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Festival Musicas do Mundo Sines' Logo

27 July - Friday


Yazz Ahmed

YAZZ AHMED (Bahrain / UK)

Sines - Centro de Artes

Yazz Ahmed has turned her Arab roots into a distinctive feature of her jazz career. Born in Bahrain, her father's country, she moved to the United Kingdom, her mother's native country at the age of nine. In London, she became fascinated by the way her grandfather played the trumpet and decided to learn this instrument. The freedom of jazz bewitched her. Today, she is a mature artist, who has incorporated her British jazz influence into the Arabian melodies that give a cinematic tone to her compositions. In the instrumental jazz universe, still dominated by men, Yazz also uses electronics to transform jazz codes of and connect with new audiences.

Tulipa Ruiz (c) ONErpm


Sines - Castelo

Brazilian-born Tulipa Ruiz sings, composes and illustrates. She is one of the most revered Brazilian artists, an author of strong influences - Zezé Motta, Meredith Monk, Joni Mitchell. Tulipa brings along two albums to her debut in Sines. The first one is "Dancê", a record "to listen with the body" that earned the Latin Grammy for best pop album of 2015, among other acclaims. The second is "Tu", an acoustic album released in late 2017, where she re-recorded songs from previous albums, bringing new compositions (such as "Game" and "Terrorista del Amor") and comes up with a new sound, a synthesis of Brazil, Africa and Latin America.


SEWARD (Catalonia - Spain)

Sines - Av. Vasco da Gama

Seward, a band from Barcelona, a city of creators who have advanced the history of the arts. Formed by Pablo (synthesizers, guitar), Adriano (voice), Jordi (bass) and Juan (drums), they classify their music as "free song". A freedom expressed in the transformation of dynamics, rhythms and frequencies. Seward plays alternative rock guitars, but also dozens of pedals, all kinds of electronics and a large multiplicity of samplers. Influences come from everywhere. Their new album is entitled "WE PREFER TO". Unlike Melville’s Bartleby, they prefer to act and take sides. They do it with their visionary music.

Kimmo Pohjonen (c) Klaus Welp


Sines - Castelo

Kimmo Pohjonen became known for the way he turned the accordion into an instrument capable of connecting Finland's roots music with personal, universal and futuristic aesthetics. After having been in Sines with the KTU trio, he returns in his own name and accompanied by his daughters. In this line-up, where everyone sings, Kimmo plays the accordion and the sampler, Inka plays the guitar and Saana the drums. The project was created in 2015 around "Sensitive Skin", which Kimmo considers his most deeply thought album. Taking advantage of all the sonic amplitude of the accordion, a family trip but far from being a safe one.

Sons of Kemet


Sines - Castelo

Sons of Kemet is an iconoclastic blend of tenor sax, tuba and drums, spiced by flavours of the Caribbean diaspora to the UK. Led by saxophonist and composer Shabaka Hutchings, they have just released the album "Your Queen is a Reptile," a claim against the British monarchy that "celebrates a lifestyle that is a validation of injustice and racial discrimination." Alternatively, he proposes a new line-up of queens, such as Harriet Tubman, who "created bright futures from cruel and unfair pasts”. In the sound, there is London and the Caribbean, but also New Orleans, spoken word, rap, dub, reaffirming the place that jazz has been conquering in the universe of hip hop.

Cordel do Fogo Encantado


Sines - Castelo

After an eight-year break, the Cordel do Fogo Encantado returns. A new journey in which Lirinha, Clayton Barros, Nego Henrique, Emerson Calado and Rafael Almeida try to answer the question: "If we are free, why do we live chained by all sides?" These words appear in the opening of the album "Viagem ao Coração Do Sol", released this April and with which they reunited with the audience. Created in 1997, in Arcoverde, state of Pernambuco, Cordel brought theatre, oral poetry, the writing of “cantadores” (Brazilian amateur folk singers) and the Afro-indigenous rhythms of the region to the Brazilian rock. Voices, guitars and percussions that "tear the cocoon in search of Freedom".

Maravillas de Mali


Sines - Castelo

In 1964, ten Malian students were invited to pursue their musical education in Havana. This was the start of the Maravillas de Mali adventure, the first Afro-Cuban band from Africa. From this experience, an album and a historical song, "Rendez-Vous Chez Fatimata" followed. In 1999, accompanied by Boncana Maïga, the only surviving band member, French producer Richard Minier brought together new musicians to make the same trip from Bamako to Havana. This new line-up is on tour for the first time in 2018 and has as special guest Mory Kanté, singer and master of the kora, one of the most prominent exponents of the Mandingo Griot culture.

Imarhan (c) Andrea Mae Perez

IMARHAN (Tuareg People)

Sines - Av. Vasco da Gama

They got together in 2008, in Tamanrasset, the extreme south of Algeria, while still at school. They had Tinariwen as mentors and the status of promise of the new wave of Tuareg music. In their first album, they followed a path through the more meditative trend of the desert blues. In their newest album, “Temet”, they kept the contemplative truth of their first experience, but made their music more extroverted (in some cases, explosive), absorbing funk, fuzz, disco and rock influences. In the Tamashek language, Imarhan means "those I like". "Temet" means "connections." We are nothing without others; this is the teaching of their music.

Scúru Fitchádu (c) António Marinho


Sines - Av. Vasco da Gama

Scúru Fitchádu is a dynamic cocktail where two main ingredients are mixed: the Cape Verdean funaná and the punk rock aesthetic. An idea by Marcus Veiga (also known as Sette Sujidade), a musician from Almada, it blends styles that at first sight would seem unsuitable: the dance music of classic artists such as Bitori nha Bibinha and hardcore sounds of bands such as Discharge, Bad Brains and Atari Teenage Riot. The name of the project, which means "dense dark" in Cape Verdean Creole, translates the ambience of this combat music, a crossroads of distorted bass lines, accelerated drums, noise and concertina / ferro.