Friday, July 30, 2010

Watch Blitz the Ambassador's stirring new video



Ghanaian-American rapper Blitz the Ambassador's video for the track "Something to Believe" is out now, and it goes above and beyond what you may have come to expect from the average music video (even in the post-Lady Gaga age). That's because Blitz is not your average artist. In this video (or should we say "short film"), he takes an ambitious and bold look at some of the afflictions facing our society, and as he mentions below, the world as a whole.

Here's what Blitz had to say about this video: 
“It’s hard to think about all the problems in the world without getting a little overwhelmed. So, a lot of times we just ignore things. I think Africa has suffered a lot because people choose to remain ignorant, rather than address the issues that are right in front of our faces."

We caught Blitz opening for The Roots a few weeks ago and were impressed by his music and persona, so be sure to keep an eye on him--Blitz is going places, fast.


Something to Believe • Blitz the Ambassador from MVMT on Vimeo.

Thursday, July 29, 2010

Vieux Farka Toure rocks Brooklyn's MetroTech mid-day


Though not entirely unwelcome, rockin' concerts at noon on a weekday aren't the norm by any means, at least not here in Brooklyn. Despite that, Vieux and his super tight band put on an excellent, by standards day or night, West African meets rock 'n' roll show at the MetroTech commons earlier today. We (Owen and Jeff) ducked out of work for a couple hours to catch the show, and boy are we glad that we did. The crowd was a little tame at first, but after the Malian guitar slinger roared through a few familiar songs--including a cover of his late father's hypnotic "Ai Du"--they were up on their feet and dancing in the almost unbearable humidity.


Even in the mid-day heat and humidity, Vieux looked as calm and comfortable as anyone there. He was wonderfully laid-back and joyous throughout the whole performance, which was an amusing contrast to his fiery and manic guitar playing. My biggest worry when listening to Vieux is that he will take the enormous and hallowed footprint his father Ali Farka left and smother it it with his own electric guitar wizardry. I can report today that he does nothing of the sort. Vieux is his own musician with his own songs, and though the virtuosity is present and impressive, he mixes it with enough of his roots (and, notably, the roots of others) in respectful and original ways to make for seriously compelling results.



Can you spot Afropop intern Jeff?


If you missed him today, make sure you pick up Vieux's hot new album, Live. The tracks were all recorded live in concert, and if listening to the CD isn't quite as good as seeing the man himself, you can still tell he knows how to give a good show. You might even end up dancing by yourself.


Photos by Owen, write-up by Owen and Jeff.

Tuesday, July 27, 2010

Bomba Estereo Plays Again in NYC


You might say their performance last Friday night in Prospect Park was electric. Despite thunder and lightning, Bomba Estereo had the crowd on its feet, playing their explosive blend of traditional Colombian Cumbia, Bullerengue and Champeta music with Electronica, Reggae and Hip-Hop. But if you stayed home because of the rain, you'll get another chance to see this hot Bogota-alternative act tonight. They are playing with Macha Colon y Los Okapi, and MIMA, at 8 pm at SOB's. You won't want to miss it!

Find out the details here.

Bassekou Kouyate, Fool's Gold, Burkina Electric rock Central Park!


New York's African summer follies went into overdrive at Central Park Summerstage on July 25 with a terrific triple bill: Fool's Gold, Burkina Electric, and Bassekou Kouyate with Ngoni Ba.  What began as another steamy scorcher of a day evolved into a furious rainstorm that raged through Fool's Gold's and most of Burkina Elecric's set.  (The sun returned for Bassekou.)  Increment weather definitely cut down on the crowds.  But it sure didn't hold the music back.  Fool's Gold, an LA band that interprets African pop styles with panache and flair, and Hebrew vocals, kicked things off with a blend of Malian Wassoulou music, Ethio-jazz, desert blues, and on their crowd-pleasing hit, "Surprise Hotel" East African guitar boogie. 




Luke top (vocals and bass) and Lewis Pesakov (guitar) started this band as a "project," an open jam session at a local LA nightclub.  But once they recorded their debut CD, Fool's Gold,  word got around.  They opened this show at Central Park less than a year after the CD's release.  There's not an African in the band, but no one seemed to care a bit.  The grooves were superb.  A year of touring really showed!


Dancing in the rain....   Nothing like it.


