There’s been plenty of buzz around Osman “Ozzy” Maxamed ever since his guest appearance with Kartellen. He was only 19 at that time. Seven years later, his long-awaited debut album Ett öga rött arrived, named after Jonas Hassen Khemiri’s novel. Ozzy was shortlisted for the P3 Guld award and no less than three Swedish Grammis awards in 2019, and was generally praised as king of the new, dirty Malmö sound. Producer Durimkid delivers hard beats without any unnecessary decorations on the tracks. Ozzy’s unpretentious style reflects that he has been writing ever since he was a kid. His words take us back to his childhood. Just five months old, he came with his five brothers and mother from Somalia, where his father was killed in the war before Ozzy’s birth. He raps about being bullied in school, referring to himself as a “fat black fatty”. But from time to time, he also depicts life in his neighborhood Rosengård as bright and gleeful. 2019 is undoubtedly Ozzy’s year, but the young rapper looks further ahead: he is here to stay.
He is known as the king of semba, the frantic dance rhythm of Angola. But as a young man, Bonga was the fastest runner in the entire Portuguese empire. In his hometown, the capital Luanda, the colonial pressure cooker was about to explode. When Bonga was sent to competitions around Europe, he took the opportunity to contribute to the struggle for liberation by helping build a secret international network. The police were closing in on him though, and he was soon forced to go underground in Rotterdam, where he focused on his true passion, music. Despite being banned, his debut album Angola 72 became a big success and a milestone in semba music. He had a worldwide hit with his coarse interpretation of Sodade, an old ballad from Cape Verde about a migrant’s homesickness, a song later popularized by Cesária Évora. As independent Angola deteriorated into corruption and civil war, Bonga continued to criticize the rulers through his music. Today, this 76-year-old legend keeps on running: he tours frequently and recently released an album in collaboration with Lisbon’s electrokuduro producer número um, Batida.
One of the hottest new names on Uganda’s dance music scene is the DJ, activist and writer Kampire Bahana. She is one of the core members of the Nyege Nyege collective, who arrange festivals and parties for those with curious ears as well as alternative lifestyles. The collective also releases East African outsider music on the label Nyege Tapes. Born to Ugandan parents, Kampire grew up in Zambia’s copper belt, a place that gathered miners from near and far. There she soon discovered music and culture from all over the African continent, which would inspire her DJ sets: Kampire blends modern and traditional styles into an irresistible pan-African dance party. Tropical bass, kuduro, South African house, soukous and afrobeat … powerful, bass heavy music that won’t settle until everybody’s butt is shaking.
Brittnee Moore’s stage persona BbyMutha has been described as a combination of black Marge Simpson and single “baby mama”. With songs like Fuck Me or BBC (nope, not the British media company), BbyMutha is changing the rules for what a black female rapper can do–and what motherhood is.
She grew up in Chattanooga, Tennessee. As a rapper, she kept a low profile until her song Rules exploded on social media last year. Funky beats, quirky guitar sounds … and laid back rhymes about life as a single mother of four: this was previously uncovered lyrical territory. A line or two about changing diapers or dropping off kids at kindergarten can be found in her songs, but it’s the parts about really great sex or the daily hustle to pay the bills that really get into details. BbyMutha’s bold new perspectives earned her plenty of critical acclaim, as well as some gruesome comments from internet trolls. During the spring, BbyMutha’s debut album is released, where we find her collaborating with the producers Rock Floyd and Crystal Caines–and with her kids, two pairs of twins who are constantly involved in the writing process.
The 17th edition of Clandestino Festival is curated by the artists El Perro del Mar and Mariam The Believer in collaboration with Aleksander Motturi who founded the festival in 2003.
Sarah Assbring took the name El Perro del Mar in 2003 when she released her first recordings. Her beautifully fragile songs earned her instant acclaim within Gothenburg’s booming indie scene. Since then, she has explored a wide palette of musical expressions. For example, on her latest album KoKoro, influences from Japanese, Chinese, Thai and Indian pop music have found their way into the songwriting.
Mariam Wallentin is known from the duo Wildbirds & Peacedrums and as a member of Fire! Orchestra. While those two projects tend to explore the outer reaches of drum-and-song experiments or embark on daring free jazz excursions, it is in the solo project Mariam The Believer that we find the melodic and soulful brilliance of Mariam Wallentin full on.
A limited amount of the first 4 day festival passes has now been released at an Early Bird price. They give access to all shows (unless otherwise stated) during Clandestino Festival 6–9 June 2019.
Ordinary price for a 4 day pass is 795 SEK. Early bird prices are changing every month; December (495, sold out), January (545, sold out), February (595, sold out), March (645, sold out), April (695, sold out), May (745) and June (795 SEK).
With a festival pass there’s a 50% discount on Club Clandestino-nights at Oceanen in Gothenburg this spring. Use code “ekwiri” while purchasing tickets for April 6 (Msafiri Zawose + Çheyk), May 11 (Skator + Ahmedou Ahmed Lowla), May 25 (Kel Assouf) och June 14 (Curl). You can also use code “ekwiri” for a discount on the concerts at Fasching in Stockholm on May 31 (Wildbirds & Peacedrums + Nuri), June 4 (The Como Mamas) and June 8 (Bonga).
We will release tickets on April 3 for our other concerts. If there are any leftover tickets they will be sold at each venue.
The concert with Les Sœurs Hié takes place on the roof terrace at The Museum of World Culture in Gothenburg. Free entry with a festival pass or The Museum of World Culture’s Club Card. No seat reservation, first come first served.
The promoters reserve the right to make changes of the lineup and performances before and during the festival, if necessary. Festival passes are only sold for the festival itself and not for the individual artists and performances, and can’t be exchanged due to cancelled or changed bookings.