Tinariwen @ Queen's Hall, Edinburgh, 25 Apr

Freewheeling hippies, awkward students and middle-aged culture vultures; all and sundry have descended on the Queen's Hall for what promises to be a night of – in the least eye-rolling way possible – eclectic entertainment.

Huw Bennett (performing with his Susso project) kicks things off in a typically atypical fashion with a set that takes the raw materials from The Gambia's griot culture (the lute-like kora, the percussive Mandinka balafon) and filters them through contemporary sounds (slippery bass, hefty electronic beats) to create something truly unique. The five-piece work in beautiful harmony despite their seemingly incongruous individual parts.

This sets the scene nicely for the arrival of Tinariwen, and they're greeted rapturously when they emerge in their traditional robes and a colourful array of tagelmusts. They quickly settle into a groove that comes from a deep, seemingly instinctive knowledge of their sound, and the crowd simply lap it up.

Alhassane Ag Touhami is the most active member, constantly on the move throughout the show and forging a connection with the audience through his hypnotic dance moves, while de facto band leader Ibrahim Ag Alhabib appears solemn and nonplussed while singing/playing, though he practically radiates joy and gratitude when he finishes a song. Abdallah Ag Alhousseyni is the only member to directly communicate with the audience, his interactions limited to frequent exclamations of “Is okay? Thank you! You're welcome!”, further endearing the band to the adoring crowd.

Thunderous clapping and stomping bring the band back for an encore that consists of a slow-building acoustic cut, performed solo by Ag Alhousseyni, before the whole band return for a rousing rendition of Chaghaybou from 2014's Emmaar album. As they take their final bows, it's clear that these Tuareg nomads have captured the hearts of the assembled crowd, bringing just a taste of the blazing Sahara to chilly Edinburgh.