“Peace, Love and Harmony.” The message Joseph Shabalala wants to spread to every corner of the globe. But for Shabalala, creator and leader of the South African Men’s A Cappella Choral Group, Ladysmith Black Mambazo, “Harmony” has two meanings. The group, consisting of eight men from bass to countertenor, performed on March 4, in Wait Chapel  —  an exhilarating experience that had the audience at their feet applauding and yelling for an encore after their final song.

Rachel Cameron/Old Gold & Black

Ladysmith Black Mambazo bears the pride of the Zulu tradition. The music they sing is called isicathamiya, formed in the mines of South Africa.

Forced away from home to live in destitute conditions, the miners would sing and dance into the wee hours of the morning to entertain themselves. Shabalala, inspired by this music, attempted to form his own group of singers. But he was discontented with the results — until he had a dream of the harmony he wanted. With time the sound became something special.

Their name came about after winning all the music competitions they entered. “Ladysmith” their hometown; “Black” alluding to the black oxen, a strong and sturdy farm animal; and “Mambazo” meaning ax in Zulu referring to the group chopping down their competition. After so many wins, the group was forbidden to enter any more, although they could still perform to entertain.

The group has released 54 albums selling over seven million worldwide. They have won three Grammy Awards, including one for their most recent CD, Ilembe: Honoring Shaka Zulu. Ladysmith Black Mambazo have joined many performers: Stevie Wonder, Josh Groban, Dolly Parton and Ben Harper to name a few. Perhaps their most well-known collaboration is with the man who introduced them to the United States, Paul Simon.

The performance was a spectacular display of their voices and harmonies, as well as their culture and passion for tradition.

The first song, “Wenyukela” (Raise you spirit higher) was a call and response between Shabalala and the other members singing in the tight Zulu harmony.

Ladysmith Black Mambazo uplifted their voices in praise with the song’s joyous melody. “Isimanga Kathekwane” (The legend of the hammerhead bird) was hysterical; as the group sang, they cawed and cooed giving their best impersonation of a hammerhead bird.

After intermission, one member of Ladysmith Black Mambazo held a competition between the other members and the audience. He taught the audience the Zulu lyrics wanting them to sing louder and better than the other members of Ladysmith Black Mambazo. Excitedly, the audience sang probably butchering the Zulu but enjoying every moment. The audience won of course.

“Homeless,” their best known song, was truly uplifting. The harmonies soared across Wait Chapel with the sincerest empathy that, instead of drooping with melancholy, celebrated the gift of life.

For the final song, Ladysmith Black Mambazo invited audience members up to the stage to dance in the traditional style. The sheer joy on the audience members’ faces emanated the room until the entire audience was enraptured in the glorious song of “Peace, Love and Harmony.”

It was an amazing experience not only enjoying the music and Zulu harmony but watching the magical chemistry of the performers as they enjoy every moment of the performance as well equally if not more than the audience.