Mos Def, photo by Terrence Jennings, Jill Newman Productions

The projection screen at the back of the stage flickered to life with a giant from the District's past, when it truly was Chocolate City. The clip featured Petey Green, the legendary talk show host, who gave the audience his own inimitable thoughts on the proper way to eat a watermelon. Thus began Amino Alkaline--The Watermelon Syndicate, Mos Def's new concert production that teams the MC with a 25-piece band. Potent hip-hop grooves, supplied by some of the country's finest young jazz and orchestral musicians, coupled with the rapper's on-point delivery resulted in an impressive performance that showcased a consummate artist in his prime. The Kennedy Center also deserves credit for mounting this event, which drew as diverse an audience as one is likely to see in a formal concert hall setting.

With 1999's Black on Both Sides being a must for any "serious" music collector, Mos Def has long been a favorite of critics and fans of socially conscious hip-hop. On stage, sporting a simple red T-shirt bearing the production's logo, and what appeared to be a cap from the Marine dress uniform (later replaced with a black bowler hat), his easy-going demeanor was open and disarming, as though he was inviting the audience into his world. With no shortage of quips, his jovial stage banter provided an effective balance to the more serious tone of the material. How else would anyone pull off a go-go rendition of the Star Spangled Banner with all the lyrics being replaced by two lines, "And the rocket's red glare/The bombs bursting in air"?

In addition to the headliner's performance, a big part of the show's success was due to the stellar band. With keyboard whiz Robert Glasper acting as Musical Director, the ensemble featured many of the next generation's jazz stars, including saxophonist Marcus Strickland and bassist Derrick Hodge. Casey Benjamin deserves special mention, as his saxophone and flute shined on several tunes, most notably "Auditorium". Everything was held together with the ultra-slick drumming of Chris Dave, and adding spice to this musical gumbo was the colorful NYC Women's String Ensemble. During songs like "Walk on By" they not only stood out with their playing, but with the enthusiasm with which they played.

The well-executed two-set program was thoughtfully constructed and achieved a rare feat in today's music world: an experience that was provocative and critical in its social commentary, yet optimistic and warm in its overall mood. Accompanying historical images depicting African American icons and the influence of the Nation of Islam on his outlook tied Mos Def's performance to a lineage of black culture and music, a recognition that today's Miles or Duke is a hip-hop artist.

Highlights were many and included "Dr. Carter", an emotionally intense and stinging critique of the country's health care system. The dark groove and horn arrangement of "Black Radio" was a perfect lead into the pure rawk of "Soul Craft". A playful cover of Bell Biv Devoe's "Poison" and Chris Dave's original "Saturday Night Dance" were lighthearted foils to the more weighty parts of the set. While introducing "Stakes Is High", he asked the projectionist, "Can I see Mr. President, please?" The next image to appear was none other than the junior Senator from Illinois and the room exploded in cheers, at which point he instructed us to "get it right" because we "deserve better."

Though unapologetic in his political views, moments throughout the night showcased Def's warm generosity to those around him. If there was any artifice, it was well hidden. At the beginning of the show, Def seemed in awe of the fact that he, a rapper, was playing the Kennedy Center. Of course, any Mos Def performance would not be complete without the classic, "Umi Says", which brought the evening to a close. But before diving into the song, he walked around the stage with the mic and gave the spotlight to his incredible band, allowing each one of them a personal introduction. After all was done, as the band played its exit music, Def leaped off the stage and ran through the sell-out crowd, giving folks in the audience exactly what they deserved--a high five and a smile.