The theory that Africa is the cradle of the human race may be one for the anthropologists, but the three groups that banded together certainly posited musical evidence in its support.
In no particular order, we had proof of Africa being the home to everything from rap, reggae and the Bo Diddley beat to the rather less covetable guitar-based jamming excesses of American west-coast bands of the 1960s.

With their interlocking guitars and relaxed air, the Malian septet Tinariwen had everything their Californian hippy counterparts had and something that the jammers lacked: brevity. Attractive and even spellbinding though their sound can be, though, with their chanting and hand-claps adding atmosphere, they do tend to settle into a mood and stay there.

This sameyness was shared by the headliners, Rachid Taha and his rock meets Algerian tradition band. Coming on like a cross between mid-1980s Bono and Fagin from Oliver Twist, Taha rasps his social commentary over a potent brew of power chords, bustling percussion and jagged-edged-out lines. Again, briefly engaging but ultimately a bit dated, particularly in its PVC breeks and foot-on-monitor posturing.
Senegalese hip hoppers Daara J don't put their feet anywhere for long. Theirs is an all-action romp through tight rap songs, reggae anthems and expressions of global hope relayed over an impressively inventive scratching DJ.

If the overall effect is of a cross between a hip-hop game of Simon says – everybody scream – an African Rocky Horror Show – everybody jump to the left – and a fitness video – everybody run around like nutters – their choreographed moves and brilliantly-synchronised motormouth vocables were worth catching in themselves.
-Rob Adams