DubMC

Bi-Polar Music: South By-Sexuals Emerge as Global Gets Even Bigger at SXSW 2011

Last month marked my third time attending SXSW, the free-for-all music conference festival with a strong indie rock base.

SXSW Global Vibe in 2005

I had attended several years ago to see what the fuss was about and to see whether the gap between global music and the hipster/indie scenes was closing. That year it was clear that the showcasing line-up was very international in scope; though many of the "non-Western" bands were simply rock or pop in another language or indistinguishable from Western indie rock bands other than their passports. That was also the year that PRI's The World launched the "All Music is World Music" Showcase, in an effort to further shine a light on global music for a crossover audience. I found "world music" participation at SXSW 2005 to be very dispersed and a tad light (though there was quite a presence of Latin rock and some Latin Alternative and roots; though a lot of that was local acts, not  nationally touring ones). So I gave the conference a break for a few years.

Fast Forward to SXSW 2010

I went back again last year (2010) and had a similar feeling; that it was really tough to navigate through the thick of it all to find the global music that still maintained some tie to cultural roots (not that I was or ever only seek out "purely traditional" music; just that if it is indistinguishable from Western pop, it's not that relevant to our company rock paper scissors). But it felt like something was bubbling under the surface. There were more bands that could easily play at a "world music festival," including the thread of indie rock, hip hop, and electronic acts that did maintain connections to cultural roots. Though I had discovered Balkan Beat Box years before, their packed, curfew-busting closing showcase at Beauty Bar was great evidence that the core SXSW audience had warmed up to world-inflected melodic structure, beats, and a mohawked Israeli raggamuffin strutting and chanting over Central European horns and North African beats. Further evidence was The Fader Fort, where Chico Mann and The Very Best played a stage surrounded by an open bar, a Levi's shanty village, a chainsaw artist, and a packed crowd of dancing hipsters in an old railroad yard; hipsters who had waited on at least two hour-plus long lines after RSVPing days in advance. Something was afoot. Was the global musical preence going to grow at SXSW?

Bi-Polar Music: South By-Sexuals Emerge as Global Gets Even Bigger at SXSW 2011

So I went back this year, this time armed with a groundswell-supported anti-panel titled "Breaking Out of the World Music Ghetto" as a meeting point for globalistas. Sure enough: global roots and shoots came up in bigger numbers at SXSW 2011. The bi-polar convergence of traditional music from near and afar (glocal?), and the globalization of indie rock continues to manifest; bringing to mind a new category of SXSW festival attendees: South By-sexuals; people with one foot in tradition and one foot in emerging sounds. While it was still tough to navigate the seemingly-infinite showcase venues, parties, and line-ups, there were more and better-publicized performances of globally-rooted (and shooted) artists; the types of artists you might find at WOMEX or Lotus Festival or globalFEST, but also some edgier ones that would be less likely at those festivals, especially Latin Alternative ones. There were showcases put on by PRI's The World, WOMEX, and National Geographic as well as specific Brazilian and Colombian nights. The Fader Fort included Khaira Arby and Spoek Mathambo (globalizing their indie rock, hip hop, DJ core, as usual). NPR's showcase included Khaira Arby and TuneYards (as well as circular-breathing, wailing sax player Colin Stetson; and by the way, NPR's showcase had a line one block long, evidence that NPR.org and All Songs Considered is not your mama's NPR and is reaching another generation). ONErpm held a Latin alternative showcase and Nomadic Wax sponsored an international hip hop showcase. Paste's party included Mexican-influenced retro-folk group David Wax Museum. Just to mention a few.

There still were few panels where you could find globalistas clustered together, though Ben Herson of Nomadic Wax and Ngozi Odita of Society HAE did a panel called "Music is the Weapon: Empowering Communities Through Music." And did I mention my anti-panel? ("Yes, you did.") So do not expect WOMEX- or APAP-style networking at SXSW, except at a few of the "world music"-specific showcases. If there are people you must meet there, schedule those meetings in advance. Having a couple of group meals planned in advance is a great way to make sure to get face time with colleagues, friends, etc. (Invite me!) And the food in Austin is very good. I spent less time running around trying to get in long lines to get the last serving of Tex-Mex food than seeking out some great restaurants (such as Carmelo's, Manny's, East Side Show Room, Z'Tejas, the Vietnamese place Judy brought me to, and that signless gourmet wood-fired pizzeria that Sebastien from M is for Montreal brought me to).

rock paper scissors Clients Showcasing at SXSW 2011

Khaira Arby. Actually the list of artists I saw at SXSW is a little shorter because I followed Khaira around who had several performances including NPR, The World, and National Geographic (hats off to Windish Agency for all that air time). Bands reading this: if you go to SXSW, try to pull a Khaira. All of her gigs were full and having so many shows allows presenters several opportunities to schedule you in. She kills it every time with a wicked band. And that guitarist! He's the Hendrix of Mali. And his interplay with Khaira is magical on stage.

