Posts Tagged ‘WOMAD 2017’

Oumou Sangaré: Mali’s muse

Posted on July 18th, 2017 in Features, Recent posts by .


Malian diva Oumou Sangaré is making a long-awaited comeback. Pierre Cuny speaks to her about returning to the recording studio and the themes that inspire her songs. Photo by Benoit Peverelli

Over the years, the reputation of Oumou Sangaré, one of the greatest living Malian singers, has grown from a socially conscious local artist to a leading African public figure. Goodwill Ambassador for the United Nations Food & Agriculture Organisation and a prosperous businesswoman, Oumou has continually maintained the flame of rebellion against injustices. It has always been via music that this figure of African women’s emancipation has transmitted her ideals.

Ever since the elegant reissue last year of Oumou’s successful 1990 recording Moussolou on World Circuit, it was common knowledge in Mali that her new album was on the point of coming out. For fans of the African diva, it was going to be a huge event – not only in Mali but also throughout the continent.

Together with Laurent Bizot, head of No Format!, the French label she has chosen to produce her new musical adventure, Mogoya, Oumou decided to completely shake up her soundscape – very much a conscious decision. She explains: “I selected No Format because they have operated with a large number of African musicians. Laurent has worked for several years with Salif Keita, he knows Malian music very well and he loves black music.” The label also works with other Malian virtuosos such as the supreme kora player Ballaké Sissoko and griot singer Kassé Mady Diabaté, a national treasure in Mali. “Happily, relations with World Circuit and Nick Gold remain solid and we are in complete agreement with this change,” smiles Oumou. Four outstanding albums were produced during 1993 to 2009 with World Circuit, as well as a double-CD compilation, which was released in 2003.

Taking the tapes on which she had been working over the past two years with Swedish producer and bass player Andreas Unge, Oumou travelled to the northern suburb of Paris and met with the three studio magicians who make up the collective known as A.L.B.E.R.T. In their studio jam-packed with sound equipment resembling something like Ali Baba’s cave, the young French musician-producers Vincent Taeger, Vincent Taurelle and Ludovic Bruni had recently completed the last Tony Allen album among other luminaries.

On the strength of her melodies, lyrics and voice alone, the team went to work. Maintaining the essential kamalengoni of Benogo Diakité, the electric guitar of Guimba Kouyaté and occasional drums of Tony Allen, they totally remixed and played over the tapes. Oumou was ecstatic and pushed them to continue. “We did not want Mogoya to sound like something which could have been produced in 1998 or 2000,” explains Bizot. The three musicians advanced with feeling and when they saw that Oumou was confident – telling them to “go for it boys” – they knew they had got it. The result is an album sprinkled with judicious sound effects that creative DJs will undoubtedly be playing to heat up dance floors across the world.

The kamalengoni (or ‘young man’s harp’) propels the sound. This eight-stringed instrument, based on the original Wassoulou ritual hunter’s harp, is the soul of Oumou’s music and her melodies are all accompanied by it. In her concerts Oumou constantly has her eye on the kamalengoni. “Village youngsters who love the rough sound can do anything with it: reggae, funk, rap or blues,” she explains, adding, “good thing that the A.L.B.E.R.T. collective decided to place this instrument in prime position on most of the tracks.”

Clearly in great form, Oumou is holding court at the intimate offices of No Format. With her natural majestic allure, this great lady breathes serenity and goodwill. Actively engaged in international citizen movements and at the head of several successful businesses around Bamako, she still maintains a mischievous, childlike spirit. Her laugh resounds frequently and as she evokes each of her songs you can hear her humming the melodies. Time passes in a most delicious manner.

Eight years have passed since her last studio album, Seya. As Oumou herself explains: “I prepare each song quietly to avoid the stress and take time to think. When my new albums are under preparation, the pressure is unimaginable; everyone is asking, when will it be ready? What will be the theme? My words are extremely important for my fans and so I take time so as not to disappoint them. I create by crafting and caring for my lyrics and do not rush. They are inside of me. At the same time, I have many business occupations: I built a hotel in Bamako, which I manage once again due to the disorder of the team while I was travelling. I also have a large livestock farm with many employees, rice fields and a fish farm, as well as a car dealership. All this while touring incessantly throughout Africa. So I prepare my material slowly avoiding stress and giving me time to think. That is why it has taken so long.”

