Habib Koite and Bamada - opening Guy Davis
Friday, Feb. 11, UNCA

“First there was Hendrix, then Stevie Ray, and now Habib!” That’s according to Bonnie Raitt, who once spent time with Habib Koite in Mali and knows a thing or two about guitar besides. One of West Africa’s emerging stars, Koite is known for his fluid and inventive guitar style, often using his Western acoustic to mimic traditional African lutes, and throwing in a bit of blues and flamenco for good measure. He first made an African splash with the anti-tobacco polemic “Cigarette A Bana (The Cigarette is Finished),” a 1991 release that swears off the ol’ coffin nails for good. His stage has only grown since that time, and with a series of acclaimed Putumayo releases, his reach is truly global. But while it’s not difficult to spot Western influences in Koite’s playing, his music is distinctly Malian ... and in Mali, of course, they can trace his sound right back to his hometown of Keyes. Around the world and back again, you might say. Never left to begin with, Habib might reply.

My own experience with Koite is limited to the 1999 release Ma Ya, but that ain’t too shabby: the disc was a huge hit in Europe and reached No. 1 on stateside world music charts as well. It’s an interesting disc, charming at times, full of percolating polyrhythms and a laid-back vibe that is either somnolent or entrancing, depending on your take. Ma Ya could be played in the background of your local high-concept coffeehouse and provide just the right tone: exotic yet accessible, expansive yet serene, without any rough spots to stir anyone from their Tazo-induced bliss. I do not mean this as an insult, and if you read it as one, you probably won’t like a Habib Koite show—although it’s likely to be more energetic than this meditative disc.

I did ask for something more recent—the live Foly was released just last year—but I can’t seem to lay my hands on it. I don’t blame Koite’s handlers: it’s possible that the padded envelope came, and my toddler Isabel simply stashed it under the couch before I had a chance to learn its contents. So if Koite has turned a corner and is now singing screaming trenchcoat punk or bawdy Irish pub songs, I wouldn’t know. But I doubt that very much: Foly’s reviews suggest he’s still Malian to the core, and that his stage show is sharper than ever. (What’s more, the audio samples at www.rockpaperscissors.biz are decidedly unbawdy (and not a bit Irish). Head to the site and look under “Current Projects” to find two full songs.)

Opening is Guy Davis, one of the few country blues artists with a wine named after him (Guy Davis Wine, from Davis Family Vineyards). Davis has released a series of well-received albums, and has dabbled in stage work as well, turning a stint on One Life to Live (paging Dr. Josh Hall) into a series of Broadway and off-Brodway roles, most of which played up his connection to traditional blues. (Is acting in his blood? Well, put it this way: he’s the son of Ossie Davis and Ruby Dee. Honest.) His latest release, Legacy, mixes a slate of originals with some Ma Rainey, Lightnin’ Hopkins, and Sleepy John Estes tunes. He’ll play a solo acoustic set before Koite takes the stage.

The show starts at 8 p.m in UNCA’s Lipinsky Auditorium. Tickets are $18 general admission and $15 for the WCU community (w/ valid ID). UNCA students and children under 12 also get discounts. Call 828.232.5000 for more info.