Debo Band. I saw them once before at APAP and here they played The World's showcase. Debo is the next Antibalas, except this time with an Ethiopian vibe. Their lead singer Bruck Tesfaye has a beautiful voice and is a class act, dancing with the crowd, showing that men in tuxedo pants can have chilling vibrato. Band leader Danny's sax combined with the trombonist's riffs and solos were top notch. I found out why the violinist was so wicked: she's an American who moved to Ethiopia... for the music. So though she has to travel far for American gigs... she doesn't need a visa.

Cambodian Space Project. Their first gig at the Australian BBQ had rough sound bleed from next door; but they got a well-attended great set in at National Geographic, where they rounded out the band with members of a local TexMex band for a once in a lifetime musical meld. Those who know Dengue Fever will find a familiar sound, though this, while staying with a retro rock sound, leans toward a more organic sound. Lead singer Srey Thy performs beautifully as the group revives a '60s rock style at once Cambodian and appealing to western ears.

Tidal Waves. For their live show at Flamingo Cantina, Tidal Waves brought out a strong reggae show to a packed and enthusiastic audience. Tight band. Great melodies.

Other Artists I Saw Play at SXSW 2011

TuneYards. Whenever I kept refering to TuneYards people would then say "her" and "she" so I guess TuneYards is Merrill Garbus. I only could run into her show in a church for a few tunes, but she has a gorgeous voice building cool layers with some live digital loops and a percussionist on stage with her. I first heard her on my local community radio station WFHB, a rare case where I have to call the DJ wondering why I hadn't heard this mbira-toting singer already. Definitely one of the current indie-meets-world crossovers with a bunch of buzz likely to build. Album being released in the US by Beggars Group, the same entity that put out Vampire Weekend.

Chico Trujillo. I don't know anything about them. Timo said, "Go to it." "Cumbia from Chile? OK." I went to it. It was good. I danced and danced.

Colin Stetson. This was a random find. I showed up for Khaira at NPR and there was this blue backlight and some dude wailing like an old steam pump blowing into a big ass saxophone, smoke coming from his ears. He sang, played, and was doing circular breathing all at once. His fingers were frenetic. But they followed a pattern. It worked. It worked deep into the soul. One of those SXSW-sleep-deprived where-the-fuck-am-I moments where clarity arrives abruptly. Until the music stops.

Locos por Juana. I missed their show at The World, but caught them at the packed Prague. And I am glad I did because Prague was packed with people ready to dance. I remember horns and dread locks and guitars and percussion and it was good. A little Afrobeat thrown in there for good measure.

Janka Nabay. This is definitely one of my SXSW discoveries and is like nothing else I have ever seen. Janka, from Sierra Leone, says he plays Bubu music, which I see online is played on 20 bamboo wind pipes. But there was no bamboo in sight. This was a trippy locale, a backyard juke-joint looking place with a makeshift bar; very South By. Janka chants and sings in a rough sort of way; very engaging and effusive. He was wearing a soccer shirt and warm up pants and dances energetically and wildly. The band, which included Elliot from Nomo on sax, are not Africans. A wicked keys/organ player hitting all the right grooves. But the stand out player was the drummer, who was playing a kit of electric pads which had the sonic pallette of an old casio, but the rhythms were intricate and fast with an agogo style bell like sound. It kind of sounded like a crappy bootlegged street cassette come to life in a very compelling, danceable and musical way. People were digging it and so was I.

Shabazz Palaces. What? A hip hop band in Seattle on Sub Pop? With mbira and hand percussion? The emcee is "Butterfly"  (Ishmael Butler) from Digable Planets? His partner in crime is the son of Dumisani Maraire, the Zimbabwean who brought the mbira and marimba to America's Pacific Northwest. Sound was rough for this showcase, but it leveled out and after a few songs, the groove kicked in... just in time for the showcase to end. But before that happened we got a snapshot of two-woman hip hop duo THEESatisfaction, who impressed. We'll be seeing more and hearing more of Shabazz. They may just be putting Seattle's emerging hip hop scene on a national map.

