Monthly Archives: March 2019


Radical politics in a time of extreme inequality: in his new book The Socialist Manifesto, Bhaskar Sunkara explores the history and future of socialism, showing that socialism is not just an economic system but a weapon against all forms of oppression, including racism and sexism. According to Sunkara, the ultimate goal is to give everyone the right to healthcare, education, and housing, and to create new democratic institutions. In a lecture at the Museum of World Culture, Sunkara will present some of the historical and contemporary themes dealt with in the book. Bhaskar Sunkara is the founding editor and publisher of the journal Jacobin. Moderator: Lovisa Broström, PhD, researcher at the Department of Social Work at the University of Gothenburg. Arranged in collaboration with Tankekraft and the Museum of World Culture.



This May will see the release of two new translations of the noted American poet and critic Joshua Clover into Swedish: Riot Strike Riot, published by Tankekraft förlag, and Red Epic, published by Nirstedt/litteratur. In Riot Strike Riot, Clover examines the conditions for, and the consequences of, the riots that swept the world over the last decades. Clover tries to unravel the relationship between crises and forms of resistance, asking whether riots during financial crises have the same function as strikes did under industrial capitalism. Joshua Clover (b. 1962) is a poet and activist, part of a literary current known as Post-Crisis Poetics. He teaches at University of California Davis, and writes music and film criticism. The talk will be followed by a discussion led by Johannes Björk, Ph.D. candidate in comperative literature, critic, and translator.


Göteborgs Konsthall present a full day program on James Baldwin’s life and work. Welcome to a book launch of the new Swedish edition of Baldwin’s legendary essay The Fire Next Time, a screening of Karen Thorsens documentary The Price of the Ticket and a conversation between writer Aleksander Motturi and Håkan Bravinger, editor Norstedts förlag. For more info see here.

Wildbirds & Peacedrums

When singer Mariam Wallentin visited Fasching last year, it was as Mariam The Believer. Bewildered, SvD’s Dan Backman gushed about her “colorful and crooked and absolutely lovely” performance.

The same can be said about Mariam Wallentin’s and Andreas Werliin’s duo Wildbirds & Peacedrums. The guiding star here is crooked and transcendent, too—together they blend pop and blues seamlessly with powerful drumming and fervent, ritualistic vocals.

After a few self-published CDs in the mid-noughties, which gained acclaim from both critics and audiences, the duo went on to record The Snake at Svenska Grammofonstudion. After sessions in Iceland collaborating with cellist Hildur Gu∂nadóttir, Ben Frost, and Valgeir Sidur∂sson led to an EP, they then stripped back on the album Rhythm—sounding direct, naked and raw.

Despite these impressive recordings, one should really experience Wildbirds & Peacedrums live. Their stage presence is formidable, confident. They’ve had plenty of time to sculpt their live expression, having toured with, among others, Lykke Li, Arcade Fire, Joanna Newsom and St Vincent. They have even performed a tribute to Björk during the Polar Prize ceremony in Stockholm, and were invited by Nils Frahm to perform at The Barbican.

In other words, this duo is not lazing about. Both Wallentin and Werliin are also involved in Fire! Orchestra, and Werliin plays drums for another Fasching favorite: The Abuse. But Wildbirds & Peacedrums is what they hold most dear—no one else really sounds like them, so don’t miss out!

Support: Nuri

Tickets 31 maj. With a festival pass there’s a 50% discount (use code clandestino).

Kel Assouf

The man with the headscarf and distorted Flying V guitar is Anana Harouna. He is a Tuareg from Niger, previously known as a member of arguably the most famous desert blues band around, Tinariwen. He formed Kel Assouf—meaning both “nostalgia” and “son of eternity” in the Tamashek language—in his current home base, Brussels. With one foot in the Sahara and the other in Europe, this band has embarked on a journey through different styles and expressions. Haruna’s own life story serves as a lyrical starting point, depicting injustice in post-colonial North Africa. The band’s keyboard player/producer is none other than Sofyann Ben Youssef, the mastermind behind projects such as AMMAR 808 (Clandestino Festival 2018). On their latest album Black Tenere, Kel Assouf has scaled down to a tight power trio, setting the music of the nomads on fire with hypnotic riffs, hard rocking drums, and droning synths.

