Posts Tagged ‘ana tijoux’

La Linea Festival: First line-up announced

Posted on December 5th, 2017 in Recent posts by .


Ana-Tijoux-©.Mário Pires

Photo: Mário Pires

The London Latin Music Festival, La Linea, will return in April 2018 with an eclectic line-up of artists

The first acts set to perform at London’s La Linea Festival, the London Latin music event which runs for ten days at the end of April, include Buena Vista Social Club frontman Eliades Ochoa, French-Chilean musician Ana Tijoux (pictured) and legendary Senegalese dance group Orchestra Baobab.

Since its inception in 2001, the festival has shone a spotlight on both emerging and established Latin acts, providing an international platform for their work. Taking place London-wide in a variety of venues including the Barbican, Electric Brixton and the Royal Albert Hall, La Linea will continue to ignite a Latin spark across the capital this April.

The first acts confirmed are:

Ariwo + Soundspecies
Eliades Ochoa
Ana Tijoux
Orchestra Baobab
La Pegatina

Click here for more information

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More acts announced for WOMAD Charlton Park 2016

Posted on April 7th, 2016 in Live, News, Recent posts by .


Lura, Ana Tijoux, and Les Amazones d’Afrique are among the second wave of acts announced for this year’s WOMAD Charlton Park Festival from July 28-31

Following February’s announcement of the first wave of acts heading to Wiltshire this year, WOMAD have revealed the latest surge of artists who will take to the stages this coming July. 

Cape Verdean singer Lura graces the stage following the release of new album Herança, the brilliant Chilean rapper Ana Tijoux delivers her socially aware material, and extraordinary all-woman supergroup Les Amazones d’Afrique – featuring Oumou Sangaré, Mariam Doumbia of Amadou & Mariam, and Mamani Keita – showcase some of Mali’s greatest female singers.

Other confirmed acts include: 
Asiq Nargile (US)
Broadway Sounds (Australia)
Charles Bradley (US)
Chouk Bwa Libète (Haiti)
Cuncordu e Tenore de Orosei (Italy)
Hanoi Masters (Vietnam)
Heartbeat (Israel/Palestine)
Hindi Zahra (Morocco/France)
John Grant (US)
La Mambanegra (Colombia)
Mercedes Peón (Spain)
N’Diale (France/Mali)
Roots Manuva (UK)
Sons of Kemet (UK)
Soom T (UK)
Wiyaala (Ghana)
Xaos (Greece/UK)

For tickets and more information visit

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Ana Tijoux – Chile’s Fearless Rapper

Posted on January 6th, 2016 in Recent posts by .


Ana Tijoux discovered hip-hop while growing up in France but as she tells Gonçalo Frota, it was only after arriving in Chile that she was able to develop a true identity for her life and her music

Ana-Tijoux-none-Free1Having travelled frequently to the US these last few years, Chilean rapper Ana Tijoux began to wonder why her music wasn’t reflecting the same kind of wonderment in rediscovering her musical roots as she noticed with her Afro-American friends. They felt so close to their own jazz, blues and soul. Tijoux began questioning her role as a musician from Chile – and not anywhere else. It didn’t take her long to realise that among her generation – be it heavy metal buffs, hip-hop maniacs or hardcore jazz fans – they all shared a common and almost irrational love for local folk heroes like Víctor Jara. “And then I understood why it brings us together in such a powerful way,” Tijoux says. “It’s music that we listened to in our childhood, it’s part of our historical and biographical legacy.”

Born in Paris, France, in 1977, where her parents were exiled during the Pinochet dictatorship, Tijoux was brought up in a very particular family environment, where political discussion was no stranger to the dinner table. She was still a child when she came across the first musical revolution in her life: ‘Construção’, a song by the Brazilian Chico Buarque, describing in a realistic and shocking way the death of a worker on a construction site. He falls agonisingly and dies on the road, while nobody seems to notice him. “That was the beginning of my learning to write a song,” Tijoux acknowledges. “Because it combines a deep and poetic meaning, a very real and social resonance, and a beautifully crafted music cathedral.”

Soon however, hip-hop would grab Tijoux’s attention in an intense manner. It was its “anger,” she says, that first attracted her. “I believe that in my neighbourhood, and a few others around the world full of migrant parents, hip-hop became our country.” Not quite able to identify as a French girl and never having been to Chile at that time, Tijoux found in hip-hop a solace common to a lot of youngsters who felt country-less. “It was a way of dealing with that distress,” she says.

By the time Tijoux finally crossed the Atlantic with her parents to start a new life in a country she had only heard of, hip-hop was already like a second skin. Arriving in Chile was, however, a bit of a shock. She grew up fantasising about a distant land made of promise and an overly-politicised country, and instead she found a profoundly nostalgic and poetic place, albeit shaken by social movements she playfully compares with Chile’s seismic activity. “People survived the dictatorship with a heavy weight on their shoulders – the way they dressed, the music they listened to,” she says. “But as I’m still in love with that nostalgia and that contradiction, I didn’t go back to France.”

