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Review: Afro Celt Sound System, SWX – ‘Whirling, bouncing, bubbling delight’
Just over a year ago, the world of music lost Simon Emmerson.
The guitarist and founder of Weekend and Working Week is probably best known for his pioneering work with two of the greatest Folk fusion bands of all time.
If Imagined Village have their feet in English Folk then Afro Celt Sound System are an irresistible mix of Irish and West African rhythms.
is needed now More than ever
This is the first tour the Afro Celts have done since Emmerson’s passing; the first to celebrate his final work.
This is the first tour Afro Celt Sound System have done since Simon Emmerson’s passing – photo – Gavin McNamara
Their new album, OVA, was made with their commander-in-chief and his absence on stage is felt keenly.
His image appears, frequently, on the screen behind the band, bent over various stringed instruments and smiling warmly.
Led by the Dhol of Johnny Kalsi and N’Faly Kouyate’s dextrous Kora, the ever fluid Afro Celt Sound System are a whirling, bouncing, bubbling delight.
There’s so much going on that it’s a bit like being stuck in a kaleidoscope frantically twisted by a hyperactive child.
Johnny Kalsi and N’Faly Kouyate were standout performers – photo – Gavin McNamara
OVA lead single, The Hawk Owl’s Lament, builds beautifully.
The Kora shimmers and those huge Dhol beats join forces with Kalifa Koné’s dizzying percussion, the heartbeat of Tara Howley’s Uilleann pipes and Enda Gallery’s keyboard swooshes.
All the while, back projections flicker and pulse – it’s almost indescribably immersive.
For Bâdji kan waly, the five musicians are joined by two singers.
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Binta Suso and Múlú synchronise their shoulder sways, their buttery harmonies coming together to beautifully mark the pro-asylum seeking narrative of the song.
Kalsi clatters away on his drum kit, a teetering heap of cymbals, snares and toms, as Gallery’s keyboards swirl around.
Kouyate stands as the emotional heart, right there in the centre of the stage, his pain for refugees writ large.
From here on, the Afro Celt Sound System have the audience ensnared.
Each song is layered with West African percussion and Celtic whistles. Every song is danceable yet vulnerable, hedonistic yet thoughtful. The thunderous beats never drown out the message.
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On La Paix, Kouyate calls for “Peace. Now” as Howley’s sweet violin arcs, dove-like, above Suso’s Afro-soul.
By the end of the song Kouyate tears your heart out, his voice and Kora beseeching.
As Koné and Kalsi embark on a frantic drum battle you wonder just how much more joyful this can all become. Drum solos are normally best avoided, but not when these two master musicians are at work.
Koné’s hands become a blur, Kalsi leading the audience in a clap-along that we have no chance of keeping up with.
An old classic, Step Up, emerges from the madness. Squishy electronic beats, Celtic dancing, African rhythms and explosive musical fireworks ricochet all over the place.
Twelve songs, twelve utterly uplifting moments, and then they’re gone.
Simon Emmerson was undoubtedly missed but there can be no better way to celebrate the passing of a friend than to perform his music. Emmerson’s legacy is secure.
Main image: Afro Celt Sound System
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