I knew it was a show, but nothing else - it was supposed to be a surprise. When I realised we were going to the lovely St Barnabas’ Church in Oxford I guessed I was probably going to enjoy one of my old favourites: a Baroque cello performance of music by Bach. The church was illuminated with dimmed lights that created a very intimate atmosphere, but the audience seemed a little different to what I would have expected to see at a typical classical concert. Then I noticed the African drums and my expectations totally changed.

The group were then introduced in detail. We were going to enjoy a repertoire combining Scandinavian folk, classical and African music. The guest director, Abel Selaocoe, was going to play the cello. He had joined forces for this project with the Manchester Collective, with Rakhi Singh and Simmy Singh on violins and Ruth Gibson playing the viola. His band Chesaba were also present, with Alan Keary on electric bass guitar and Sidiki Dembele on percussion.

This all sounded very intriguing, but nothing prepared me for the fact that the very first piece would move me to tears. Abel Selaocoe played ‘Lamentatio’ with such devotion you could tell he was playing with his whole being. He also performed with a sweet and melodic voice that suddenly became deep, traditional throat singing. This had such strength that I could feel its vibration at the bottom of my feet, travelling up through my body until I surrendered to the fact that I had to let go and allow the tears to flow. I have honestly never experienced anything quite like that, and words cannot do justice to the great range of emotions and talent evoked by this performance.

There is something about this performer: an array of emotions flicker across his face as he plays, and there truly seems to be no interruption between the music and the man himself. The word I believe I’m looking for is freedom.

Abel Selacoe is not only a great musician but also a great storyteller, who took us all the way to South Africa and his childhood there. We could feel echoes of Apartheid, and the leadership, sorrow and strength of the mothers who had to leave their own children on a daily basis to go and raise someone else's child in the suburbs, as he recounted to us in between performances.

The group was just awesome. The Manchester Collective played the strings with perfect synchronicity and dedication, and there was such an energy and cohesion between all the musicians. Alan Keary had a constant and grounding presence on the stage with his electric bass and Sidiki Dembele was magnificent, with his exceptional gifts for percussion and his powerful singing voice.

When the show finished the audience was ecstatic and greatly moved, rising to give a standing ovation. The variety of emotions in the room were as strong and joyful as the variety of the music presented. Who could have thought that Haydn and Stravinsky could sound so beautiful alongside African tunes and that roots music of humanity that predates the Blues? I can't wait to have the pleasure of listening to them again, and will certainly be seeking them out!