So that equates to almost one year of work for each of the nine songs on this ambitious album. Like a sage, Oumou’s words offer advice and motivation. She sees her role as trying to diffuse tensions in her country. “I am a Muslim, but certainly not fundamentalist,” she asserts. “I believe in God and respect all other religions and all human beings. I don’t understand the radicalised Muslims. One must respect each other. The songs I write are taken from events in society, events which disturb.”

Despite recent multiple terrorist attacks, Oumou accepted to be godmother to Wassoulou-Ballé, a music festival situated 240km from Bamako. “Our role as an artist is to be with the population, at their side during the most troubled times. Terrorism is at the forefront of everyone’s minds but we must continue to live. Despite the turbulent current situation in Mali, music remains a standing force.”

Speaking of the lyrics featured on Mogoya, which translates as ‘Human Relations Today,’ Oumou describes what she knows best. She is very affected by the tribulations of daily life and specific problems women in Africa face, urging them to overcome their suffering and enjoy life to the full.

One of the most emotional songs on the album is ‘Yere Faga’, sung in Bamana, the vernacular language in Mali. It means suicide. “Suicide has always existed in my country,” she states, “but it is a phenomenon which is increasing alarmingly. People seem to have more and more difficulties that they find overwhelming. I try to tell them to be stronger than the problems and counteract them full on. I have had to face millions of problems in my life, heard so many lies and rumours about myself. I say to people, take example from me and remain strong. The problems will always go away.”

Oumou herself has clearly not been spared from her share of life’s difficulties. Abandoned by her father at a very young age, she possesses a burning ambition to honour her mother who brought up a family of six with no help whatsoever. “My mother – I owe her everything! The force that is in me comes from this brave woman. When my father walked out and went to live in Ivory Coast, it was a catastrophe for us. My mother said to me: ‘Oumou, I have fought alone without compromise, I never sold myself or dirtied my children. I believe in me and in God. It has been so hard but I fought’.” On another very moving song on the album, ‘Minata Waraba’ (Minata the Lioness), Oumou pays homage to her mother, Aminata Diakité.

It was through her mother that Oumou, as a very young child, came to sing. She would accompany her mother at local weddings and baptisms, where Aminata was invited to sing at the ritual services, called soumous. At the age of five, Oumou’s gifted voice, with its strength and clarity, was already the centrepiece of the ceremony. “I had this energy while singing and people would give me money; it would pour from all sides like rain, like an act of God,” she recalls. “I would run home with my T-shirt stuffed with banknotes for my mother!”


Oumou was born in Bamako to a Peul family originating from the forested region of Wassoulou in the south-west of Mali bordering Guinea and Ivory Coast. “Everything was Wassoulou in my home: the mentality, the language, the food,” she says. Her music has a strong connection to the traditions of the brotherhood of hunters of Wassoulou and is primordial in its mentality. It was these same hunters who liberated the country from the oppression of tyranny at the beginning of the 13th century. Their philosophy of freedom centred around their declaration that ‘man is an individual, he is free, his soul lives for three elements: to see what he wants to see, to say what he wants to say, to do what he wants to do.’ This was the basis of the Mande Charter, one of the most ancient constitutions, that dates from the same period as the Magna Carta. The singularity of Oumou is to claim that all Malian women should access this freedom of speech and have the liberty to say no to polygamy and yes to school education.

At the age of 21, Oumou hit the country by storm with her first record, Moussolou. Two of the tracks completely shocked the population of Mali. It was the first time that a female singer had spoken out so freely: ‘Diya Gneba’ encourages women to refuse forced marriage and ‘Diaraby Nene’ openly addresses female desire. Where, I wonder, does this desire for freedom of speech come from? “I am not a griot,” she explains. “A griot addresses only noble or wealthy families. I speak to everyone through my songs, rich or poor, man or woman. I have the right to do it!”

“Women in Mali are traumatised by some of the traditions, such as excision [FGM],” she continues. “It is impossible to make rapid changes to this system and I have to go slowly, explaining and talking regularly about the risks and the suffering that is caused. Everything is done softly and in songs. It is in this way that I am gaining the confidence of women. Once completed, they will stop these traditions. I have faced a lot of social pressure because of this, but things are changing. People are following me now and supporting me.”

As we head into a recording room to listen to her new opus, Oumou beams and whispers “for the moment I dream that Mogoya is played simply in local clubs. The African youth need these sounds to move, to dance!”