Burkina Electric followed with their highly ideosyncratic blend of Burkina Faso roots, African pop, and electronica.  Percussionist and composer Lukas Ligeti is the mind behind this one-of-a-kind collaboration.  He moves between traditional drum kit and electronic devices.  But the heart and soul of the band is lead vocalist Mai Lingani, who combines powerful pipes, wild moves, and an irresistibly joyous stage presence.




Mai is flanked by two fantastic male singer/dancers, As and Vicky.  Burkina guitarist Wende Blass and German electronics wizard Pyrolator complete the lineup.  Burkina Electric is a study in contrasts--at once high-concept and earthy.  On this occasion, the feeling was all there and a drenched crowd responded accordingly. 



From LA musical adventurists, to cross-cultural experimentation, we got 100% Malian fire with Bassekou Kouyate and Ngoni Ba.  From the first notes, this group showed the overwhelming power of growing up in a tradition and knowing so cold that you can take it anywhere you like.  Bassekou plays the formerly humble ngoni (a spike lute), and I say formerly, because from the moment in the 80s when he put on a strap and stood up from his chair to take a solo, the instrument has never been the same.  Ngoni Ba is the fruit of many years labor.  After years as a prized sideman, Bassekou has made the world's only band that uses only ngonis as its melodic/harmonic instruments. 



Bassekou's wife Ami Sacko is a powerhouse griot singer (jelimuso), and a radiant presence on the stage.  When the band came down for her slow, smoldering read of the griot standard "Kandjo," the moistened hairs on many spines were standing on end.  It was absolutely electrifying. 




Bassekou's 4-ngoni juggernaut includes two blood relatives.  Each player is brilliant, and together, they create an effervescent, tingling weave of sound that is hard to match.   Never has an acoustic band rocked this hard.  Like fellow Malian Salif Keita's band--the other A+ African show at Summerstage this year, Ngoni Ba does not use trap set.  The key to the drum sound is the calabash, playing bass drums with a fist to the crown, and snare drum with metal ringed fingers.  It's a brilliant innovation that both these groups execute to the hilt.  When the ngonis all went into overdrive near the end of the set, the sound was dense, hypnotic, trance inducing, and a thrash fest to boot.  The sun had returned, and everyone present seemed transported to a new plane of ecstasy. 


Watch www.afropop.org for coming web videos of all three of these groups.
Banning Eyre

Thursday, July 22, 2010

Khaira Arby's North American Tour Dates Announced

Legendary Malian vocalist Khaira Arby will be embarking on her first ever North American tour in promotion of her new album, Timbuktu Tarab!

(Additional West Coast Dates to be Added Soon)

08/12/2010, Thu
Annandale-on-Hudson, NY Fisher Center, Spiegeltent
60 Manor Road
Tix: $10, Show: 8:30 pm
Ph: (845)-758-7900

08/13/2010, Fri
New York, NY The Shrine
2271 Adam Clayton Powell Jr. Blvd.
Show: 10:00 pm
Ph: 212-690-7807


08/14/2010, Sat
Brooklyn, NY Club Zebulon
258 Wythe Ave
Ph: 718-218-6934

09/01/2010, Wed
Portland, OR
Berbati's
231 SW Ankeny
Ph: 503.226.2122


09/02/2010, Thu
Seattle, WA
The Triple Door
216 Union Street
Ph: 206.838.4333

09/06/2010, Mon
Toronto, ON
Canada Ashkenaz Festival 2010
Harbourfront Centre @ 235 Queens Quay W
Ph: (416)-973-4000

09/08/2010, Wed
New York, NY High Holidays 5771
City Winery @ 155 Varick Street
Tix: $75/250, Show: 7:00 pm
Ph: (212) 608-0555


09/09/2010, Thu
NW Washington DC Sixth & I Street Historic Synagogue
600 I Street
Ph: 202-408-3100

09/17/2010, Fri
Bloomington, IN Lotus Fest
Details to come!

09/18/2010, Sat
Bloomington, IN Lotus Fest
Details to come!

