Cheikh Lô is one of Africa’s enduring musical figures. He releases albums at long intervals, yet each of them has become a milestone. His music differs significantly from African stereotypes dominated by drums. In Cheikh Lô’s work, impressionistic colors of guitars, brass, and keyboards prevail, his melodies seemingly propelled forward by fresh sea breezes. He composes songs with fragile, delicate contours, whose urgency rests primarily on his voice and subtle percussive ornamentation. For many years, Cheikh Lô was a professional drummer. He grew up not only with African music, but also with reggae and Cuban styles. In Prague, he will present his latest album Maame, which features Czech guitarist Pavel Šmíd, who will also perform with him live.

Cheikh Lô is, by life’s destiny, a true cosmopolitan. He was born to Senegalese parents in Burkina Faso, grew up under the influence of the pioneering Guinean group Bembeya Jazz, and listened to James Brown and Otis Redding. In the 1980s, he made a living in Paris as a studio drummer, played Congolese rumba, and stood in for the genre’s giant, singer Papa Wemba. His inspirations reach far beyond his native continent, encompassing flamenco, reggae, and even Brazilian rhythms.

In the 1970s, he moved to Dakar, the capital of Senegal. His breakthrough album Ne La Thiass was recorded in 1996 with the support of Senegalese superstar Youssou N’Dour. In 2015, he received the prestigious WOMEX Artist Award for his artistic contribution.

The striking patchwork costumes in which Cheikh Lô likes to be photographed express his sympathy for recycling and frugality, as well as his affiliation with the Mouride spiritual brotherhood, which promotes purposeful work. Because of their perseverance and diligence, the Mourides are sometimes nicknamed the “Protestants of Islam.” Their numbers in Senegal and within the diaspora are estimated in the millions. Unlike the new generation of Senegalese musicians, however, Cheikh Lô does not identify with hip-hop, which has become a major trend in Senegal over the past decade: “To be honest, it doesn’t interest me. It’s the music of yesterday, whereas I play the music of the day before yesterday.”