On an almost-deserted parking lot outside of Paris, Bizot and his No Format team are speaking of Oumou when a local youth overhears and comes over. “Oumou? Are you speaking about Oumou Sangaré?” Bizot replies, “Yes, we are working on her new album.” Holding his hand gently to his heart, the youth exclaims, “but this is fantastic! Oumou Sangaré is the queen!”

This article originally appeared in Songlines #127. To find out more about subscribing to Songlines, please visit:

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Johnny Kalsi: a beginner’s guide

Posted on July 18th, 2017 in Features, Recent posts by .


Jim Hickson reflects on the career of the world’s most famous – and busiest – dhol player

There are few people as synonymous with their instrument as Johnny Kalsi is with the Punjabi double-sided barrel drum, the dhol. The drum lends bhangra music its distinctive sound and Kalsi has probably done more for this amazing instrument’s popularity around the world than anyone. It’s clear that there’s never enough music for Johnny Kalsi: he’s been involved with almost every world fusion group you could mention. If you’ve attended any sort of world or folk music festival in the UK, it’s likely that you’ve seen him do his stuff.

Born in Leeds and raised in London, Kalsi didn’t come from a musical family. But raised Sikh, songs and music were still part of daily life, from hymns and prayers to readings from the holy book. This exposure led him to learn tabla at age seven (“all the lads do at that age”) and music became a passion when he took up the drum kit in high school. The dhol came at 14 when he auditioned for a local bhangra band on tabla – they decided they wanted a dhol instead, so he tried it out and it stuck. By this point, it was obvious that Kalsi was something special, his experiences and skills from tabla and drum kit helping him develop a unique approach to the drum. Within two years he was touring the world as a member of the biggest bhangra group at the time, Alaap.

From that point, Kalsi has blasted his dhol on the albums and stages of so many legends. Starting with Alaap, he was also there for the heydays of Fun-Da-Mental and Transglobal Undergound in the 90s. On the same touring circuit as these groups were the Afro Celt Sound System (ACSS), fresh from the success of their debut album. After many shared bills and becoming friends on- and off-stage, ACSS asked Kalsi to play a few beats on their second album. He ended up contributing more than that – his dhol became an important aspect of the Afro Celt sound almost immediately, and he joined their ranks for good. He even took a step to the fore in 2016; since they reformed, Kalsi’s drum has shaped the band’s whole sound. When ACSS frontman Simon Emmerson embarked on a mission to create folk music to reflect the England of today, with its many international influences, Kalsi was of course natural for the project. That became The Imagined Village and was hailed as one of the sparks of the latest English folk revival. Again, Kalsi’s sound was key.

And, as if being a crucial member and sonic element of many of the most forward-thinking fusion groups of the last 25 years was not enough, he’s also taken part in seemingly endless collaborations with international artists. From classic favourites like Peter Gabriel, Khaled, Dimi Mint Abba and Nusrat Fateh Ali Khan, to more unexpected artists such as Avril Lavigne, the Kaiser Chiefs and Nelly Furtado, Kalsi’s dhol has enlivened hundreds of recordings and concerts.

But when he gets talking about his work, it’s obvious what Kalsi considers his real baby: The Dhol Foundation (TDF). First and foremost, TDF is a school for kids to learn the instrument, but they’re also an internationally touring and recording band, with four albums under their belt and another coming out this June.

It all started when he was touring with Alaap, being approached every night by people asking for lessons. He always said no, until he was convinced to make a one-off workshop to a couple of people in Slough. They persuaded him to come back and there were six students. “By the time that happened, it was too much for me to look back. And that was The Dhol Foundation.” From that base, the project grew into the first ever institute of dhol, and with it, Kalsi created the first dhol-teaching syllabus, The Dhol Bible. His passion and excitement for the school is obvious. “People are teaching with that bible all over the country, and I’m quite proud of that! That bit was my fault.” At its peak, there were 14 schools and 700 members. As with anything that grows, it makes branches: smaller groups formed and broke off, and from these more groups still. Now there are hundreds of schools around the world.

When they perform in public, TDF are second-to-none. Their live band is the ‘A-team,’ those that have progressed through the ranks of the school to professional standard. This way, they are ever-fluctuating, featuring up to 30 drummers and giving opportunities to promising younger members. It’s a powerful spectacle, as Kalsi says: “It’s a massive wall of drumming noise, it’s wonderful to watch.” That noise has led them to perform on some of the world’s biggest stages; you may have seen them in the 2012 Olympics Closing Ceremony, the Royal Variety Performance or the Queen’s Diamond Jubilee celebrations.