09/23/2010, Thu
Minneapolis, MN Global Roots Festival
Cedar Cultural Center @ 416 Cedar Ave South

09/24/2010, Fri
Albuquerque, NM iGlobalquerque!
National Hispanic Cultural Center @ 1701 4th St SW at Avenida Cesar Chavez
Tix: $30.00/50.00, Doors Open: 6 pm,
Ph: (505) 246-2261


09/25/2010, Sat
Madison, WI Union Theater
800 Langdon St
Ph: (608) 265-ARTS

09/26/2010, Sun
Chicago, IL World Music Festival Chicago
The Empty Bottle
Ph: (312) 742-1938

09/27/2010, Mon
Chicago, IL World Music Festival Chicago
Logan Square Auditorium @ 2539 N. Kedzie Blvd.
Ph: (312) 742-1938


09/29/2010, Wed
New York, NY Joe's Pub
425 Lafayette St
Ph: (212) 967-7555 or (212) 539-8778

10/06/2010, Wed
Somerville, MA Johnny D's
17 Holland St
Ph: (617) 776-2004 Davis Square, across from the Davis T stop

Wednesday, July 21, 2010

Omar Pene is back for another show in NYC



Missed Omar Pene last weekend at Celebrate Brooklyn? Did you catch the show but loved it so much you wanted an encore performance? Well you are in luck--the Senegalese superstar extraordinaire will be playing another show this upcoming weekend, July 25th, at SOBs in New York. Last weekend we caught him at the Celebrate Brooklyn show playing as part of the African Festival, and now he's moving indoors to a more intimate venue than the outdoor Bandshell at Prospect Park. You can check out photos of the performance and a brief review we did here on this very blog. Don't miss him if you're in New York!

Find more information about the show here.

Tuesday, July 20, 2010

Interns, Fleeting as the Summer Wind

New York is melting: the streets are caving in, people are sweating out of themselves, and just yesterday I saw a dog lie down in the middle of a bike path and simply refuse to go any further. So, it is no easy task for me to leave the icy smooth air conditioning of the Afropop offices behind and enter into a state of perpetual swelter, but alas, I -- Mike Rosen, one of the handful of interns who have anonymously powered this blog for the past few weeks -- will be leaving soon to catch the last few rays of summer before gearing up for another year of institutional brainwashing.

This job has been a lot like sitting on a breezy hill that doubles as a cultural cross-highway with really comfy chairs and the perfume of spring (sans allergies) always wafting by. All jokes aside, I have a had a great time working with Matt, Sean, and my fellow interns (shout out to Alexia, Owen, Kalimah and Jeff!). I've been able to check out some great shows in New York, go backstage with international stars, and flex my reporting muscle for this blog.

I may be heading out, but I would urge any and all of those who are interested to check in with Matt and Sean about their Fall internship opportunities (for which -- and don't tell them I told you this -- I know they've got a few spots left). You can see a more detailed job description by clicking here... Just tell them Mike sent ya!

So long for now!

- Mike

WAIT, don't be sad! You can still read the latest from Mike over on his site: www.TheNewConfusion.com.

Monday, July 19, 2010

Africa Festival...After parties: Diblo Dibala and Teddy Afro!


After seven hours of continuous music at Celebrate Brooklyn’s Africa Festival, you know what really hits the spot?  More African music!  Well, that’s the way it was on Saturday, July 17, the apex day in another amazing musical summer in New York.  Straight from the ecstasy of Konono No 1, blowing out the finale at the Prospect Park bandshell with urban-electric Congo dance music, one could hop a subway to Joe’s Pub and keep the Congolese action going with ace guitarist and bandleader, Diblo Dibala.

Diblo is an old friend of Afropop’s.  We interviewed and recorded him working in a Paris studio with his group Matchatcha back in 1992.  These days, Diblo fronts a small combo, handling the vocals and lead guitar himself, with just rhythm guitar, drums, and the powerhouse Ngouma Lokito on bass.  And of course, dancers!  Diblo’s group included three, and as his songs spun into sebene mode with cycling guitar lines and the crack of clave on the snare drum, those hips began to swivel.  Diblo still calls the music “soukous,” which was the popular name for Congo music during those heady days when he first hit the scene as one of the genre’s hottest guitarists.  He’s still got it too.  His solo lines sounded as bright, crisp, and nimble as ever.  

This act preserves a golden moment in Congo music history, when small combos were in, and guitar was king.  Diblo handles the vocals on his own these days, from rumba croon, to his own chanted animation.  He sounds good too, maybe not Papa Wemba good, but you can tell he’s worked hard to cover the music’s demanding vocal requirements.  Near the end of his set, Diblo threw in an obligatory mutwashi, a rolling triplet rhythm from his home region in Kasai, and long a Diblo signature.

