A jugalbandhi, a dialogue between the mridangam, cymbals, and the ankle bells was presented in Shankara Sri Giri, in Hamsanandi ragam. The varnam was in Kapi ragam, Rupaka talam, adapted from a telugu varnam, 'Samiyiki seriavarai' dedicated to Lord Rajagopala. Valli's orchestra can rank among the best of the season. Latha Ramchand as vocalist, Shakthivel on mridangam, Srinivasan on the flute, and Kalaiarasan on the violin gave melody a special meaning. C.K.Vasudevan, a student of Valli, did a good job wielding the cymbals.

Valli's favourite is the 2000-year-old Sangam literature. This time around, she picked verses from the 'Nutrinai' and 'Kurunthoghai' sections, dealing with human emotions, but revolving around nature. People at that time identified themselves so much with nature, and gave it a place by their hearth, so to speak. A verse from 'Nutrinai' spoke of a Laurel tree. A young man is conducting a dalliance under the tree. The girl's friend sees this and points out to the lover, the inappropriateness of the place. '… The tree is like a sister to us; we planted the seed and tended to the sapling as young girls…We are embarrassed to flirt with you here, there is shade elsewhere if you wish…' Valli has a way of portraying youth and their innocent games. A jaunty step and a glance is enough to convey the essence of the picture. The friend's sensitivity regarding nature and her sauciness in the last line of the verse were also highlighted in the item.

Verses from the 'Kurunthozhai' dealt with the state of mind of the heroine. In the first verse, the nayika is anxiously awaiting her beloved, who promised to return with the monsoon. The Cassia tree is in bloom signaling the arrival of the season, but the deluded girl chides the tree saying that it has mistaken passing rain-bearing clouds for the real thing and come out in bloom. In the second, there is only desolation and hopelessness. The nayika is grieving over the treachery of her man. The mood is of gloom, and the loneliness and silence are heightened by the far-off sounds of the bells around a bull's neck. In the third verse the heroine accepts the fact of his betrayal, and discovers strength in that acceptance. Valli sustained interest through the pieces, though her emoting was not too intense. It cannot be a failing, that which is innate in her style. Use of Kambodhi, Shivaranjani, and Gambhira Nattai ragams further emphasized the atmosphere. Prema Ramamurthy set the verses of both chapters to music.

Valli finished with a thillana in Misra Mand ragam, Adi talam, a composition of the violin maestro Lalgudi Jayaraman. She is most comfortable in nritta-based items, and gives off her best, as a consequence leaving her audiences thirsting for more.