THE AA, which has nothing to do with substance abuse or cars, has weaved its wonderful dance magic in the UK again.

This company is the total darling of dance fans and there’s not a tutu to be seen, but plenty of attitude. This is a fusion of black cultural references, from African tribal dance, through jazz, blues and glorious gospel with ballet and contemporary dance. The costumes are simple, but bright and memorable.

There were four pieces in the evening’s performance, although the UK tour also has an entirely different programme on alternate evenings. Judith Jamison, artistic director for 21 years with Ailey, retires next year and it will be fascinating to see what their new artistic director, Robert Battle, does when he takes over.

We were treated to four pieces, two fabulous, one good and one a bit dodgy. This company mixes a colourful cocktail of traditional moves, street dance and pure theatre and this was worth every round of applause from the appreciative audience.

Well, almost. The sound was shocking. Not the choice of music, which included Otis Redding, Nina Simone and gospel, just the “one size fits all” technical style, which seemed to be concerned with full volume despite the fuzzy feedback.

Dancing Spirit, a piece choreographed last year and inspired by tribal dance was anything but inspiring.

Cut to the gorgeous, if brief, IN/SIDE by the superb Clifton Brown, which was athletic, balletic and street. The real road to Damascus moment, however, was – what else? – Revelations, choreographed by Ailey himself in 1960. This is set to blues and gospel, a real revelation for audiences not used to religious praise mixed up with their art. But it is uplifting, spectacular soul food.

Sarah Scott