Not too long ago, a new video by Amadou & Mariam would have made a bigger splash. There’s no way denying their (?) questionable choice to get Bertrand Cantat on board for their latest record has somewhat tempered the global enthousiasm for their music. Which is regrettable — the end result is a fine record. And the above animated video for ‘Africa mon Afrique’, produced by No-Mad Films, ticks all the right boxes (including Africa’s launching of a “space program”). Next, Congolese artist Didjak Munya’s latest single, “feat. Bill Clinton” (yeh), before his album drops. (Via Akwaaba.) Filmed between New York City and Kinshasa: 

‘Dance For Me’ by Ghanaians “Ruff N Smooth” Ricky Nana Agyeman and Clement Baafo is a TUNE:

Something else. Let’s get this straight. Tunisian rapper Weld El 15’s track below might not be everybody’s musical cup of tea, but when the “actress” and the cameraman involved in the making of the controversial ‘Cops are Dogs’ video are both sentenced to six months in prison for their contribution to the video while “Weld El 15 (himself) remains on the run and was sentenced to two years of imprisonment in absentia,” Tunisian government needs to be called out on this loud and widely. Says Weld El 15: “As an artist, I chose the (police’s) violent language to criticize their violent behavior and harsh treatment. I tried to express my opinion freely thinking that Tunisia has democracy, yet I was mistaken.” Head over to Les Inrocks for a longer interview with the artist. Surely Tunisia’s Ministry of Interior’s got better things to do. We’ll follow up on this story.

http://youtu.be/6owW_Jv5ng4

Meanwhile, back in Nigeria, Ajebutter 22’s got other things to worry about. Pastors and stuff:

Abobolais and his Ivorian crew bring the better coupé-décalé moves this week:

There’s been more than one collective musical effort to unite Mali recently. Here’s another one. Featuring: Oxmo Puccino, Inna Modja, Féfé, Cheick Tidiane Seck, Doudou Masta, Rouda du 129H, Ousco, King Massassy, Abbba Mamadou Ba, Lélé, Elie Guillou, Toya, Rim, Ramsès, Lyor, Guimba Kouyaté, Camille Richard, Tanti Kouyaté, Amkoullel l’enfant peulh — many of whom are based in France:

You already know we’re a fan of Carmen Souza. Here’s a video for her ‘Donna Lee’:

Nicole Wray and Terri Walker are touring with (AIAC favorite) Lee Fields this spring. Can’t wait to see them bring this live:

And to conclude, there’s no official video yet for the trans-Atlantic “Family Atlantica” project, but Soundway Records released the following song on YouTube: ‘Escape To The Palenque’, featuring Mulatu Astatke — and that will do for this week:

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.