David Byrne’s favourite songs from Senegal
Talking Heads has long been associated with being a Western act that has incorporated West African influences into its sound. From the moment frontman David Byrne was introduced to the music of Fela Kuti by producer Brian Eno, his fascination with the polyrhythmic grooves and different timbres and textures gradually began to work its way into the band’s music, and the band became much more sonically adventurous as a result.
This first came to prominence on their 1979 track, ‘I Zimbra’, which, despite consisting entirely of nonsensical lyrics, was heavily influenced by African rhythms. To a slightly lesser extent, the rest of the album it originated from, Fear of Music, also begins to incorporate this newly established love of music from far beyond their immediate circle in New York City, though it would be on the next album where things started to receive an even heavier coating of African influences.
Remain in Light takes things even further, and the expansion of the studio band to feature additional percussionists and other layers of instrumentation was done in an effort to replicate the vibrancy of the music that Byrne was so enamoured with. You’re instantly hit with groove on ‘Born Under Punches’, and the danceability only continues to grow throughout the album with cuts like ‘The Great Curve’ and ‘Houses in Motion’ being dotted throughout.
Shortly after Talking Heads called it a day, Byrne would go on to establish Luaka Bop, a record label that focused primarily on reissuing music by artists from varying genres around the world that hadn’t had as much exposure to the Western world. Releasing records from Nigerian funk master William Onyeabor and Brazilian samba rocker Tim Maia as part of the label’s World Psychedelic Classics series, as well as championing new releases from the likes of Pharoah Sanders and Tom Zé, Luaka Bop’s prime initiative to expand listeners’ musical horizons has always been prominent.
One nation’s music that Byrne has always had a fascination with is that of Senegal, a country known for birthing a wide variety of genres such as the dance-oriented mbalax and sabar drumming. Earlier in 2025, Byrne produced a radio show dedicated to showcasing some of his favourite acts from the West African nation, providing 23 songs that he felt represented the diversity of the country’s music.
Speaking of his selections, Byrne explained: “Most of the country is Islamic, but there is plenty of music and dancing (Islam takes many forms). Musicians in Senegal were among the first to be inspired by Cuban grooves and shift the Cuban instrumental parts over to electric guitars.” While he noted how much of the music is steeped in tradition, he also referenced the fact that some external influences have crept into the country’s output over the years.
With a handful of selections from the likes of mbalax pioneer Youssou N’Dour and his various projects including Etoile De Dakar and Super Diamono, as well as acts like Orchestra Baobab and artists such as Cheikh Lô, Thione Seck and Baaba Maal, Byrne’s selection acts as a wonderful primer for anyone looking to delve further into the music that Senegal has to offer.
David Byrne’s 23 favourite songs from Senegal:
- Etoile De Dakar – ‘Misterioso’
- Cheikh Lô – ‘Il n’est jamais trop tard’
- Youssou N’Dour – ‘Immigrés/Bitim Rew’
- Star Number One De Dakar – ‘Viva Number One’
- Orchestra Baobab – ‘Utras Horas’
- Baaba Maal & Mansour Seck – ‘Lam Tooro’
- Super Diamono – ‘Lou Bax’
- Etoile De Dakar – ‘Thiely’
- Youssou N’Dour – ‘Mouvement (Dunya)’
- Thione Seck – ‘Siiw’
- Orchestra Baobab – ‘Nijaay’
- Cheikh Lô – ‘Doxandeme’
- Africando – ‘Yay Boy’
- Youssou N’Dour & Etoile De Dakar – ‘Badou’
- Omar Pene – ‘Diadieuf’
- Thione Seck & Raam Daan – ‘Mathiou’
- Orchestra Baobab – ‘Pape Ndiaye’
- Cheikh Lô – ‘Xalé’
- Super Diamono – ‘Mam’’
- Etoile De Dakar – ‘Simbonbon’
- Baaba Maal & Mansour Seck – ‘Djam Leelii’
- Etoile De Dakar – ‘Mane Khouma Khol Thi Yao’
- Youssou N’Dour – ‘Yo Le Le (Fulani Groove)’