Herencia de Timbiqui. One of my SXSW musical highlights. Picture Toto La Momposina's band with a big fat horn section and a  hot young marimba player on fire. This guy was off the radar (reminded me of the Afro-Colombian Keletigui Diabate, from Habib Koite's band). Vocals were shared by a couple of guys; no barefooted matron. Definitely worth checking out.

Taj Weekes. In a sea of reggae, St. Lucia's Taj Weekes stands out for his sweet high voice and tight sound. He and his band delivered a great set in a packed reggae-ready crowd.

Spoek Mathambo. I was pretty distracted with news from home of a two-year old son throwing up a dozen times in a day. But I vaguely remember a raw, upbeat rapper over an electronic bed of beats. It was at Fader Fort, so I drowned my woes with a free ice cream. And even that barely registered on my happy meter.

Francisca Valenzuela. Timo said, "Go to it." So I did. I saw possibly the best performer at all of SXSW. Just a woman and her keyboard singing her heart out to a light crowd. California born and Chilean raised. She was obviously a masterful stage performer. In spite of not having her usual full band and a small turnout, she performed as if it was her most important gig ever. She made tons of alluring eye contact with the audience, told charming stories, thumped out a bass drum beat stomping on the floor, and made those keys her army of sound. The songs were very poppy; too poppy for me. But I am glad I saw her. It was a rare feeling to be enjoying myself so much -- really taking pleasure in her amazing performance -- with music that didn't match my taste.

James Blake. I had never heard of him, but I found out that he was all the buzz. The stage was crowded with cameras. He's got a beautiful, sweet girlish voice. Plays keys very gently and cooly. He has a wicked at time minimalist drum pad player and a loopy guitarist. Reminds me of The Cure or The Smiths but a little more raw, more downtempo. I'd buy it. Another Fader Fort find.

Abigail Washburn. I'm already a fan of hers, since her Uncle Earl days and her Chinese bluegrass mash up. This was something different. More of an indie thing. I haven't warmed up to it... yet. Though I think it is cool she is stretching her sound.

David Wax Museum. I missed them at The World's showcase, but caught them at Paste's party. Something funny happened with the sound here. I am not sure the players could hear each other or maybe it was just too polyrhthmical for me (not possible?). They have a cool sound, great vocals, fun mix of Americana roots and Mexican and other Latin rhythms. They are big on the quijada de burro and zapateado. They know how to get the crowd going with great stage presence. They were very bold to play unplugged in the crowd, standing on the bar. I hear that's their thing. Fine with me. But I couldn't really hear them at that point.

Uproot Andy. I was hoofing back over to National Geographic to catch DJ Chief Boima's set... but we got there as he was winding up his mic. Sorry, Boima! His partner Uproot Andy had a killer global electronic set, though there was some nut in crazy pants hogging the dancefloor. Lots of material I had never heard and excellent segues.

Ximena Sariñana. I caught a tad of this. Playful singer-songwriter voice. A little too poppy for me, but friends around me were digging it.

Artists I Wish I Saw

Zuzuka Poderosa

Los Rakas
Pedro Moraes
Awesome Tapes from Africa
Meklit Hadero
DePedro
Nickodemus
Chief Boima
Beats Antique
Rattletree Electric

...signing off, Dmitri Vietze, www.rockpaperscissors.biz

Collective Sound Salvation: A Q&A with Calgary Folk Festival Artistic Director Kerry Clarke

1. What’s your two sentence description of the Calgary Folk Festival for someone who has never been?

It’s an experience; a collective sound salvation with an incredibly cool vibe in a beautiful urban park that features unique collaborations and concerts. Musically, think Bonaroo in a polygamous marriage with Hardly Strictly Bluegrass, Womad and Newport.

2. What’s with the word Folk in the title? How strict are you about that? How diverse is the line up?

Folk is more of an attitude and atmosphere than a musical genre. Canadian folk festivals are usually held in parks and are characterized by a relaxed atmosphere, multi-generational audiences and are safe places for children where people treat each other with respect. Think the world as it should be for 4 days.

