MOG

Last night, new Senegalese talent Carlou D was playing his London debut at Momo. In a packed basement room next door to where David Bowie posed for the cover of Ziggy Stardust he sinuously weaved aural magic. A veteran of the Dakar hip-hop group Positive Black Soul, he now embraces the Baay Fall spiritual sect and weaves his tales of struggle and positivity from a very traditional place.

Introduced by Youssou N’Dour he played both solo and with a group, laying out intricate patterns against a voice of great range and depth. It all got too much for promoter Dou Dou Sarr, who suddenly broke into a great dance in front of the amused group. Against a wall, Peter Gabriel was digging the vibe with a music-tipsy smile. For an encore both Carlou and Youssou energetically traded vocalese. It was a night when the music sweeps troubles from your mind, though the lyrics are possibly all about trouble. Just one of the contradictions in African music.

One such musician whose lyrical recording of struggle is plain because it’s in English is Zimbabwean music commando Comrade Fatso. Standing outside after the show I was amazed to see him standing nearby. I wrote about seeing him afew weeks ago in Johannesburg – unfortunately he’s not playing on this trip, but I hope he does very soon. We talked briefly about the continuing deterioration in Zimbabwe (inflation at 231million percent!) and "Bob" having no intention of sharing power. Next to life there, global economic meltdown in London must seem like a holiday.

Among the several job descriptions on his card is Toyi Toyi Poet and Freedom Fighter. Both are in evidence on his album, which I’ve been deep inside ever since I grabbed a copy at the concert. Here’s another track. Red button and cursor: you know what to do.