Her music is the blues, she says. However, Fatoumata Diawara should not be taken literally when she says that. London KB, his most recent disc, does not sound as if it had been created at the edge of the Mississippi. Nor does it follow in the wake of the Malian blues, another well-established tradition.
His blues is first and foremost a state of mind. “A way to turn what should make you cry into a smile,” she explained to The Pressin 2021. Setethird song of London KB, recorded with the Brooklyn Youth Chorus, is a good example of this: its background of sadness is lightened, among other things, by a children’s choir. On songs like nsera (in duet with Damon Albarn of Blur and Gorrillaz) and Seguenit’s rather the groove that makes his blues become warm colors.
London KB — for London/Bamako — is an often cheerfully funky record, full of twirling keyboards and accents. It’s both more pop, much less folk, and even stronger in groove than what the Malian singer has accustomed us to in the past. And this momentum notably involves multiple collaborations.
Besides the one with Damon Albarn, producer of part of the disc, she sings with neo-soul singer Angie Stone, Nigerian star Yemi Alade, Cuban pianist Roberto Fonseca and Ghanaian rapper M. anifest. His collaboration with -M-, who produced his album Fenfo (2018), turns out to be the weakest of the lot: it limits itself to an overly precious whispered narration, similar to what it did on Manitoumanisong from a previous collaboration with Fatoumata Diawara, Sidiki Diabaté and the great kora player Toumani Diabaté.
This piece aside, London KB is a record full of enthusiasm and colorful arrangements. Acoustic instruments (guitars, piano), electric ones (bounce bass, electric guitars) and keyboards dance hand in hand. Fatoumata Diawara achieves her goal: this disc cannot fail to make the body and the ears smile.
AFRICAN POP
London KB
Fatoumata Diawara
Montuno Productions / Wagram