Songhoy Blues – Heritage (Transgressive Records, 2025)
Malian band Songhoy Blues returns with Héritage, their fourth album and a significant departure from their previous work. The band delivers a more acoustic, introspective sound, venturing into the deeply grounded musical traditions that shape their sound.
Héritage features some of Mali’s finest musicians, including Afel Bocoum, Rokia Koné, Neba Solo, and Madou Diabaté. As a consequence, Héritage is a reflection on cultural identity, migration, and the evolving nature of tradition. The band’s time in Bamako, a city rich in musical influences, has shaped their understanding of cultural heritage, as highlighted by lead guitarist Garba Touré: “The mixing up of cultures didn’t begin today.”
By going back to their roots, Songhoy Blues have left aside the rock experiments and instead explore the various musical traditions of Mali. They treat the listener to an irresistible set of Malian grooves and stellar instrumental and vocals performances.
Recorded at Remote Records Studio and Studio Moffou in Bamako with co-producer Paul Chandler, the album brings together new compositions along with reimagined classics. It incorporates a diverse range of traditional instruments from various Malian ethnicities, including kora, soku, kamalengoni, flute, Senufo xylophone, and calabash percussion, performed by master musicians. Notably, elements of takamba, Wassulu, Mande griot music, and Senufo dance rhythms weave through the record, with the unexpected addition of a steel guitar evoking the vast landscapes of the desert.
In addition to the splendid music, Héritage continues Songhoy Blues’ commitment to social commentary. “We observe our society and critique where necessary,” says Touré.
About “Issa,” the first single to be taken from the album, Songhoy Blues shared: “Issa means the river in the Songhoy language, to which we pay a vibrant tribute. This is why we are appealing for the river to be kept clean, for it to be known that it plays an important role in the lives of the people in the areas of fishing, agriculture and livestock farming. It is also used by living beings who also have the right to life, so let us avoid throwing toxic waste into the river because it covers a world for which we are the spokespeople. Water is the source of life for all species, so let’s keep our rivers clean. We are so thankful for the 2 rivers that flow through our country. Thanks to you, Issa, for making many things in life possible.“
Songhoy Blues musicians: Garba Touré on guitar; Aliou Touré on vocals; and Oumar Touré on bass.
Song themes:
Toukambela – A reinterpretation of a 1970 track by Orchestre Kanaga de Mopti, originally featured in the Anthology of Malian Music. The song advises a married woman to remain calm and ignore jealousy, reflecting on the complexities of polygamous relationships in Mali.
Gambary – A traditional Songhoy piece featuring the soku (one-string fiddle) and calabash percussion. Also recorded by Orchestre Kanaga de Mopti, this track showcases classic Songhoy rhythms.
Norou – Meaning “money” in Songhai, this song blends fingerpicked acoustic guitar and melodic kora lines. Sung in both Songhai and Bambara, it critiques materialism, suggesting that in Malian cities, financial stability often outweighs love.
Dagabi – A dance-driven song opening with the Senufo xylophone, an instrument uncommon in Songhoy music. The lyrics tackle societal hypocrisy, balancing social commentary with upbeat rhythms to encourage celebration and awareness.
Boutiki (The Shop) – A nod to the Songhoy’s trading culture, this song depicts grins—informal gatherings near shops where people drink tea, discuss politics, and debate the pitfalls of money-lending, all set to jazzy acoustic riffs.
Boroterey – Translating to “humanity and kindness,” this song laments the conflicts afflicting the Sahel. A reggae groove on guitar and kamalengoni underpins steel guitar and flute melodies, as the lyrics call for peace and security in a region plagued by violence.
Batto – A tribute to the women who organize life-cycle ceremonies in Mali, now silenced in the north. The track features the Takamba rhythm of the Tuareg, highlighting the sacrifices women make to preserve cultural traditions.
Garibou – Named after young beggars exploited in the streets, this song sheds light on the plight of abandoned children, many of whom are forced to give their earnings to religious institutions while living in extreme poverty.
Gara – Meaning “benedictions” in Songhai, this track emphasizes the importance of parental guidance in a society where many children lack formal education.
Woyhenna (Beautiful Girl) – A reworking of Mariama by the late Songhoy singer Ibrahim Dicko. It tells the story of a young woman testing her suitors, creating rivalry among them, and ultimately advises adherence to cultural values.
Issa (River) – A call to protect Mali’s vital waterways, the Niger and Senegal rivers, warning against pollution, overfishing, and desertification.
Buy Héritage.
Author: Angel Romero
Angel Romero y Ruiz has dedicated his life to musical exploration. His efforts included the creation of two online portals, worldmusiccentral.org and musicasdelmundo.com. In addition, Angel is the co-founder of the Transglobal World Music Chart, a panel of world music DJs and writers that celebrates global sounds. Furthermore, he delved into the record business, producing world music studio albums and compilations. His works have appeared on Alula Records, Ellipsis Arts, Indígena Records and Music of the World.