For the 40th consecutive year, Montreal’s Festival International Nuits D’Afrique is presenting a twleve-day tsunami of talent from Africa and the diaspora. As always, the downtown festival site is a hive of activity from mid-afternoon to midnight, with major shows happening on two main stages, plus a cabaret stage, a dazzing African market, pop-up restaurants from throughout the African diaspora, acrobatic displays, roving percussion groups and this city’s glorious multi-cultural ambiance.
This festival has always presented bands that rarely, if ever, make it to the United States, and this year, with all the recent visa and immigration obstacles, this is more true than ever. In fact, some major acts from across the Atlantic no longer come even to Canada, because without follow-on shows in the U.S., they can’t make the numbers work.
Given all this, it’s a testimony to decades of work by this festival, Club Balatou and the Syli D’Or battle of the bands contest that Montreal, and Canada generally, has nurtured such a strong cadre of locally based acts that, even given all the obstacles to travel, the show goes on with such quality and strength.
If you’re anywhere nearby, the final day (Sunday, July 19) will offer a particularly strong lineup of free shows, and special surprises marking the 40th anniversary. That day, Afropop Worldwide will present the Afropop Syli D’Or prize to this year’s winner, the artist Lydol.
Here are a few images and impressions from our first three days here. More to come!
Sahra Halgan of Somaliland has a voice that easily summons goosebumps. Her passion, reflected in her brave social work back home, comes through in every note and every ecstatic ululation.
From Congo, now resident in Montreal, Kizaba is a world-class percussionist and bandleader taking Congo music in thrilling new directions. At the end of his set, he led a slice of the audience in a hip-swivelling Congolese dance demo.
There is a conspicuous preponderance of Colombian acts in this year’s lineup, from rootsy, accordion-driven vallenato to high-energy electro cumbia. Pablo José & Un Vallenato en Canada and Systema Solar are just two of the Colombian acts on stage this year.
Salamate Gnawa, a Moroccan Gnawa ensemble based in Quebec, summoned the spirit of a night lila ceremony in broad daylight. Many Moroccans were there to sing along with classic traditional refrains.
Fulu Miziki–literally “trash music”–got their start in Kinshasa playing instruments constructed from garbage. After 18 months trapped in Uganda (long story. Wait for our interview with the band), they relocated in Marseilles. Their grooves are as relentlessy danceable as one would expect from Congo music, but the soundscape is absolutely unique, and the Afrofuturistic stage show is colorful and kinetic.
Lorraine Klaasen is a true embodiment of 20th century South African music. Her mother, Thandi Klaasen, was a founder of the legendary African cultural community at Sophiatown during apartheid. Lorraine grew up in the company of Miriam Makeba, Dorothy Matebe, Doroty Masuka and others. She has lived in Canada for 40 years now, collaborating with all sorts of musicians here. But her set included classic SA sounds, mbaqanga and marabi, as well as a tribute to Hugh Masekela, and a smouldering, original take on “Summertime.”
This article was originally published by Afropop Worldwide and is republished here with permission. View the original article.
Afropop Worldwide is the Peabody award-winning public radio program and multimedia platform dedicated to music from Africa and the African diaspora.