To us, folk as a genre comes from two branches: a singer/songwriter history and traditions from around the globe – not just limited to those from western Europe. But songwriting takes many forms so a great song can be delivered in a hip-hop or blues style, sung in Yoruba or by a white guy with a guitar. We explore the roots and evolution of the music we like to call folk; a genre-bending smorgasbord where acoustic, ambient and electric styles combine, including blues, indie-rock, traditional music, roots, world music, cutting-edge sounds, dub, bluegrass, funk, country, reggae, hip-hop, R&B, Celtic, old-time, Norteño, jazz and orchestral pop.

3. We’ve heard you use the term “arranged marriages.” What are you referring to there?

These are the collaborative sessions - the pairing of seemingly disparate or easily connected acts and artists under one theme - that take place Friday afternoon, Saturday and Sunday between 10:30 am and 5:30 pm on six stages. There are 40 sessions over these 2.5 days.
 
The sessions are songwriter-in-the round and jam sessions, organized around themes and styles of music.  These are dependent on the artists booked each year, however we typically have several blues-oriented stages, a celtic session or two, several focussing on certain instruments, a gospel session, world music collaborations, etc.  The format is 3-4 artists or groups put together on a stage.  They rotate playing and often back each other up. It’s a magical meeting of artists in an intimate setting.

Here are some things other people have said about them:

"Soon after came another Sophie's Choice by way of a concert by great roots rock act The Acorn, workshops featuring friends and acquaintances of talented West Coast artist, producer and performer Steve Dawson (Deep Dark Woods, Ebony Hillbillies and The Sojourners), or a stacked stage hosting acts under the Cooking with Brass umbrella. The latter was another superb example of the collaborative magic at work, featuring altfolk waif Mirah teaming with Jon Boden & Jon Spiers, and members of Bell Orchestre and Tarhana as they oscillated wildly between horn-fuelled Gypsy skronk and Celtic second line."-Mike Bell, Calgary Herald

"I was able to share the stage with songwriters and friends like Josh Ritter, but also with a Trinidadian calypso group and a French Canadian band.  It was really exhilarating and a wonderful example of how we're all doing the same thing, music, but coloured with our individual contexts and histories.  This has always been my philosophy, but I've never seen in put into practice by others so thoroughly." -Mark Erelli, artist

4. What have your favorite artist pairings been in the past? Why?

• Uncorrected Personality Traits with the Sadies, Robyn Hitchcock, Peter Case and Anne Loree. The Sadies and Robyn got on like a house on fire, singing on each other’s songs, and then played together the week after in Winnipeg as a result of meeting at the Festival.

• Lord Have Mercy! gospel session with Rhonda Vincent, Martin Joseph, Ruthie Foster and Linda Tillery and the Cultural Heritage Choir. It was 2004 and just before the second George Bush election so Martin’s spiritual songs that talk about how the world should be if Jesus was here and his comments about the coming election weren’t appreciated by Rhonda, so although it there was generally a lot of harmony – in both senses of the word, there was some agro afterwards, which is always interesting.

• Another gospel session, in 2002 called Playing to the Congregation, with Jim White, Sleepy LaBeef, David Essig and John Reischman. Sleepy thought some of Jim’s songs were blasphemous   
and was heard saying ‘I’m going to take you out back and whoop ya!’

• Too Bad Faulkner Couldn't Be Here: a wonderful grouping of artists who do dark country songs. The collaboration that usually happens was lacking, but Mary played on Jim’s next album, so that introduction paid dividends.

• The Newly A-Choired session with the UK’s Chumbawamba, Tuvans Chirgilchin and alt-country Canadians Nathan. The blend of vocals was to die for. When Nathan sang the chorus to their song ‘the wind’ and the Tuvans came in with their throat singing, it was haunting and exquisite.

• Will the Circuit Be Unbroken? featured artists Emily Wells, Kid Koala, Esthero and Chad VanGaalen who all use loops and technology in their music. They joked around and collaborated on each other’s songs.
   
 • Don't Mex with Texas: Texas artists Hayes Carll, Ray Wylie Hubbard and Emily Wells combined with Mexican Norteño group Los Misioneros del Norte 

• The Revolution will not be Twitterized Canadian reggae artists Jason Wilson, Jamaican dub poet Mutabaruka, hip-hoppers Arrested Development and Scottish trad troubadour Dick Gaughan. Political rabble-rousing has never been so funky or deep. One song bled into another and all artists backed each other up. At the end, Dick said he wanted to join AD, and they said they’d like to cover his songs.

