African Soul Rebels 2010 2/3/10

I always find the African Soul Rebels' tours good value. This was no exception with all three acts having something to offer though I particularly took to the Kalahari Surfers. They took the middle slot and played to a half empty hall as for some reason a lot of people took to the bar for their show.

Kicking off was Orchestre Poly-Rythmo de Cotonou a big band from Benin featuring several percussionists, a horn section, two main vocalists, bass, drums, keyboard and an excellent guitarist. They were founded 45 years ago and it showed as the music just flowed, mellow and rhythmic. They had a sort of funky sound but the horns were harmonious and the taut, high, african-style guitar was just right.

Next up were the Kalahari Surfers - two guys up front with Macs which 'played' the drums and other sounds, one of whom played guitar and one of whom was featured vocalist. At the back of the stage the dynamic bassist laid down the groove. I just took to these guys immediately and a couple of tracks in they played a song whose strapline was "And now we have a general amnesty, and the generals will walk free". Good stuff from a multi-racial band outlawed in the apartheid era. It reminded me of Latin Quarter and that is a big plus. Another track railed against the deluded middle classes "Durban Poison" and there were also beautiful vocal tracks featuring Deba the vocalist with Warwick Sony the guitarist on backup vocals. Their show was over too quickly.

The crowd all came in to hear Oumou Sangare. The band featured very good musicians and an energetic dancing backing vocalist. I liked the guitar player and in particular a guy called Brehima Diakite who played a six-stringed instrument from Southern Mali which I eventually worked out with the help of t'internet was a Kamale N'goni. It's sound is similar to some of the sounds you get from a Kora but it has a lot less strings. He played a great solo on one track. Oumou herself has a powerful and expressive voice. This is music from Southern Mali which is different to the Northern Malian desert groove. At one point she played an Ali Farke Toure track and I relaised that actually I prefer that genre. The guitarist was particularly good on that track. She finished with "Wele Wele Wintou" - her powerful protest against forced marriage. Strangely the encore was only an extended band introduction.