Spirit overlapped physicality and art conveyed the holy when Jerusalem Soul’s music and dance created ceremony at the Ford Amphitheater Saturday night.

Bodies vibrant in ochre, turquoise, violet and gold sang heartily to the animated conducting of gusto-possessed Tim McAffee Lewis.

A spectator praised, “That’s my church, and I still can’t get over them.”

The Agape Interfaith Choir and accompanying band layered the air with the celebratory rejoicing of non-denominational worship against the Ford’s subtle set design of architecture meant to symbolize the gates of Israel.

Keshet Chaim Dance Ensemble interspersed the program with a spiritual and culturally meaningful repertoire. Varied costumes supported the intention and interest of each piece, and props like vivid blue scarves and clay carafes complemented the compositions in a visually pleasing way.

There was strength in the rhythmic momentum that built with the frequent predominance of multi-ethnic drumming from Naked Rhythm Drummers, which gave some of the performances a feral appeal. The hopeful stories behind each piece, sometimes facilitated by an introductory narration, reinforced the themes of faith and connectedness.

It was Israeli singer Miri Mesika’s first time performing in Los Angeles, and her songs produced an enthusiastic response from the crowd. She sang in both English and Hebrew, and when she asked who in the audience spoke the latter, most hands reached up. Many viewers knew the songs well, mouthing the lyrics and swaying to the melodies. Composer Rami Kleinstein also obtained an emphatic welcome from fans with his mellow ballads at the piano.

The finale, which brought all the performers together in a sunny interpretation of Man in the Mirror, bordered on trite but was nevertheless uplifting. The night left a taste of honest goodwill, shared across and within cultures with a generous attitude of fun.

Reach staff reporter Desiree Lanz here.