• Guided by Voices with Canada’s Juno award-winners the Good Lovelies, Garifuna artists Umalali, experimental rockers Akron/Family and bluegrassers Dry Branch Fire Squad. All very different styles of music, with strong vocal harmonies as the link.

5. What’s unique about the setting of the Calgary Folk Festival?

It’s urban and in a beautiful park. So it’s close to amenities and skyscrapers but like a little paradise with lots of trees, grass and shade. People line up for hours to get their choice spot on the grass in front of mainstage, where they stake out their claim for the day on a tarp and blanket. The keeners are lovingly referred to as ‘tarpies’. We like to say that artists wouldn’t sound as good in a parking lot or stadium. Also, because it’s mid-sized, audience members can get close to performers and sit comfortably on the grass, or stand, dance or (yep – we have hippies!) hula-hoop.

6. How do you describe your curatorial vision for the musicians playing the festival?

We try to explore the roots and evolution of folk, from around the world. A combination of icons and upstarts. It’s an art and a science. The art part is finding some of the finest, most interesting, creative artists to perform. The science or math part is trying to make sure we have the right balance of a bunch of genres, genders, styles, generations and attitudes. We’re looking for artists who ‘play well with others’ and are willing to stretch artistically, as the collaborations are so key.

7. Which performer this year do you think will be the biggest surprise for your audience?

Probably Man Man, Frank Turner, St. Vincent, and DJ Dolores.

8. Which performer this year do you think might be the biggest surprise for you?

If I knew, it wouldn’t be a surprise! Actually it’s likely to be from a genre that isn’t my bailiwick, so perhaps Fribo, whose music is more on the trad. side.

9. Anything else you would like our readers to know?

It’s a festival of discovery. Many people come to see their favourite artist(s) and leave with an armful of CDs (yes, our audience still buy CDs!) from artists they’d never heard before the weekend.

Festival website: www.calgaryfolkfest.com

DubMC.com is the brainchild of Dmitri Vietze and is sponsored by rock paper scissors, inc., global music publicity firm.

WOMEX Report Back: DubMC Asks Michael Orlove of the Chicago World Music Festival and Chicago Department of Cultural Affairs

Michael Orlove, senior programs director, Chicago Department of Cultural Affairs

What 3-4 WOMEX showcase artist discoveries stood out for you?

My choices (in no particular order). The four below represent groups I had never seen before and I thought were simply OUTSTANDING.

1. Kouyate-Neerman
2. Staff Benda Bilili
3. Mamane Barka
4. Barbara Fortuna

What CDs did you take from WOMEX that are you most excited about?

1. Analog Africa's newest compilations (AKA  Samy Ben Redjeb). Still going through the 100 or so CDs I brought back but the early winners are below.  Samy is in his own category as a 'crate digger' and the stuff he finds in various African countries is incredible.  His latest 'discoveries' of Orchestre Poly-Rythmo de Cotonou are a wonderful listen. 

2. Danyel Waro. Danyel is an artist I saw over a decade ago in Paris and he is someone I would love to present in Chicago.  He is from the Reunion Islands and one of the main purveyors of Maloya...the musical style mixing African, Madagascan and Indian origins.  If you haven't heard his music, check it out...

What else spurred your thinking while at a WOMEX?

1. Staff Benda Bilili...their story is so incredibly moving and motivational.  We should all be able to learn (and be inspired) from them.

2. Gerald Seligman's final speech.  A great champion of our field of music, he did a phenomenal job the past three years leading the WOMEX conference and a variety of satellite events.  His final speech brought a giant smile to my face reminding me of why I remain 'doing what I do'  having the luck to be a part of this wonderful community we all belong to.  A class act, Gerald left us with words to live by:

This is my last WOMEX as General Director, and I hope you'll indulge me a few final words.

It's been an honor to serve in the midst of this remarkable, international group of artists and professionals. Events production can be hell, but what makes it all worthwhile is the community we all comprise. As ends in themselves, this isn't about making money though we all need to survive. It isn't about ulterior motives, conflicts of interest, capitalizing on the
efforts, arts and good intentions of others, though, inevitably, there are
those who may view it that way.

This community is about a very special blend of international solidarity, wide-eyed, not naive, open-hearted, not close-minded.

Many in the media, in politics, in society use racial, religious or national
differences to raise tension to conflict, and conflict to clash. And on the
back of the inevitable backlash limit access to society, close doors to
those in need, isolate the immigrant communities within our own borders.

