Manliness. Along with the words integrity, philosophy, and will, manliness is engraved above the stage at Memorial Hall in Over-the-Rhine.

        In the late 1800s, the hall was opened, manliness may have been something to aspire to. But not so much a century later, especially not at Saturday's MUSE concert.

        “Feminism. Remember that word?” artistic director Catherine Roma asked the full house at Saturday evening's concert.

        Billed “Sister, You've Got to Face the Music,” the program featured the work of women composers and poets, sung by the all-women chorus.

        Via short speeches between songs, the singers were as concerned about acceptance and tolerance in the community as they were about hitting the high notes.

        It was as if the hall were filled with the members of one big, diverse extended family — with really nice voices.

        One MUSE member sported turquoise hair, others sang barefoot, and when soloist Paulette Meier forgot her lines during “Come on Board!” — a song she wrote — it was just another chance to laugh.

        The audience was treated to more humor during “Carrot Juice is Murder,” written by three composers who call themselves the Arrogant Worms.

        “Vegetables live in oppression . . . let's call a spade a spade . . .” sang four MUSE vocalists, in perfect four-part harmony.

        Other, more serious works, like “Testimony” by Ferron, as arranged by J. David Moore, explores women's healing journey to overcome abuse and addiction. It featured solo cello, played well by Nadine Monchecourt, and a textured, interwoven vocal part that mirrors the complexities of the issues at hand.

        Another stand-out was Therese Edell's “This Longest Night,” arranged by Mr. Moore and featuring the solo voice of MUSE's assistant music director Lois Shegog. Ms. Shegog is a soulful, powerful singer. Tackling the subjects of love, loss, change, and rebirth, the song featured another well-executed cello solo and finished to a standing ovation for the composer who was in the audience.

        The chorus arrived on stage for the second part of the program sounding even stronger.

        Ms. Shegog returned as soloist for Evelyn Harris' gospel-flavored “Gift of Love” and humor returned for “Mrs. Harold Righteous Bomber” by Darthe Jenning, arranged by Judith Palmer., For this number, a MUSE member wore a wig and frumpy dress to play a women shocked to learn she has to work with a lesbian.

        MUSE paid tribute to female popular music icons Laura Nyro, Carol King, and Joni Mitchell in a medley that included their respective hits - “Save the Country,” '"Natural Woman,” and “Big Yellow Taxi.”

        MUSE became a sea of swaying hips and tapping feet for these numbers, but the one to watch here was the evening's interpreter for the hearing impaired.

        Sure, “Natural Woman” is great to hear, but who knew watchingit could be such fun?

        Jennifer Sheperd's wonderful, blues-infused rendition of Bernice Johnson Reagon's ""Greed” ended with the crowd standing and roaring.

        Equally powerful — for its timely lyrics and jazzy piano part played by Rachel Kramer — was “I Ain't Afraid” by Holly Near, which repeats the verse, “I'm afraid of what you do in the name of your God.”

        Of course, there were minor intonation problems — particularly between musicians and vocalists, and the sound could have been better balanced. But the standing ovation following the encore piece “Emma” by Therese Edell - a piece MUSE sang in the first half of the evening — showed those minor details mattered little.

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