It’s on TDF albums that Kalsi really lets loose his creative side. These albums can be called Kalsi’s solo work, but they’re much more than that: “If it was just a dhol drumming album, it would become very monotonous and boring.” Instead, they echo the rest of his career, full of collaborations with international artists – musicians as disparate as Sultan Khan, Etran Finatawa, Michael McGoldrick and Natacha Atlas have graced TDF albums. It’s all mixed up, produced by Kalsi and with a healthy dose of dhol drumming to top it off. TDF’s fifth album is called Basant, which is named after a springtime kite festival in the Punjab region. Kalsi sums it up well, saying “they’re all different flavours, they all sound different, they taste different, they look different when you close your eyes. And I love that!”

With a new album in the works, running The Dhol Foundation schools and now a member of the reformed ACSS, who go on tour this November, Kalsi has, as ever, got his hands full. But you suspect that’s probably just how he likes it.



Afro Celt Sound System Volume 2 Release

Afro Celt Sound System Volume 2: Release

(Real World Records, 1999)

Kalsi’s first recorded outing with the groundbreaking world fusion group came at the height of their fame, and he brought the first Asian flavours to the Afro Celt ensemble.



The Dhol Foundation Big Drum: Small World

(Shakti Records, 2001)

The debut album under the TDF name was a tour de force of bhangra and electronica, and provided the groundwork for their future releases with guests including Natacha Atlas.


The Dhol Foundation Drum-Believable

The Dhol Foundation Drum-Believable

(Shakti Records, 2005)

TDF’S second album continues with all the fun of their first, brings in more international influences and contains probably their most banging track to date, the Irish-Indian bouncer ‘After the Rain’, with fiddler Mairead Nesbitt. Reviewed in #32.



The Imagined Village Empire & Love

(ECC Records, 2010)

This is the middle album of The Imagined Village’s trilogy, their first as a cohesive band and a classic of Anglo-Indian folk music. Kalsi’s dhol and tabla are essential to their sound. Reviewed in #66.



Afro Celt Sound System The Source

(ECC Records, 2016)

The new-look ACSS, risen from the ashes and with Johnny Kalsi as a member of the leading triumvirate, returned reinvigorated with this amazing album, their first for 11 years. The album has also won ACSS a nomination in this year’s Songlines Music Awards (see p22).


Photo of Johnny Kalsi by Tom Oldham

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Songlines Essential 10: Qawwali Albums

Posted on July 17th, 2017 in Features, Recent posts by .

Qawwali is a devotional music in Pakistan and popular around the world. Simon Broughton picks the best recordings of traditional qawwali, plus some interesting fusions


Faiz Ali Faiz

Your Love Makes Me Dance

(Accords Croisés, 2004)

Faiz Ali Faiz is probably the leading figure in Pakistani qawwali music today. The music with solo voices and backing singers driven by tabla drums, breaks over you in waves. This well-produced album, with pictures and translations in English and French, takes its title from Punjabi poet Bulleh Shah. Reviewed in #27.



Faiz Ali Faiz, Duquende, Miguel Poveda & Chicuelo

Qawwali Flamenco

(Accords Croisés, 2006)

This is what it says on the tin with performers at the top of their game. Spiritual qawwali marries surprisingly well with secular flamenco and both forms share a heightened passion and intensity, assisted by a stellar line-up from both sides of the spectrum. The two CDs basically alternate between qawwali and flamenco numbers, but there are three tracks in which the two forms really come thrillingly together. A Top of the World review in #37.



Nusrat Fateh Ali Khan

The King of Sufi Qawwali

(Union Square, 2006)

There are countless recordings of the late qawwali legend, who died in 1997 – from superb concert performances on Ocora and Navras to fusion successes like Mustt Mustt (see below). This double-CD – compiled by Iain Scott with the lyrics lovingly translated by Songlines contributor Jameela Siddiqi – includes his most representative repertoire opening with ‘Allah Hoo’ and concluding with ‘Dam Mast Qalander’ as his concerts often did. Reviewed in #40.



Nusrat Fateh Ali Khan

Mustt Mustt

(Real World, 1990)

While the above choice is of largely traditional material, this was Nusrat’s big cross-over success in collaboration with producer and guitarist Michael Brook. ‘Mustt Mustt’, a version of a song in praise of the Sufi philosopher and poet Lal Shahbaz Qalandar, has become his best-known song. It was used in Pakistan for a Coke advert and appears here as the original and in a Massive Attack remix.