But others, bless them, will plead in the face of rising xenophobia, please
please people we must be tolerant.

But that's not what we do, is it? We, all of us, we don't tolerate
difference. We celebrate difference. It's the air we breathe, the lands we
travel, the partnerships we form, the friends we make, the music and artists
we do our daily best to nurture and support.

I must say. You are so many of the best people it is my good fortune to
know. I salute you, I salute you, I salute you.

WOMEX Report Back: DubMC Asks Bill Bragin of Lincoln Center and globalFEST for His Highlights

Bill Bragin, director, public programming, Lincoln Center for the Performing Arts, NYC; co-director, globalFEST

What WOMEX showcase artist discoveries stood out for you?

1. Staff Benda Bilili – I’d been a fan of their record and their personal stories are so compelling, but the sets at the Awards ceremony and at Global night club completely transcended expectations. They are a kick-ass dance band and infectious performers. I loved their homemade instruments, especially the heavily distorted, single-string, tin can lead “Santonge.”

2. Bomba Estereo – off-off-WOMEX, also at Global – This was my second time seeing this Colombian band, and they were even better this time, adding a layer of psychedelic fuzz over the digital cumbia and champeta, flipping rhythms effortlessly. Liliana is an incredibly charismatic frontperson.

3. Cedric Watson & Bijou Creole – Also not a brand new discovery – I had seen him at Festival International in Lafayette, and we selected him to showcase at globalFEST, but it was very impressive to see him playing in front of a non-hometown crowd. He’s a terrific accordionist, and even better fiddler, with a cool, slightly sly stage presence that is balanced by the heat of his rubboard player, Zydeco Mike. One of the only sets I watched more or less in its entirety.

4. Chocquibtown – Colombian music made a strong impression for the second year in a row. I was impressed by the confidence of their stagecraft – they had the crowd in their hands from note one, exuding star-power.

What CDs did you take from WOMEX that are you most excited about?

I generally come home with about 100 Cd’s, so it’s hard to pick which I’m most excited about, since it takes a while to go through them all. But here are a few early standouts:

1. Analog Africa’s Legends of Benin compilation, as well as Orchestre Poly-rythmo de Cotonou…Analog Africa’s closing night Dj set was also a revelation – incredibly funky vintage grooves, and these two records show off their taste and the success of their global crate-digging.

2. King Coya – Cumbias de Villadonde – I was introduced to Buenos Aires’ ZZK Records at the previous WOMEX and have been loving the King Coya remix of Petrona Martinez from an earlier label compilation. The full album is strong with a mix of electro cumbia, hip-hop and roots influences.

What else spurred your thinking while at a WOMEX?

Cultivating the fan relationships is really the key to emerging artists becoming successful.

Artist Discoveries from Music Biz Insiders, WOMEX Report, Part 3

For our third report from WOMEX, we summarize some "artist discoveries" or highlights from several attendees. What a diversity of perspectives on what showcasing artists were great or new!

Claudia Norman, President, CN Management
Faiz Ali Faiz and his Qawwali Group - The power of the ensemble and to hear the incredible voice of Faiz Ali Faiz
DJ Dunkelbunt - Incredible (a fun) journey to the music of the Balkans
BajoFondo TangoClub - The finest of the tango music with a dance beat and great visuals

Eric Herman, Co-President, Modiba Productions
Seun Kuti and Egypt 80 -- had never seen them live before – hadn’t truly lived ’til I did! :)
Mamani Keita -- big fan but had never seen her live -- Mamani exuded grace on stage and the group delivered a beautiful trans-national sound.
Telmary -- Cuban hip hop that reminded me of being at a Soulive show --attention hiphopers: keep the funk alive!

Artist Buzz Vol. 1 -- Select Concert Presenters Report Artist Surprises of Past Year

What world music concert or two that you presented in the past year surprised you the most? Why?

This is the question we asked concert presenters in various regions. DubMC.com will periodically post a round-up of responses from presenters on this and other questions that might be of interest to other professionals in the world music field. The responses are quite diverse and hopefully will turn you on to new (or even past) favorites.

Claudia Norman, Curator of the JPMorgan Chase Latino Cultural Festival at Queens Theatre in the Park, NY:

Luca Mundaca. To me she represents the new generation of Latin American female songwriters. She presented an acoustic concert (guitar and voice) and her voice and music are using elements of bossa nova with a new twist.