It's rare to review concerts by the same artist twice in a week, but Rokia Traoré deserves to be an exception: her three recent shows at separate London venues were all completely different.

The second of the series, at the Barbican, started quietly, with Traoré and singers joined by traditional kora, ngoni and bolon, and later by double bass and guitar. Then, on her vintage Gretsch guitar, she reworked the bluesy Kèlè Mandi in a stately duet with Led Zeppelin's John Paul Jones on mandolin. He stayed on to join the full band in her rousing treatment of Bob Marley's Zimbabwe, and a finale in which she paid tribute to African singers from Miriam Makeba to Tabu Ley Rochereau.

This was a benefit for her Fondation Passerelle, set up to help young Malian musicians, but didn't work out as planned beacuse the current political upheavals in the country kept half her group away. But it was still a showcase for three impressive female singers, including the commanding Fatim Kouyate, who took solo spots as Traoré stepped back to join the backing chorus.

The following night, at Village Underground, she changed direction again. Now she played electric guitar from the start, backed by ngoni, two singers and a guitar band featuring John Parish. This was a preview of Traoré's next album, with new songs ranging from the spiralling African-rock fusion of Lala to an exquisite, soulful ballad, Gloomy Sunday, sung in English, and a furious, exhilarating dance work-out on Tuituit. She has enjoyed a remarkable week.