Rizwan-Muazzam Qawwali

Day of Colours

(Real World, 2004)

This is the most recent of Rizwan-Muazzam’s albums for Real World and it features the brothers in superb form with seven qawwalis by Rumi, Baba Bulleh Shah and Amir Khusrau among others. The 13 musicians create a robust sound with lots of punch. Reviewed in #27.



Amjad Sabri

Ecstasy of the Soul

(CM Records, 2012)

Amjad Sabri was one of the preeminent star performers and the current leader of the Sabri Brothers until he was shot in Karachi in June this year. Ecstasy of the Soul is a live recording from Warsaw in 2012 celebrating 50 years of diplomatic relations between Poland and Pakistan. It clearly shows what a great musical force has been lost.



The Sabri Brothers

Qawwali Masterworks

(Piranha, 1993)

It was actually the Sabri Brothers who first popularised qawwali in the West. They started touring in 1958 and released a record on Nonesuch in 1978. This is a later double-CD that features more unusual and contemporary repertoire.



Shye Ben Tzur & Jonny Greenwood


(Nonesuch, 2015)

Junun is a curious fusion that combines the raw sound of Rajasthani qawwali, Indian brass, Shye Ben Tzur’s Hebrew vocals with Jonny Greenwood (of Radiohead fame) adding bass guitar, electronics and production. It’s strangely compelling, was recorded in the spectacular setting of the Mehrangarh Fort in Jodhpur, and has become something of a cult hit. A Top of the World in #114.



Various Artists

Flight of the Soul

(Wergo, 2001)

A brilliant recording of two lesser-known qawwali groups in concert in Berlin, organised by German Sufi expert Peter Pannke. It features Bahauddin Qutbuddin Qawwal & Party, who specialise in Khusrau, and Asif Ali Khan, Manzoor Hussain, Santoo Khan & Party. Wild and vibrant.



Various Artists

Sufis at the Cinema

(Saregama, 2011)

This is ecstatic song on the silver screen – and often quite far from its original context. A splendid double-CD of qawwali music recorded for Bollywood between 1958 and 2007. Artists include Mohammed Rafi, Lata Mangeshkar, Asha Bhosle, Nusrat and the current star of glitzy film qawwali, Rahat Fateh Ali Khan, Nusrat’s nephew. A Top of the World in #77.

This article originally appeared in Songlines #124. To find out more about subscribing to Songlines, please visit:

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Bonga: a beginner’s guide

Posted on July 17th, 2017 in Features, Recent posts by .


Alex Robinson looks at the amazing career of the Angolan singer-songwriter who sparked a revolution in the 70s, helping to overthrow Portugal’s military dictatorship

Bonga was born José Adelino Barceló de Carvalho on September 5 1942 in the Portuguese colony of Angola. Porto Quipiri, his birthplace, lies some 100km north-east of the country’s capital city, Luanda. His was a musical family. “My father played accordion in a rebita band,” Bonga remembers, “and we had to learn the dance steps. Of my nine brothers, I was the one who accompanied my father on the dikanza [traditional percussion instrument] and this was the beginning of all that would happen later.”

José Adelino was a talented athlete. He became the Angolan champion at the 100 metres – and then 200 and 400 metres – before moving to Lisbon at the invitation of the Sport Lisboa e Benfica club in 1966 to pursue an athletic career. In Portugal he broke the national record for 400 metres and ran for the country, seemingly a model Portuguese. But he was leading a double life, attending secret meetings of the Popular Movement for the Liberation of Angola (MPLA) and carrying secret messages for the MPLA as he travelled to tournaments abroad. And under the alias Bonga Kuenda (which translates as ‘he who is looking, who is always ahead and moving’), he worked as an accompanist to the traditional Angolan singer Elias dia Kimuezo and began a clandestine career as a protest singer. It was a dangerous move in late 60s Portugal.

“All Angolan culture was under Portuguese domination,” Bonga recalls. “Traditional languages were banned and African music too. Since we had no weapons to fight with, we resisted on a cultural level, especially by forming folk music groups and performing songs that re-adopted ancestral African forms. Although their lyrics clearly referred to the unrest at the time – the poverty, colonial violence and latent revolt.”