From Joe’s Pub, I headed up the East Side to a church hall where well over 1000 Ethiopians had gathered for the New York debut of star singer Teddy Afro.  Afropop covered Teddy’s DC debut back in January.  The reason these debuts are happening is that, not long ago, Teddy was released from jail in Ethiopia—the offence was automotive, but the motivation behind it appears to have been political, aimed at tamping down Teddy’s criticisms of the current government.  Anyway, free to tour again, Teddy is making his rounds, and for Ethiopians, it’s a tremendously exciting occasion.  Some had driven all the way from the DC area for this show, which kicked off after midnight when Teddy came to the stage in his country’s colors:  red, green, and gold.  The crowd—among which I was one of just a handful of non-Ethiopians—went nuts.  

Teddy’s first set included some deep reggae, a beautiful ballad, and a crowd-pleasing rendition of his biggest hit, “Yastaseryal,” the song that got him in trouble with the government for its implicit negative comparison between this regime and Haille Sellasie’s, prior to his overthrow in 1974.  As this song played, waves of joy passed through the audience swaying blissfully with hands, cellphones, and Flip cameras held high.  Teddy responded with an ear-to-ear smile.  He is a truly delightful entertainer to watch, and his rapport with his audience is a moving thing to behold.  His voice is warm and reedy, capable of the elaborate melismas of more typical Ethiopian music, but also of the clear, melody power a good reggae hit requires.  Obviously, these folks were settling in for a long night of music.  But after nearly 12 hours, I was through.  I left this one last party, newly awed by the richness and variety of African musical life in New York City.

Banning Eyre

Teddy, singing his biggest hit, "Yasteseryal."

Amazing day of African music in New York: Konono No. 1


Despite the other big names on the bill, it seemed the crowd in Prospect Park was waiting all day to see Kinshasa group Konono No. 1, since a swell of people appeared close to the stage around the time the sun started to go down over the Bandshell and the group appeared on stage. Despite Konono being over thirty years old, they had all the buzz and jittery eagerness surrounding them on Saturday that a crowd usually reserves for new, up and coming groups of 20-somethings. That’s because this music—distinct for its three electric likembĂ©, or thumb pianos—is appealing on so many levels. Their rough, DIY aesthetic is arguably the dominant mode du jour in independent music (just take a gander at a recent Pitchfork review of a Wavves or Ariel Pink album). Also, they are just damn cool with their cowboy hats, stone-faced execution of ten-minute songs, and giant horn-shaped amplifier made of car parts. Finally, this music has been out of reach for far too long and has only reached a large number of American ears in the last few years, so it has the unique combination of sounding brand new and comfortably worn in. And it’s about time this music has made it to our shores, because it’s exotic and entrancing in a way that exemplifies the best of African culture.



Also, here’s a review we did of a Konono show in 2005.




Posted by Owen.

Amazing day of African music in New York: Omar Pene and Super Diamono


Omar’s socially charged lyrics may have gone over the head of many in Brooklyn on Saturday, but the evidence of his deep roots and storied history in Senegalese music certainly did not escape the thin but keen crowd. It would have been nice to see more people in attendance for an international star, but the upside to that was a relaxed and, for an outdoor venue, relatively intimate show. His performance was filled more with the aura of past greatness and a sense of veteran competency than fresh energy or exciting musical directions. It was certainly a treat, though, to see a performer of Omar’s caliber on such a hot and (for me, at least) lazy Brooklyn afternoon, so I will not complain if he did not quite match the vibrant sounds that followed.


Posted by Owen.

Amazing day of African music in New York: Chiwoniso






Chiwoniso’s Rebel Woman hardly ever got taken off of our CD player in the months after it was released (Sept 2008), so it was a treat to finally see her live and in person. Continuing the mbira theme started by Garikayi Tirikoti and picked up by Konono no 1 later in the day, Chiwoniso combined traditional mbira sounds and rhythms with pop and even jazzy flairs as she drove the band through her classic hits. It was great getting to see the seats in front of the bandshell finally start to fill up—standing near the front of the stage it felt like a packed house. People danced in the aisles, moved by Chiwoniso’s music and spirit. The percussive quality of all of the instruments mirrored that of her mbira, from the drums to the keyboard: it was hard not to tap a toe, even if the heat of the afternoon sun made many moving want to melt!





