Aïta Mon Amour
Concert

Under the evocative banner ‘Aïta mon amour’, Widad Mjama—known as the very first female rapper from the Maghreb as part of the hip hop collective Thug Gang—collaborates with with Khalil Epi, electronic musician and expert player of the loutar and mandole. Together, they endeavour to resurrect the poetic treasure that is Aïta from the depths of oblivion, recontextualizing it within the contemporary digital realm. Aïta or عيطة in Moroccan Arabic means ‘call, cry or lament’ and is a sonic practice that is as significant as the genres of Gnawa or Rai, which also originate from North Africa. The Chikhates—a lineage of women singers, healers, and guardians of a tradition spanning back to the twelfth century—have passed down Aïta in colloquial Arabic, lending it a expressive freedom of tone and feminist perspective to speak out against injustices.

In a symbolic passing of the torch across generations, Mjama weaves a melodic tapestry, interlacing aia poems and melodies—bringing together legacy and innovation, heartfelt expression and contemporary resonance. Preserving the spirit of its origins, Aïta mon amour emerges as a poignant homage to these remarkable women, each verse a testament to Mjama’s graceful embodiment of their legacy. 

Nihiloxica
Concert

Nihiloxica captures the vibrant essence of Uganda’s revered Bugandan (the largest of the historical kingdoms of Uganda) drumming tradition, seamlessly blending electronic techno, analogue synth lines, and metal influences. The group formed in 2016, when members of the Nilotika Cultural Ensemble, a collective led by Jajja Kalanda that shares spiritual, musical, and even tailoring expertise with underserved communities in Kampala, crossed paths with British producers Peter Jones (aka pq) and Jacob Maskell-Key (aka Spooky J). Together, they spent a secluded month crafting their 2017 self-titled debut EP for release under the esteemed Nyege Nyege Tapes label. In 2018, they followed up with their second EP, Biiri under the same label. Their 2023 LP Source of Denial comes more than three long years after Kaloli, their acclaimed debut on Crammed Discs.

By blending hypnotic polyrhythms, deeply textured tracks, and intricate layers with repetitive loops and subtle progressions Nihiloxica have forged a sonic realm distinguished by its richness and depth, complemented by energetic performances that encompass epic rhythmic explorations reminiscent of trance-like states. They pay homage to Bugandan drums, which are essential for connecting the community with the ancestors of the Baganda people during ritual ceremonies, as well as for healing and dance practices.

Two drums hold particular importance in Baganda society: the embuutu (big drum) and the engalabi (long drum). The embuutu, known as the ‘female drum’, sets the main melody for dancing and daily life, while the engalabi, referred to as the ‘male drum’, is adorned with wooden rods pressed into the skin and a decorated resonant body. The engalabi is also designated as okwabya olumbe, symbolizing the successor of a deceased individual.

In the Luganda language of the Baganda, the saying tugenda mungalabi translates to ‘we go to the “engalabi”’, which describes drumming for an extended period. This linguistic insight underscores the inspiration behind the name ‘Nihiloxica’, derived from ‘Nilotika’, the original ensemble's name, and ‘nihilism’, which the group understands to represent a state of radical acceptance akin to mindfulness. The reference to ‘toxicity’ signifies an unconventional fusion of sounds. From its inception, this cross-continental band has envisioned itself as a live project aimed at fostering intercultural dialogues and reshaping electronic music by integrating African percussion in innovative ways.