Bénin International Musical successfully made its debut with its first Montreal fans at Nuits d’Afrique. We were able to appreciate the passion of Brigitte Kiti and her bandmates—guitar, bass, keyboards, and percussion. At first glance, the Western instrumentation gives the impression of a traditional, instrumental sound rather than a digital one. The guitar riffs, bass lines, and keyboard harmonies transport us to a world of instrumental and vocal energy amplified by the stage and an enthusiastic audience, despite its small size.
The harmonic progressions are unmistakably Beninese; you can feel the vibrations of Kotonou, and the rhythmic patterns are meticulously crafted and executed with precision. The folk ballads are also performed with great authenticity—not a trace of pretension or forced imitation in sight. We’re even treated to Vaudun melodies and rhythms, the ancestors of the Afro-animist traditions carried on in the Americas—Voodoo in Haiti, Santería in Cuba, Candomblé in Brazil, and so on.
Originally launched by a French team that came to Kotonou to scout for new talent, BIM reflects this relationship with the French team, as they encouraged Beninese artists to take up rap, listen to Massive Attack, and engage with Howie B and other “classics” of trip-hop, hip-hop, electro, funk, and rock.
Ultimately, BIM in no way compromises its identity by fully embracing these fusions with Western pop; what we have here is a deeply rooted musical journey that the group strives to electrify and make appealing on a global scale. The approach is certainly not new, but we experienced a fresh take on it this Wednesday at the Fairmount Theatre.
crédit photo: André Rivard
