South Africa’s beloved pianist Abdullah Ibrahim made a heartfelt solo stop at WMC’s Llais Festival during a brief European tour. Ibrahim’s music is a rare encounter, threading his signature ‘Cape jazz’ to gospel, jive, and a serene presence. He is particularly revered for Mannenberg, a 70s composition known as one of the most honoured anti-apartheid anthems.

Arriving at a buzzing Wales Millennium Centre on a Thursday evening, the first day of Llais concerts after it launched the previous night with the Welsh Music Prize ceremony, was nothing short of exciting. While tempted to take in the various art unfolding, I rushed to find my seat and leave the rest at last. Very soon, the anticipation began to lay heavy on me, all eyes were peeling on the glossy piano. The audience were impatient, understandably so: they had been waiting eagerly for this moment to come. The varying crowd also looked like a family gathering, with children brought along to a one-of-a-kind experience.

When Ibrahim appeared, an ardent cheer turned into silence. His music is ethereal, emotional, and full of longing. The melodies fused into each other, giving a sense of continuity, as his spirit filled the room and kept everyone present. Drifting away in thought would be an easy thing to do, but his music is grounding. His playing is as unique as his composition is, but also deeply personal. It is monumental when an artist tells a story with such clarity, unveiling times and places that shaped their compositions. Both mellow and heavy, the experience of witnessing Ibrahim live is unmatched.

Towards the end, in the absence of transition, the crowd erupted in applause as he was finishing a song. All our love had reached the artist as he gently stood up, letting it wash over him. The concert ended in a chanting that felt like an embrace.

Llais: Abdullah Ibrahim, Wales Millennium Centre, Cardiff Bay, Thurs 27 Oct

words PETRE-ADRIAN BANUTA photos POLLY THOMAS