Amazing day of African music in New York: Garikayi Tirikoti, Djarara, and Meta and the Cornerstones






Celebrate Brooklyn was in for a real treat when mbira master Garikayi Tirikoti took the stage to wow the small audience that had gathered for the early portion of the Africa Festival on July 17th. It was actually appropriate music for a small crowd, an intimate multi-layered sound which consists solely of a large mbira and Garikayi’s vocals. The speed with which Garikayi plays multiple runs on the mbira makes it sound like there are several mbiras on stage, but despite the feverish fingerplucking, the overall sound produced is one of rich calmness, matched beautifully with his voice.
Garikayi played a very short set between Djarara, a fast-paced Haitian rara band; and Meta and the Cornerstones, a band which Afropop has watched evolve over the last year into a truly notable reggae outfit headed by Meta Dia. We didn’t get pictures of either, but you can see a video of Meta and the Cornerstones when they first came into our consciousness last year here: http://www.youtube.com/watch?v=WdncziefSm4. P.S.—It was only the second Afropop Live! video ever produced.
Garikayi will be playing with Banning’s Band, Timbila, this Wednesday night at Timbila’s annual Garden Party in Alphabet City. Catch him before he heads back to Zimbabwe!




Here's a fun game: find the Sean Barlow in the crowd (okay, it's not too difficult).

Wednesday, July 14, 2010

Philly, Sierra Leone and Ghana Converge on Brooklyn for OkayAfrica World Cup Celebration

Black Thought of The Roots (all photos by Banning Eyre)

This past Sunday, OkayAfrica brought representatives from all over the world together on one stage in Prospect Park, Brooklyn. More specifically, these acts represented the musical contributions/productions of the African diaspora, from the electro afrobeat of Zakeee (Dakar and Philadelphia) to the Sierra Leonean hip-hop of Bajah and the Dry Eye Crew, from Ghanaian-influenced raps of Blitz the Ambassador to lyrical prowess of Brooklyn’s own Talib Kweli. As though the influence of African culture wasn’t quite obvious, to top it all off there were cast members from Fela! (the musical) in the crowd and staffers from Afropop Worldwide walking around.

In the midst of all this, I realized there was another diaspora community in attendance on this sweltering, swampy afternoon: hip-hop. From it’s humble beginnings at block parties in The Bronx, hip-hop culture and music has grown, split, and spread geographically, commercially and aesthetically. Geographically: from The Bronx, hip-hop moved to Brooklyn and quickly spread throughout the five boroughs, across the United States, and has since established itself strongly on every continent and in nearly every country. Commercially: it has developed from a pastime to one of the most commercially successful art forms. Aesthetically: the number and styles of hip-hop now being produced are as wide and varied as the audience that listens to the genre.


The Roots' Tuba Gooding Jr. 

The Roots are a product of this diaspora. Coming out of Philadelphia, which has never been considered a hip-hop hotbed in the way that places like New York City or Los Angeles are, The Roots are also, to cut straight to the biggest difference between them and the typical hip-hop artist, a band. Unlike solo MCs, The Roots’ music, like that of The Grateful Dead, is not limited to recorded commodity. With more than 10 studio albums, two official live records, numerous free mixtapes, and a nearly bottomless archive of unofficial live recordings from their tireless concert schedule, there’s no telling what songs they might play on a given night – chances are they’ll play something new anyway. Like the Dead, they can pick a mood and just play. Sunday’s show, for example, featured covers of Guns N Roses’ “Sweet Child o’ Mine” and Muddy Waters’ “Mannish Boy.” People tend to forget that Black Thought, the criminally underrated MC for The Roots, is very much a part of this practice: he does not duck back stage or sit silently in a corner when the band starts rocking out, rather his lyricism becomes an instrument onto itself. When The Roots are jamming, Black Thought will sneak in freestyles between renditions of his regular verses, and when that’s not happening he’ll invoke the original role of the MC in hip-hop, offering the crowd a heightened sense of interaction and engagement with the music, directing the crowd and shouting out his band mates.

Talib Kweli also represents a divergent style in hip-hop. The “BK MC” has mastered and even come to represent the underground aesthetic. In comparison to their mainstream counterparts, these rappers are less likely to talk about cars and parties and more inclined to discuss political or social issues. The lyricism of the underground also tends to boast a much vaster vocabulary than one might hear on top 40 radio – and Kweli is no exception. A few years ago, Jay-Z admitted on The Black Album’s “Moment of Clarity” that he dumbs down his lyrics to help with sales, but “if skills sold, I’d probably be, lyrically, Talib Kweli.” Here we see just how much commercial rap has separated, in this case, from the lyrical underground (a school that includes, in addition to Kweli, artists like Mos Def, Common and Lupe Fiasco).

