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Breathtaking Oumou Sangaré sings powerful and intimidating at the same time

REVIEW The audience at the Africa Festival in Oumou Sangaré get a glimpse of the future of the African pop. That is the power singing man in good hands.

You would be alone for the band Dieuf-DIEUL the Thiès to travel to Hertme. The annual, two-day Africa Festival always booked rake names, but Senegalese orchestra is really a blast. The band was briefly active from 1980 to 1982, back together for a number of rare concerts, and now plays in the Overijssel forests that wonderful mix of Senegalese mbalax (think of Youssou N'Dour) with Latin American rhythms. A unique concert. Just as the balafon orchestra Mamadou Diabate from Burkina Faso. That band plays so uplifting, trance-like and virtuoso that the ADE well to this spectacle would even agree to contract.

Thunderous Pop

Yet there is only one real star Sunday coming, and if you Oumou Sangaré looks onto the outdoor stage, you really think they come from another planet. What an appearance this Malian woman with hair in golden glitter shiny hair and blue painted lips. Here is one.

Oumou Sangaré was great in the early nineties, as a protégé of the legendary guitarist Ali Farka Touré and as fighter for women's rights in Mali. They grew up diva and businesswoman, but fortunately appeared two months ago after years of musical silence the world record Mogoya a thunderous pop album with an ultramodern African sound.

And live they will mimic the bright studio sound, which becomes clear. Sangaré has virtually no traditional instruments with him: only a kora player, in addition to jazz and funk band of bass, guitar, drums and synthesizers. And of course its two vocalists singing razor sharp, contrasting so well with the more muffled voice of Sangaré.

Hypnotic Tear Solo

Her band does not play timeless Malian feelgood music, but hard funk income and quite contrarian pop, with great attention to detail. What sounds which African kora harp great when he enters the game with the wailing electric rock guitar, assisted by the psychedelic, almost hallucinatory background voices.

But the most breathtaking is the nomination of Sangaré itself, for example grooving number Kamelemba. So sung pure, while intimidating, especially when Sangarés jabbing gestures with which she seems everyone one by one in the audience to identify. She attracts everyone towards him, fortunately the more recognizable in African rhythms from bouncing dance songs like Bena Bena and Djoukourou, in which the guitarist again all comes off with a mesmerizing solo tear.

So Hertme get to the final chord of the festival a look at the future of the African pop. That is the power man singing Sangaré in good hands.