Fatoumata Diawara: London Ko review – exuberance rules

(Wagram)
With star friends to the fore and Damon Albarn co-producing, the fashionable Malian singer-songwriter speaks her thoughts on her wide-ranging third studio album

The Malian singer Fatoumata Diawara has all the time been concerning the future. The image of her toting an electrical guitar – which she has stated is a primary for a female Malian singer – tells you as a lot, as does her new video, Nsera, a stunning parade of Afro-futurist photographs with “Fatou” in assorted beautiful costumes. Her two earlier albums have remained broadly in Mali’s wassoulou traditions while introducing western parts, a process taken further on London Ko, which is co-produced with Damon Albarn – the two have remained associates since she appeared on his 2012 Africa Express tour.

It’s a sprawling, chequered affair, with six of its 14 tracks co-written with Albarn (she on guitar, he on synths), whereas the remaining co-opt a stellar forged of collaborators. There’s much to admire: Diawara’s agile, forceful vocals; her championship of the feminist cause (Sete is her second track as regards to FGM); a gallop with the sensible Cuban pianist Roberto Fonseca on Blues; a slinky tribute to brotherhood with Ghanaian rapper M.anifest; and the funky celebration piece Tolon, with Nigerian star Yemi Alade. These are largely African-style songs preaching morality, consideration and duty, though in Diawara’s palms, exuberance guidelines.