Toubab Krewe

Some music cannot be found on a map or within iTunes categories. Some music is so original it seems snatched from the great, invisible substrata that runs below all human activity, a sound aching to be born without a flag or fixed allegiance - free, questing, overflowing with immediate, tangible life. This is the music of Toubab Krewe, the vibrant Asheville, NC-based instrumental powerhouse that creates a sonic Pangaea that lustily swirls together rock, African traditions, jam sensibilities, international folk strains and more. While nearly impossible to put into any box, it takes only a few moments to realize in a very palpable way that one is face-to-face with a true original who recognizes no borders in a march towards a muscular, original, globally switched-on sound.

Two years in the making, Remember is the full-length debut from New England's Indie/West-African Psychadelic darlings, Barika. A mesmerizing blend of highly danceable polyrhythmic grooves mixed with ethereal dub-scape, Barika (pronounced body-kah) is the brain-child of Kamel N'goni player and Percussionist Craig Myers. The Kamel N'goni, a traditional West African harp from the Wassoulou region of Mali is the driving force on the album, peppered by deep horn, keyboard and bass grooves with uncompromising, sharp hitting drums. From Burlington, Vermont, the seven-piece ensemble features Caleb Bronze (Drums), JP Candelier (Bass), Andric Severence (Keyboards), Craig Myers (Kamel N'goni, Percussion) and a powerhouse of horns with Dave Purcell (Trumpet), Gordon Clark (Trombone) and Deva Racusin (Tenor Sax).

Performer Magazine called Barika "wholly rhythmic, captivating audiences with the beautiful, hypnotic way in which they interweave melody and groove to create something that is not only danceable, but incredibly interesting to listen to. Barika creates a soundscape of funk soaked in psychedelic, West African resonance. The outfit stands out because they are multidimensional."

Band leader Craig Myers has studied traditional West African music for the past 13 years, traveling through Mali, the Ivory Coast, Senegal, and Guinea and has toured extensively over the past several years with both Rubblebucket and Mike Gordon. Special guest Scott Murawski (Max Creek) with join the band on guitar for several songs.


"An album full of traditional West African grooves and contemporary Afropop filtered through the grit of New York." – WNYC’s Soundcheck

"★★★★- Benyoro's ancient-meets-modern sound is best captured on the rocky-edged 'Segou Breakdown' and the dancefloor bomb 'Subaromaloya'...If you are lucky enough to be in New York when they play, be sure to catch them." – Songlines magazine

"One of the must-listen albums of 2014." – PRI's "The World"

“A fresh, visionary evolution in the hybridization of rock-influenced Saharan music...It’s spirit-lifting morning music, yet equally transports listeners to the magic of the desert after dark.” – Relix magazine

“Benyoro’s debut sets the new bar for Mandémusic played in America...A six-man juggernaut...They play together like nobody’s business. The stop-
on-a-dime intros and endings are flawless. The dynamics are definitive, shifting briskly from a full-throated roar to a percolating whisper.” – NPR’s Afropop Worldwide

“If you enjoy the traditional sounds of West African music, then you’ll fall in love with Benyoro.” – Ebony magazine

“Bright, buoyant, and inspired.” – Wondering Sound

In the Bamana language of Mali, Benyoro means meeting place, and that’s exactly what this group is. It’s about the meeting of traditional and modern instruments, African and American musicians, and centuries-old songs and modern arrangements. Benyoro brings together members of diverse projects such as Toumani Diabaté’s Symmetric Orchestra, Regina Carter’s Reverse Thread, Toubab Krewe, and Peter Apfelbaum’s New York Heiroglyphics. The band members hail from exotic locales such as Mali, Martinique, and Wisconsin, but what brings them together is a shared love, respect, and understanding of the music of Malian jelis (praise musicians), as well as a desire to modernize it. Patrice Blanchard and Andy Algire form the core of the band on bass and drums, respectively. The addition of Idrissa Koné on taman (talking drum) and
Luke Quaranta on djembe gives this rhythm section an unstoppable momentum, while kora (West African harp) player Yacouba Sissoko and guitarist Sam Dickey alternate between elegant accompaniments and blistering solos.

Started in 2012, Benyoro has performed at numerous venues and festivals including California WorldFest, the U.N. General Assembly, Brooklyn Bowl, Esalen Institute, Manifestivus, Wesleyan University, City Winery, Joe’s Pub, Barbès, Rockwood Music Hall, and Ashkenaz. In the process, they have shared billing with artists such as Steel Pulse, Marcus Miller, Orgone, Diblo Dibala, Toubab Krewe, Zongo Junction, and Barika.

In Benyoro’s music, the sonorous, stately melodies of traditional jeliya (praise-singing) are sped up and reconfigured into infectious grooves, but even in the midst of all the movement, the reflective core of the music remains. With this meeting of meditative tradition and raucous dance music, Benyoro is a celebration of the communal and universal nature of West African music.

$11- $13

Tickets Available at the Door

$1 from every ticket sold will go to Instruments 4 Africa, 501c-3 to eventually build a music school in the Bamako, Mali area.

$13 tickets available at the door, CASH only!

Upcoming Events
Brooklyn Bowl