Fatoumata Diawara – ‘London Ko’ album review
Since Fatoumata Diawara began making music, the Malian musician has consistently bent the rules, refusing to be boxed into one genre through her blend of traditional and contemporary sounds. According to Diawara (via Guitar World), she is “the first female solo electric guitar player in Mali.” Evidently, the musician is a pioneer, and her latest album, London Ko, is another reminder of her sheer brilliance.
Stating that she “put all my love, my soul and my body into the creative process for this album,” London Ko is a gorgeous collection of songs that cross borders, sung in a mix of English, French and Diawara’s native Bambara. The record was made in collaboration with Damon Albarn of Blur and Gorillaz fame, who has worked with Diawara multiple times in the past. The pair prove to be a perfect team, with Albarn’s synths providing stellar accompaniment for Diawara’s smooth vocals and hazy guitars.
London Ko feels celebratory, and it is clear how closely Diawara values her African identity. She never loses sight of ancestral influences as she incorporates new sounds into her sonic world. Funky, groove-inducing cuts are interwoven between fast-paced pianos and even rap features, courtesy of Ghanaian rapper M.anifest. From start to finish, London Ko is a joyous triumph, cementing Diawara as one of the most significant Afrofuturist musicians.
Diawara’s unaccompanied voice opens the album with ‘Netara’, before giving way to chilled-out grooves and gentle piano. She sounds totally at ease, although she doesn’t hesitate to add more intensity and urgency to her vocal performance. The musician often layers her voice or sings alongside other musicians, giving the album a communal feel. On ‘Somaw’, Diawara sings about missing family, singing in harmony with herself. Despite Diawara expressing the need for her family to be “by my side,” the song feels hopeful, acting as a celebration of her loved ones’ importance.
On tracks such as ‘Sete’ and ‘Moussoya’, a celestial-sounding choir of children (the Brooklyn Youth Chorus) back Diawara’s voice, reaching a particular album highlight on the latter. One of the album’s most danceable moments comes in the form of ‘Nsera’, which includes additional vocals by Albarn. Rich synths maintain a steady rhythm, with added sci-fi-esque sounds floating in the distance. This pace is buoyed on ‘Yada’, demonstrating Diawara’s mesmerising electric guitar skills with a soaring solo that lifts the track to astonishing heights.
Whether Diawara is championing feminist causes, such as addressing FGM on ‘Sete’ or celebrating tradition on ‘Dambe’, London Ko is defiant and carefully constructed. Diawara has designed an album that is not to be carelessly consumed. She explains, “For me, London Ko means opening your mind.” Indeed, the record is an expansive and eclectic selection of songs bound to delight listeners.
With excellent features from Cuban pianist Roberto Fonseca to Nigerian Afropop star Yemi Alade and the British Albarn, Diawara’s record celebrates the different identities that make us who we are, inviting listeners to open their ears to the sounds that the rest of the world has to offer.
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