Blitz the Ambassador’s progression through the New York City hip-hop scene is an example of yet another set of differing paths within the genre. While many up-and-coming MCs have relied on the internet to launch their careers, Blitz has made a name for himself using more traditional methods, specifically by establishing a physical presence around New York. He’s promoting himself as a real, tangible product by focusing on quality live performances (he shared a stage with Big Daddy Kane last month) and supporting the underground scene himself (I met him while waiting outside of Q-Tip’s Summerstage show last year when he approached me with a genuine interest in the non-profit arts event I was promoting, and, after talking with me for about ten minutes, offered me his card, which I read, and then quickly tried to return my jaw to the proper place).

Clearly, the expansive growth of hip-hop has allowed these artists the space they need to succeed in the form of various geographies and assorted niches in which they can explore their own styles. At the same time, however, it has limited the artists as they fall victim to a vastly divided hip-hop landscape and market, and this is why I am referring to the hip-hop community as diasporic and not just expanding and fertile. Indeed, as much as artists like The Roots and Bajah have benefited from the growth of the genre, they suffer from the fissures that such rapid expansion leaves behind.


 Sahr Ngajuah, the star of Fela!, hosted the event

The Jay-Z line from “Moment of Clarity” may be clever, but it’s not a joke. For Jay-Z, whether or not an album goes platinum is less a question of “if” than “when.” But for Talib, record sales are not something conditional – they simply don’t reach the platinum status enjoyed by acts like Jay-Z. Similarly, The Roots are pigeonholed as “hip-hop’s band.” Black Thought in particular is a victim of this categorization because the true extent of his prowess on the mic will never be as widely recognized as his fans and more knowledgeable critics know he deserves. Instead, people will continue to focus on other areas of hip-hop and he’ll never get the radio spins that Nas, BIG, or Eminem got in their prime. Finally, Bajah and The Dry Eye Crew, much to our chagrin, will probably always be “that rap group from Sierra Leone.”

Frankly, it sucks. But there was a moment on Sunday when it was apparent that none of this mattered. As the sun started to set and the stage lighting glowed all the more intensely, The Roots, acting as Talib Kweli’s backing band, unleashed the first short stabbing bass lines of “Get By.” The crowd roared and 4,000 hands went up in the air, and suddenly it dawned on me that here were 8,000 people who didn’t care where an act was from, what kind of media attention was focused on them, or whether or not they fit the traditional mold – at the end of the day, we’re all just trying to get by.


Sierra Leone's Bajah joined Janka Nabay for a cameo spot

What we're listening to in the office

We thought it might be fun to give a glimpse behind the curtain and into the mysterious realm known as the Afropop office. Hopefully you've listened to our show and dig the music we play, but here is a peek into deep into the heart of the system that produces the content you love; here's what has been spinning most frequently in the past few days:

  • Vieux Farka Toure, Live
  • Angelique Kidjo, Black Ivory Soul
  • Le Tout Puissant Poly Rythmo, Nouvelle Formule
  • Bassekou Kouyate & Ngoni Ba, I Speak Fula
  • Ruth Tafebe and the Afro Rockerz, Holy Warriors
  • Staff Benda Bilili, Tres Tres Fort
Our honorable mention goes to the Booty Beats of Rio Baile Funk... I can report that booties were being shaken, for better or worse.




Monday, July 12, 2010

Teddy Afro Comes to NYC, 7/17


Before his January 2010 performance in Washington, D.C., Ethiopian star Teddy Afro had not played a show in the United States since 2007 -- more than 8,000 fans turned out to welcome him to the nation's capital. Next week, Afro who has been entangled by legal and political problems in the past decade (including a brief sting in jail), will perform in New York City for the first time in his career. Needless to say, fans of Ethiopian music (and just good music in general) have been waiting a long time for this.

The details for the event, organized by a tag-team effort of Massinko Production and Bethlehem Ent., are below. Then make sure you check out the feature article that our very own Banning Eyre put together following the D.C. show by clicking here.


Event Details:
What: Teddy Afro's 1st Ever Performance in NYC
When: Saturday, July 17th
Where: 630 Second Ave bet. 35th & 36th Street
How much: Prices vary, check www.teddyafronyc.com for more information.