo show might have seemed a bit hokey to some — but those of us who visit the Hawaiian islands regularly, and are familiar with its music, could feel the trade winds and taste the salty air.

The two hour program began with a traditional call of the conch, followed by a hula tribute to Pele, the goddess of fire, lightning, dance and volcanoes, with kumu hula Kaui Peralto providing both chant and percussion accompaniment.

Draped in traditional maile and tropical flower leis, Manaleo performed a variety of songs associated with the inhabitants of the best known Hawaiian islands. The evening’s emcee set us sailing from island to island and provided background for most of the songs, with photos of each island projected on a screen behind the musicians.

We were taken to “Beautiful Kauai” in song and dance, as five young women in gorgeous costumes told the story of a moon rising over Hanalei Bay with the graceful gestures of the dance for which Hawaii is renowned.

Lead vocalists Earl Britos and Jerry Gillgren provided musical tales of a sacred place on Kauai’s Na Pali coast, the laidback Windward coast of Oahu, the gathering place, and popular entertainer/songwriter Kapono Beamer’s take on Honolulu’s early trolleys. The influence of Puerto Rican fishermen was reflected in a tribute to the days of clipper ships and kumu hula Peralto provided the graceful lines in a salute to the tourists’ favorite spot, Waikiki.

Napa’s Sean Allen thrilled concertgoers with a haunting steel guitar rendition of one of the show’s relatively familiar compositions, the lovely instrumental “Blue Hawaiian Moonlight.” And Allen teamed up on acoustic guitar with Gillgren for a gooseflesh-raising version of a song about a beautiful Big Island haunt, “Akaka Falls.”

When Britos strummed the slack key guitar, backed by Glenn Colburn on ukelele, Keoki Cortez on bass and the evening’s guest, Uncle Charlie St. Germain, on pedal steel, Manaleo evoked memories of the renowned Makaha Sons of Ni’ihau, as a fan in the crowd was quick to point out.

There were songs about a storied Maui sugar plantation, “Puamana,” the rugged, beautiful cliffs of Molokai and rugged switchbacks of Hawaii’s Waipio Valley. And where else could you go to hear a song about a very special limpet?

If there was a nit to pick, however, it’s regarding the repertoire. For those very familiar with the music of Hawaii, particularly songs from simpler days, the show undoubtedly hit the spot. But for audiences with only passing knowledge of the island state’s musical heritage, a few more familiar songs would have been welcome. “Little Grass Shack in Kealakekua, Hawaii” and Queen Liliuokalani’s “Alohe Oe” were the only included compositions with airplay beyond the shores of Hawaii.

Nevertheless, Manaleo’s “Sights and Sounds of Aloha” proved to be a warm entertaining show offered by a group of energetic, dedicated and talented musicians. Mahalo nui loa.