Damon Albarn has long believed in the power of collaboration to transform music. With Africa Express, he has proven that bringing together artists from different corners of the world and breaking down sonic barriers can open new paths to connection, creation, and community.
In that same spirit, Bahidorá has become a key cultural engine in Latin America – a platform for discovery, diversity, and sustainability that champions emerging scenes, bold collaborations, and projects that blend art, nature, and collective thought. A few months ago, we spoke with Lucía Anaya, the festival’s curator, who shared more about how global music is woven into one of Mexico’s most important alternative events. Read our spotlight here.
Just last year, Africa Express arrived at Bahidorá. Led by Damon Albarn and fueled by the likes of Camilo Lara (Mexican Institute of Sound), after just over a week of rehearsals and creation in Las Estacas, the collective didn’t just deliver an unforgettable live show, they crafted a one-of-a-kind sonic piece to share with the world. More than an album, this is a borderless conversation between artists from diverse latitudes, rooted in a wide range of rhythmic languages.
A work of art that celebrates alchemy and collectivity
The journey of this album begins with a psychedelic bolero that feels like a road trip, nostalgia and freedom. Luisa Almaguer’s intimate, powerful voice entwines with Damon Albarn singing in Spanish, maintaining his identity in a warm, cinematic atmosphere. Backed by Nick Zinner, IMS, and Joan As Police Woman, the track is a pleasure to absorb and sets the tone for what’s to come.
The album then unfolds into futuristic soundscapes with a mysterious jazz soul, drum machine backbone, and a global heart. Percussion, synths, and traditional instruments float throughout. Alpha, K.O.G, Tom Excell, and Bootier Brown sound like they’ve been collaborating forever – pure groove.
A bold dembow bursts in, held by a sampled bass as Mare Advertencia, Alan, and Poté layer sensual, fresh vocal textures, full of effects that reimagine the urban genre from within.
The energy of ONIPA with Fatoumata Diawara is explosive – galactic polyrhythms, marimbas, and a voice that bridges heritage and modernity so effortlessly.
Then, two women light the dance floor with rage and freedom: Moonchild Sanelly and Mare Advertencia deliver a track with a barrio soul, perfect for a sweaty, late-night DJ set.
The collaborations with Son Rompe Pera shine with a distinct identity: reggae, dub, and tropical melodies mingle with playful choruses and marimbas that dance on water. Manifest, Ophélia, Mélissa, and Camilo Lara channel a cosmic campfire vibe, with a melodica singing into the wind.
Floor toms introduce “Ofrenda de Sangre”, a ritual gem featuring Django Django, Seye Adelekan, and Mare. Afro guitars, bell chimes, and a haunting bass blend with dark, powerful lyrics. It’s a witch’s prayer to awaken ancestral forces, connect with the earth, and spark a fire between jungles and wombs.
“Chucha” is pure euphoria – a burst of energy from Son Rompe Pera, Joan As Police Woman, Otim Alpha, Ophélia, and Mélissa Híe. It feels like an alien trance led by an unrelenting djembe.
Tracks where Luisa Almaguer returns evoke the desert, longing, and solitude, accompanied only by a guitar. There’s a hint of Alan Vega in her hooks; emotional, minimalist, and punchy. The fuzzy blues of Imarhan, Nick Zinner, and Albarn round out the scene like a sonic novella.
“Darhan Oullhin” (“what the heart desires”) features a guitar and piano conversing with an ancestral voice that seems to echo from centuries past. It’s a moment of deep pause and inner connection.
Then come the horns – a soft salsa that tells stories of the barrio, of Chilangos, of street life. Urban chronicles that reflect the contradictions that define us.
“INVOCATION” is one of the album’s standout moments: mysterious, sensual, futuristic. Enveloping jazz with a hip-hop core. Damon Albarn’s presence is powerful here. An echo of Gorillaz, curious and wide awake.
“Hacernos Así”, performed by Luisa Almaguer, speaks of mental knots, judgment, and the societal mold that overwhelms us. A freedom chant calling for empathy and love in all its forms.
Then dawn breaks: birdsong rises between voices that lift the soul on a cloud of hope. On “Frenemies”, poetry mingles with glimmers, color, and smiles. La Bruja de Texcoco enters with her violin, filling the space with ribbons, soil, folkloric footwork, and tradition, while 808s dance with harps. A magical encounter with Otim Alpha and Tayhana.
And yes, it just keeps getting better. In “El Diablo y La Bruja”, we hear a town festival with tubas, tamboras, saxophones, and Oaxacan winds. A psychedelic calenda that blends polka, son, and waltz. Tradition with an experimental spirit – fabulous.
Before the finale, Mexican Institute of Sound gifts us some chilango humor in a ska-satire hybrid: “¡Cuelga al DJ!” A cheeky wink for those who love the party, though not always the DJ’s playlist (sorry, DJs!).
The final track, “Adiós Amigos”, is quite the opposite: a toast to new friendships. Violins, guitars, voices, and woodwinds meet in a joyful conversation featuring Baba Sissoko, Luisa, Joan As Police Woman, Abou Diarra, Mélissa, Ophélia, and Yende. A farewell that is really a beginning.
This masterful, layered release is a manifesto of radical collaboration, true diversity, and shared beauty.
An album where you can feel the hand, voice, and soul of each artist as if they were all gathered around the same collective fire.
Thank you, Africa Express. Thank you, Bahidorá. We love you.
Photos by Camila Jurado.
