- The debut compilation curated by Nyege Nyege's superstar DJ shines a dazzling spotlight on pan-African music.
- In recent years, African music has erupted onto the international stage in ways that few would have imagined even a few short decades ago. Whereas much of the '80s Afro-pop explosion was introduced to unworldly Western audiences through white artists like Peter Gabriel and Paul Simon, the current crop of innovators have broken out of all corners of the continent to forcibly direct the public's attention to their respective countries. Tyla from South Africa; Amaarae from Ghana; Rema and Burna Boy from Nigeria—these musicians have expanded the lexicon of modern African music, opening the world up to their own unique flair.
These borderless successes suggest a notable shift in global perception, rather than short-lived trends to be co-opted by music tourists. "I hope this attention opens the door for a lot of artists, rather than being a flash-in-the-pan where it's trendy for a little bit and people say it's the next big thing—and then it's over," Kampire, the Kenya-born, Uganda-based DJ, said to Dazed in 2019. "Hopefully this is not [the] case, and people are paying more attention to African music, and wanting to engage equitably rather than exoticising it."
Indeed, Kampire has been at the forefront of a new wave of African electronic experimentalism for over a decade. Through her involvement with revered Ugandan imprint Nyege Nyege Tapes, Kampire has helped champion envelope-pushing global club sounds—in particular, East and South African music, from the '70s up to the present day. Now, she's stepping into the role of curator proper with her mind-expanding debut compilation. More than just a primer, A Dancefloor in Ndola is a captivating exercise in crate-diggery, setting renowned heavyweights like Samba Mapangala and Tshala Muana next to unpolished gems with gritty production values, party-ready grooves and minimal Google footprints.
A sense of togetherness and honour surges through A Dancefloor in Ndola. This is best exemplified in Mapangala's jubilant 1997 track, "Mashariki," in which the superstar Congolese bandleader exclaims: "We are very happy at the reunion of Kenya, Uganda and Tanzania / It's our prayer and wish that this is the beginning of African unity / All of Africa, north to south, east to west!" Mapangala is considered a chief architect of the golden age of soukous in the '80s, the Congolese rhythmic dance genre characterised by frenetic beats and call-and-response vocals. It's sonically adjacent to dansi, another speedy dance fusion style out of Tanzania, which is in turn similar, but not identical, to rhumba Lingala from Kenya. The spoken-word breakdown in "Mashariki" reveals the web of shared influences that stretches across the continent, and it's their interconnectivity that gives them true power.
Kampire's curational country-hopping isn't just about putting out a well-rounded compilation. As the West attempts to shed the problematic concept of "world music," this record serves as a history lesson, shining a spotlight on artists who haven't garnered similar levels of recognition on a global stage. Zambian group Bwaluka Founders Band's contribution, "Kimbera," is a prime example of Kampire's all-embracing approach: the song is a crackling slice of Kalindula that makes excellent use of local handmade instruments (and also shares its name with a regional bass guitar).
Kampire also focuses on female African artists, who are often even more overlooked than their male counterparts. A highlight is V Mash's "Naughty Boy," an unruly township bubblegum track from 1989. Township bubblegum originated in South Africa when the MTV boom of '80s synth pop was transmuted into sexy, minimal dance records. The instrumentation on "Naughty Boy" sounds as if Throbbing Gristle were tasked to reimagine "La Isla Bonita," while Di Groovy Girls' "Ririmi Rotsomebela" is a dazzling South African kwaito cut filtered through '90s house. Pembey Sheiro's "Sala Mi Toto" transports listeners to the vivid vistas of the Democratic Republic of Congo, as its larger-than-life, gated reverb drums add even more pomp to Congolese rhumba.
By this point, many will know how Kampire flexes her selector muscles in the club. But A Dancefloor in Ndola is just the tip of the iceberg. Here, she has showcased her vast appreciation for pan-African art, and it's impossible not to share the feeling with her. Perhaps the moment that encapsulates this best is "Djepué," a hypnotic, electro-fuelled track from the late, great Congolese star Tshala Muana, who was inspired by the Kasai region's traditional dance. Listening to "Djepué" in 2024, it's clear to see how modern artists were inspired by its cool dance-pop tones; it sounds as refreshing today as it did when it dropped in 1991. Muana passed in 2022, but not without being cherished as an icon in her home country. By keeping her memory alive and introducing her to a new generation of dancers, Kampire is doing more than putting together a compilation—she is helping form African pop history.
Tracklist01. Princess Aya Shara - O Wina Tienge
02. Meta Beya - Mivé Temoin
03. African House Party Project - P-Coq
04. V-Mash - Naughty Boy
05. Di Groovy Girls - Ririmi Rotsombela
06. Tshala Muana - Djepue
07. Lady Isa - Djambo
08. Pembey Sheiro - Sala Mi Toto
09. Princesse Mansia M'Bila - Ngoma Mansia
10. Samba Mapangala - Mashariki
11. Zaire All Stars - Je T'aime Au Pluriel
12. Gaza Sisters - Mabazi
13. Bwaluka Founders Band - Kimbera