Tijoux’s music would then grow up to be hugely focused on social commentary, pointing her finger in the direction of wherever she found injustice. Her big breakthrough came precisely when she raised her voice and joined the students’ continuous protest with the crumbling education system in Chile. ‘Shock’, included on the 2011 album La Bala, quickly became a popular anthem for a whole generation fed up with the ruin of Chile’s democratic dream. The inspiration came from the rapper’s reading of Naomi Klein’s The Shock Doctrine, where the author argues on the promiscuity of liberal capitalist strategies with various national politics. The fact that Klein uses Chile as an example of an experiment of this capitalist model immediately resonated with Tijoux, as she identified with the description of policy based on fear, mass control and practices of repression and torture.

The tricky thing was that from the moment Tijoux was able to rip through the silence and put her political points across, she suddenly became aware of the inherent risk of turning into the one thing she feared the most – becoming a brand. As if being a revolutionary singer could deviously be reversed by marketing tactics and discredit her speech by labelling her as a ‘revolutionary singer.’ “That’s why I don’t know if the music I make is perceived as inconvenient or if it can be distorted by marketing,” she stresses. “And the only way to fight it is killing myself artistically over and over again. It’s quite dangerous when our speech can turn into a slogan or a logo. So I question my work all the time and try to be surrounded by people that do so as well.”

This very idea of renewal and rebirth is the driving force behind her recent album Vengo. After dealing with her own biography on 1977 and picking up on a more political tone in La Bala, with Vengo Tijoux finally finds a way of freeing her music from the mandatory samples of American jazz as a primary source to her songs. She looked for material all over Latin American folk music and insisted on building a new cultural identity. It was an obvious solution to her need to make music that is based on the fact she is a primarily Chilean artist – and not just another indistinct hip-hop artist.

Working on and slowly resolving her personal contradictions through music, Tijoux adds her usual social and political concerns to the distinct Latin American hip-hop sound: the feeling of being part of a national lineage (‘Vengo’); her refusal to abide to a male tailored society (‘Antipatriarca’) and the absolute need to always speak out in face of injustice (‘Somos Sur’), on which the Palestinian rapper Shadia Mansour makes a symbolic contribution.

This is what’s so reassuring and infallible in Ana Tijoux’s music; there is not a single word that comes out of her mouth without sounding as if she would give her life for it. Like some sort of musical daughter of Violeta Parra and Víctor Jara, the Chilean tradition of breeding fearless critics is clearly in very good hands.

Vengo is released on Nacional Records.

Top photo: performing at the FMM Sines Festival in Portugal, 2015, by Mário Pires.


Criolo – Soul Searching: The hugely popular Brazilian rap artist Criolo is refreshingly self-effacing when he meets Russ Slater to talk about his work and the problems facing Brazil

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New issue (Dec 2015) on sale now!

Posted on November 6th, 2015 in News, Recent posts by .

Songlines Dec 2015 (#113)

Fado singer Mariza; Chilean rapper Ana Tijoux; and Finnish accordionist Kimmo Pohjonen

The December 2015 (#113) edition is on sale in the UK from today. The free exclusive 15-track covermount CD features ten tracks from our latest Top of the World albums and a guest playlist by jazz musician Courtney Pine.

This issue also comes with bonus CD, West Africa at the British Library, which includes 15 free tracks featuring unique recordings made between 1909 and 2015 from the British Library’s sound collections.

Featured on the Top of the World CD are new tracks from Cape Verdean singer Lura, Italian duo Ilaria Graziano & Francesco Forni and Turkish collective Kardeş Türküler.

• Mariza – Gonçalo Frota talks to the fado singer about her new album.
• Ana Tijoux – The Chilean rapper speaks to us about her discovery of hip-hop.
Sweet Liberties – Julian May gets a history lesson from singers Maz O’Connor, Nancy Kerr and Martyn Joseph.
• Kimmo Pohjonen – Fiona Talkington discusses the Finnish accordionist’s ability to reinvent himself.
Karen Matheson – Tim Cumming speaks to the Scottish singer about her personal solo project.

• Beginner’s Guide to Béla Fleck.
• My World: A playlist and interview with jazz musician Courtney Pine.
• Postcard from Romania.
• Introducing… The Gurdjieff Ensemble and Lynched.
• Spotlight on Hazmat Modine.
• Quickfire: Buhlebendalo Mda, Tigran Hamasyan and John Baily.
• What’s New, including the ethnographic film Nanook of the North; Battle of the Bands winners Don Kipper; On Their Own: Britain’s Child Migrants, and the latest reissues from the Syliphone Conakry record label.
• Reviews of the latest CD, book and world cinema releases.

Buy the new issue here.


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