“Before he knew what was happening, he was an opening act for a world music concert headlined by Stevie Wonder at the Hollywood Bowl.”
A household name in his native Sengal – and most of Africa – in the 1970s Youssou n’Dour helped develop a style of popular Senegalese music known as mbalax, a fusion of popular Western music and dance such as jazz soul, Latin and rock blended with sabar, the traditional drumming and dance music of Senegal. In the 1980s, he toured Africa with Super Etoile de Dakar, where his voice and style caught the ears of Peter Gabriel, Sting, Wyclef Jean and Paul Simon, among others, who helped him establish a foothold in the states.
Since then, N’Dour has released more than 20 albums, toured relentlessly to sold out audiences and become a tireless international ambassador for human rights and development issues. After an unsuccessful bid for the Sengalese presidency in early 2012, N’Dour took an appointment as first minister for tourism and culture in the government of former Prime Minister Macky Sall and returned to music a year later with plans to record a new album after embarking on a series of concerts in the states.
“Ebola or no Ebola, visa rules and regulations on African artists are all still very strict, and all them have to stay on the right side of the law, use a bona fide attorney and endure a tedious and long process – it’s the way the world goes,” said DuDu Sarr, a friend of N’Dour’s for more than 25 years and his manager since 2011. “I’ve been around the circuit for years and you hear stories of artists showing up and not being paid, sleeping in all sorts of circumstances, dealing with unscrupulous characters across the board – a well-qualified manager would not allow his artist to be taken advantage of.”
N’Dour is one of the highest paid singers in Africa, reportedly worth $30 million from earnings through albums, 30 years of touring and other ventures, such as investment in a local record label, a nightclub and a television station. But Edgar points out quickly that many African artists begin with bigger dreams than the realistic scope of reach or income from their music – many of them hire managers who are equally as naive.
“Even if you’re an artist from Africa and are able to be a pop star in your own country, you can’t expect the same thing in the rest of the world. Bombino is still a niche market.” said Edgar, who would not disclose the musician’s earnings, though he said they were not at a level above most indie artists, who make just about six figures after all the expenses and fees. “If that is what you’re looking for, you shouldn’t be working with me.”
Sierra Leone’s Refugee All-Stars know all too well the reality of living in an African country and playing to audiences in developed countries. They also have the extra pressure of unexpected crisis they will face if and when they might arrive home – except at this time they will have to watch from afar.
After eventually wrapping their tour in early October, the All-Stars have indefinite plans to stay in the U.S. due to the impending travel ban to West Africa. No strangers to hardship, the band members – who met in the Kalia refugee camp in 1997 during the civil war in Sierra Leone and who honed their musical skills with two beat up electric guitars, a microphone and a meager amp donated by Canadian aid workers – have started a series of concerts to raise money for those infected with Ebola back home.
“One of the main reasons we need them here is to play concerts to send money home to their families and friends, who can’t work because of the outbreak, and to the people helping, specifically Doctors without Borders,” Herman said. “Compared to American bands doing charity shows, these bands can obviously speak more personally to the issue, and are obviously very interested in uplifting the Sierra Leone community.
“They are a source of pride to the community and cultural ambassadors for Sierra Leone. Their work – and their music – take on special meaning because of it, but they are also just happy to play.”
