Africa Is a Country

Weekend Music Break, N°22

Africa Is a Country Podcast
African Five-a-Side Podcast

Weekend Music Break, N°22

By
Tom Devriendt

I’m taking cues from Africa is a Country’s contributors this week. First up, Boima dropped by Amsterdam’s African Hip-Hop radio’s studio and delivered this set. One of the tracks featured on there is ‘TOHL’ (above) by Togo-born tabi Bonney (real name: Tabiabuè — father: Itadi Bonney), featuring Fat Trel. I don’t believe it was aired on Dutch radio before. Next, Mali-born Abdoulaye Diarra aka Oxmo Puccino (I could have sworn Hinda already featured him in one of the Paris is a Continent posts): 

Etzia is part of the Swedish women’s dancehall reggae movement Femtastic. This is her most recent ‘Same Thing A Gwaan’:

Mikko (he knows his Nordic music) adds: “There’s also the more poptastic Serengeti with their new video, or one of their older ones.”

In ‘Izulu Lelam’ (“heaven is mine”), Cape Town’s Driemanskap family express their trust in a brighter afterlife. This is the first video from their forthcoming second album Hlala Nam:

Then The Weeknd’s saccharine ‘Enemy’ (H/T Dylan) — Abel Tesfaye likes to quote Haile Selassie, but here he channels Morrissey:

http://www.youtube.com/watch?v=-3VIh8ZB-M8

Orlando’s piece on Hassan Hajjaj’s work (later reprinted in The Guardian as a wonderful spread) carried a photo of gnawa-player and Electric Jalaba member Simo Lagnawi together with Paris-based Kora-player Boubacar Kafando. Here’s an Electric Jalaba living room gig:

… and another live performance: the new project “Acoustic Africa: Afropean Women” is a collaboration between Côte d’Ivoire singer and percussionist Dobet Gnahoré, Manou Gallo, former Zap Mama bassist, and Cameroonian singer Kareyce Fotso. Siddhartha wrote a feature on them for The Boston Globe this week (they’re performing there). Here they are on stage in Bamako:

Ugochi plugged her latest music video on AIAC’s Facebook wall the other day, calling it “a product of my Naija root and Chicago soul influence”. It takes a while before the actual tune starts:

Football player Vincent Kompany — this is for Sean and Elliot — is getting into the music business. I read in the local (Belgian) press that he has plans to start up a new music label. Belgian-Congolese Coely already got a phone call:

And to wrap up the week: Zambian Zone Fam’s new video, shot in Nairobi. They’re getting big:

http://www.youtube.com/watch?v=5HMt7cp4yLA

That’s it, back on Monday!

Further Reading

On Safari

On our year-end publishing break, we reflect on how 2024’s contradictions reveal a fractured world grappling with inequality, digital activism, and the blurred lines between action and spectacle.

Rebuilding Algeria’s oceans

Grassroots activists and marine scientists in Algeria are building artificial reefs to restore biodiversity and sustain fishing communities, but scaling up requires more than passion—it needs institutional support and political will.

Ibaaku’s space race

Through Afro-futurist soundscapes blending tradition and innovation, Ibaaku’s new album, ‘Joola Jazz,’ reshapes Dakar’s cultural rhythm and challenges the legacy of Négritude.

An allegiance to abusers

This weekend, Chris Brown will perform two sold-out concerts in South Africa. His relationship to the country reveals the twisted dynamic between a black American artist with a track record of violence and a country happy to receive him.

Shell’s exit scam

Shell’s so-called divestment from Nigeria’s Niger Delta is a calculated move to evade accountability, leaving behind both environmental and economic devastation.

Africa’s sibling rivalry

Nigeria and South Africa have a fraught relationship marked by xenophobia, economic competition, and cultural exchange. The Nigerian Scam are joined by Khanya Mtshali to discuss the dynamics shaping these tensions on the AIAC podcast.

The price of power

Ghana’s election has brought another handover between the country’s two main parties. Yet behind the scenes lies a flawed system where wealth can buy political office.

Beats of defiance

From the streets of Khartoum to exile abroad, Sudanese hip-hop artists have turned music into a powerful tool for protest, resilience, and the preservation of collective memory.