Miriam Makeba and Albita Energize Festival at Bowl

Miriam Makeba has consistently resisted specific identification as a political figure. “I don’t see myself as a politician or politically involved as such,” she said recently, “but I care about the politics that affect my life and those around me, because all of us are human beings first and artists second.”

It’s a noble sentiment, and one that coursed through her performance at the Hollywood Bowl on Sunday. Makeba has been a glorious symbol of Africa for decades, her iconic powers as much a reflection of the humanity of her music as is her image--which was underscored by frequent cries from the audience--as “Mother Africa.”

At 67, Makeba’s voice sounded as warm-textured and versatile as ever, and her program--much of it from “Homeland,” her first new album in six years--ranged easily from traditional music to rhythm & blues. Capping the evening, she offered a stirring rendition of the song that first brought her to the attention of the wider American audience, “Pata Pata.”

But the hottest portion of the program belonged to Cuba’s Albita. Dynamic and high-spirited, never remaining in one spot for more than a few seconds, she delivered a set of mostly traditional material energized by constant interaction with her nine-piece ensemble. Unfortunately, Albita--whose trademark white cropped hairdo has now become brown--was dressed entirely in black, obscuring the vigorous, often erotic, always entertaining dance movements that are an essential aspect of her performing identity.

Blues-rock singer Toshi Reagon opened the program with a brief, gospel-tinged set climaxed by an enthusiastic audience sing-along.

Despite the musical high points, production values Sunday left a bit to be desired. The resetting of the stage between the sets by Reagon and Albita was done awkwardly, with no announcement as to whether an intermission was actually taking place. Lighting was often hit or miss. Nic Harcourt, from KCRW-FM (89.9), made introductions garbed in a manner that failed to reflect the dignity of hosting an evening at the Bowl. And the audio, as so often happens, was erratic--especially poor in the case of Albita’s set, in which the bass could barely be heard. Clearly, the generally well-chosen acts for World Festival 2000 would benefit from a firmer hand at the production controls.