Acoustic desert folk from Gao (North of Mali). A disciple of Ali Farka Toure, who has been a quiet force for some years…

Sidi Touré comes from Gao, the ancient city on the banks of the River Niger in the North Mali, recently devastated by militia attacks. Toure is a descendant of royal griots from the Songhai Empire. The winner of two Malian national awards for best singer, Sidi is a nationally renowned figure in his home country and is beginning to achieve well-deserved success and critical acclaim abroad.

Sidi Touré is a salient proponent of Songhai blues (like Ali Farka Toure) and draws inspiration from African tales, but is also informed by Western music. He naturally fuses tradition and modernity with arresting, beautifully crafted songs of real-life African magic storytelling and city-dwelling dilemmas.

Sidi Touré has released three critically acclaimed albums, Sahel Folk (2010), Koima (2012) and Alafia (2013, on the Indie American label Thrill Jockey Records.

‘A pleasant Oasis for those who want to explore the desert’ – **** Uncut

‘Toure’s music is acoustic desert blues that drift between jumpy Tuareg and Songhai rhythms’ – ***The Times

‘This is rippling Malian balladry of a kind that’s now familiar, but is nonetheless engaging and sometimes moving too’ – The Wire

‘’Highly potent stuff and a timely reminder of the proud and noble culture of a region that is at present tragically tearing itself apart” – **** Songlines

“The intricate interweaving of guitar and ngoni juxtaposed with the bright, clear backing vocals makes for a sound that’s dynamic and assertive” – **** The Independent

“Toure has a great deserty voice and a light, agile style of playing the guitar…‘this is glorious in its unplugged simplicity. Quality stuff’ ” – **** London Evening Standard

“This is music of sparse beauty and wonderfully bubbling African rhythms on fantastic instruments that mix traditional Mali music with more familiar Western sounds.” – *** MusicOMH, 3/5

“Amid the Songhai desert blues, led by Toure’s guitar and clatter of percussion, are nods towards reconciliation in the form of Abdoulaye Kone’s ngoni and Cheick Diallo’s peul flute” – **** The Financial Times

“Touré’s band also boasted an excellent player who effortlessly conjured hypnotic cyclical riffs and unpredictably inventive solos against the backdrop of the rat-a-tat-tat and sub-bass heartbeat of a calabash. Touré’s Songhai folk songs resonated more powerfully than ever” – **** The Arts Desk