Under the Estado Novo regime, led by fascist dictator António Salazar, Portugal was conservative, backward-looking and oppressive. Its guiding philosophy of ‘Lusotropicalism’ struggled to remember a mythical golden age of racial harmony administered by beneficent colonial Portuguese. This was in part born of the nostalgic idealism articulated in the writings of Gilberto Freyre. Salazar imposed his Lusotropicalism on the remaining Portuguese colonies, including Angola and Mozambique. But Portugal’s power and its empire were crumbling. Salazar ceded the Portuguese colonies of Goa, Daman and Diu to India after a humiliating war in the early 60s and had lost the iconic fortress of São João Baptista de Ajudá to the Republic of Dahomey in 1961. Portugal clutched Angola and Mozambique close, like straws. Moves towards independence were ruthlessly suppressed in the name of ‘racial harmony’.

By the early 70s, realising that he was attracting attention from the secret police, Bonga left Lisbon and went into self-imposed exile in the Netherlands. He was determined to record an album that related his own experiences and his sense of commitment to Angola, an album that would crystallise a sense of pride in suppressed African culture and tradition. The record would be a state-of-the-nation address, a call to cultural and political arms. Bonga simply called it Angola 72. The album became one of the most powerful collections of protest songs ever recorded. A potent mix of haunting, prophetic lyrics, taking pride in indigenous Angolan culture, and a lament from political exile, it inspired a revolution. The record was banned by the Salazar dictatorship, giving it far more publicity than it might otherwise have received. Smuggled into Lisbon and Luanda as contraband, it was distributed to young would-be revolutionaries and listened to in the dead of night under bed covers. Being caught with Angola 72 meant brutal interrogation and possible imprisonment. In Bonga’s own words, his record “became a musical beacon for all our demands in Africa.”

The revolutionary theme was expanded on Angola 74, and this time Bonga’s message was for all Portuguese Africans, with music and songs from Cape Verde, in Cape Verdean Creole, not just in the Angolan Calão language. The album included the first (and greatest) recording of ‘Sodade’ – a song that would later be made famous by Cesaria Evora. By 1974 Salazar’s desperate attempts to cling on to Portuguese Africa were attracting worldwide condemnation. Articles in the international press exposed atrocities such as the notorious Wiriyamu massacre in Mozambique. Guerrilla campaigns in Angola and Mozambique had turned into protracted wars that were bankrupting Portugal and alienating a generation of Portuguese, forced into conscription. Lisbon’s people took to the streets to decry their government. And then in April 1974, the Estado Novo regime was overthrown, in a bloodless coup organised by left-wing Portuguese military officers. Known as the Carnation Revolution, it brought an end to the colonial wars, and won independence for Angola and Mozambique.

Bonga moved to Paris before returning to a newly democratic Lisbon, where he was finally free to record traditional Angolan and Luso-African music. In 1975 he travelled to the US to play a central role in the concerts celebrating the independence of another Portuguese African colony, Guinea-Bissau. By the 80s Bonga was loved by the Lisbon that had once so despised and feared him. He became the first African singer to perform in the Coliseu dos Recreios concert hall – a bastion of traditional white Portuguese culture. And through the group he put together, the Semba Masters, Bonga continued to disseminate Angolan music in Europe and the US.

Bonga’s most recent album, Hora Kota, is a reminder to Angolans of the importance that the past has for their future – an appeal for the preservation of tradition. In the face of rapid modernisation and the homogenisation of the digital age, Angolans should not forget the traditional rhythms like semba and rebita and the African-Angolan cultural identity his generation fought for. ‘The father of the father of your elder, the mother of the mother of your elder,’ he sings on the lilting title-track, ‘they affirm who you are and where you’re heading.’ Even in his 70s, Bonga is living up to his name: ‘he who is looking, who is always ahead and moving.’


Angola 72/74 (Lusafrica, 2011)

The album that introduced Bonga’s melancholic voice to the world, Angola 72 inspired a generation of Portuguese Africans. It was reissued on CD by Lusafrica with the follow-up Angola 74. It’s Bonga at his musical peak: a collection of mature, masterfully sung tracks filled with lamentation, tinged with hope and including a haunting version of ‘Sodade’.

Hora Kota

(Lusafrica, 2012)

Forty years after his first album, the husky voice, melancholy and musical mastery are all still there. Bonga is still calling his countrymen to cultural arms, reminding them to cherish and preserve their African identity.

This article originally appeared in Songlines #94 (Aug/Sept 2013). To find out more about subscribing to Songlines, please visit:

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