By Emily Crawford
Friday’s energy pulsed differently—the bar packed with friends, strangers-turned-friends, and travelersreconnecting, buzzing about which acts they’d catch. As I arrived, orchestral Taarab drifted across the grounds. DCMA Young Stars filled the main stage in white, a constellation of Zanzibar’s most talented young musicians mesmerizing us, settling us into the awe and connection we’d begun tapping into the night before. The perfect Zanzibari opening. Prominent teacher Tryphon led the group, his iconic deep voice rippling across the land.
Next, Pilani Bubu plunged us into South African soul, jazz, poetry, and storytelling. Shimmering in white and draped in gold, the award-winning singer-songwriter got our dancing shoes back on while weaving stories of women, ancestors, and culture. She invited us into meditation as horns played gently—”remember our ancient pathways… no borders, they walked free” then had the crowd singing along. When she shared that a Xhosa word translates directly to “pole pole,” the connection deepened, creating palpable intimacy and unity.
After devouring Habari House’s delicious Swahili fusion, drums exploded on the main stage. Despite my full belly, I trailed back. Ancestors Band from Togo dropped us into seriously tight rhythms traversing traditional, spiritual, jazz, reggae, drenched in deep West African traditions. They describe themselves as “more than a music group – a powerful movement born to awaken the memory and spirit of West Africa’s peoples.” The calabash locked perfectly with the trombone. The musicians played with their entire bodies, fully tapped into their instruments, each other, the crowd, their lineages. Absolutely infectious and a pure musical feast.
On the Mivinje stage, Bilal Irshed gifted us beautiful Palestinian-Danish sounds with intricate oud, and Alamokha had us swaying with infectious homegrown afro-soul. A highlight: Magomamoto Theatre Group is a mesmerizing blend of theatre and music featuring traditional ngoma drums, dancing, poetry, and impressive costume changes between stunning colorful ensembles. Stemming from pioneering TASUBA College of Arts in Bagamoyo, they reminded us of Tanzania’s deep artistic diversity and the creative fire artists can tap into. After their 40-minute blaze, my friend wondered aloud: “How do they get THAT much energy?”
Back at the main stage, Ben Pol sauntered out in trademark black sunglasses and a stunning cascading outfit of green tropical print with green silk underneath, cowry shells hanging low around his neck. He moved with island ease, serenading and grooving with us. I smiled watching the crowd know every word, reminding me of music’s connective power. He shared words that stayed with me: we must use our voice to create change, however we can.
Backstage later, as Man Fongo’s hypnotic electric Singelibeats rippled through the tent, Ben reflected openly. In the past, playing at a festival with Busara’s calibre felt daunting and “not for the weak… it’s 100% live and raw, you have to be prepared, it takes a lot of rehearsal. But I wanted to evolve, reach my full potential, and share my music this way.” About the crowd, he reflected: “I had so much fun, the crowd was beautiful and it feels like I’m home… after the first song, I just flowed.”
When I followed up on his inspiring comments about change, he explained that music is a gift he can share to “contribute to positive change, community, struggles, inequalities like gender-based violence, climate justice.” After becoming involved with various NGO and UN campaigns, including as a UN champion for the SDGs, Ben exemplifies music’s potential: not just to connect as people sang his lyrics, but to influence positive change on social and environmental issues. Fela Kuti’s words echoedin my mind: “Music is the weapon… the weapon of the future.” A peaceful weapon that creates belonging while awakening care, awareness, and action.