Support: DJ Livsfarligt

Tickets 25 maj. With a festival pass there’s a 50% discount (use code ekwiri).


A series of club nights in southeast London, cassette tapes, and records published with experimental and electronic rhythms from the underworld—Curl has established itself as one of the most exciting music collectives on British territory. Through writing, DJing, and publishing music, Curl invites adventurous creators to participate in tearing down the boundaries between club, concert, organizer, and artist. Three artists form the core of the collective: Coby Sey is a producer crafting atmospheric compositions from samples and acoustic instruments, and also hosts his own radio show, DJing experimental and electronic music; Mica Levi is known from experimental rock band Micachu & The Shapes and from soundtracks to films like Jackie; And lastly, one of Mica’s long-term partners, the experimental and eclectic rapper Brother May.

Tickets 14 June. The concert is included in the festival pass (save your wristband).

CURL – Soundcloud


You might have noticed Lina Högström’s name appearing here and there: she sings several songs on the album Däggdjur with the artist Säkert!, performed with bands like Boys, Holy, and Chicagojazzen, collaborated with Mattias Alkberg and Norrlandsoperan, and played the violin in the folk band Djuriskt. But before all that she was a drummer, growing up in the punk and hardcore scene of Umeå. Traces of that uncompromising attitude can be found in the music she makes under the name Skator, even though it offers a very different soundscape: creating playfully free song structures, she bends notes into simple riffs on her acoustic guitar. Her singing could meanwhile be described as being rooted in jazz with a portion of folk music vibes. Her lyrics echo feelings of homesickness and exclusion, with a kind of tough love for her home region of Västerbotten in northern Sweden.

Support: DJ Jens Lekman

Tickets 11 May. With a festival pass there’s a 50% discount (use code ekwiri).

Skator – Bandcamp

Ahmedou Ahmed Lowla

Running parallel with the now world-famous desert blues popularized by stars like Tinariwen, Tartit, and Ali Farka Touré, a more high-octane kind of party music has emerged from the southern regions of the Sahara Desert called WZN. It was initially played exclusively at wedding parties, but today it can be found distributed through a lively trade in cassettes and CDRs. Ahmedou Ahmed Lowla is one of Mauritania’s biggest stars in WZN. His dynamic improvisations are based on traditions from the region, but he has created his own style, playing what feels like endless solos on microtonal synthesizers. Backed by rattling rhythms, Ahmedou Ahmed Lowla’s fingers fly over the keyboard—at least when he’s not hitting the keys with his face or elbows.

Support: DJ Jens Lekman

Tickets 11 May. With a festival pass there’s a 50% discount (use code ekwiri).

Msafiri Zawose

Today he is one of the most distinguished practicioners of Tanzania’s traditional gogo music, but his career as a professional musician began long ago—Msafiri Zawose began touring across large parts of the country already as a twelve year-old. His father Hukwe Zawose was a giant in Tanzanian music, collaborating with the likes of Peter Gabriel. It was he who taught Msafiri to play, but also to build the instruments crucial to gogo music. For example, the string instrument zeze and the thumb piano ilimba, which, along with polyphonic singing, are typical elements of the gogo sound. The music and dance are hugely important parts of everyday life in Msafiri’s hometown Bagamoyo, and he works passionately to keep them alive for future generations. Expressing his roots and emotions is what matters most to him, but he also allows his music to combine with modern styles, including an organic-electronic hybrid gogo album called Uhamiaji, released on British Soundway.

Support: ÇAYKH

Tickets 6 april. With a festival pass there’s a 50% discount (use code ekwiri).



Clandestino Festival takes place at several different venues, which means that the level of accessibility may vary. We have here summarized the information about how accessible the venues are.

Angered Theatre:
– The stages are accessible from ground level, which makes it easy to access the building by wheelchair.
– There’s a big parking area near the theatre, and parking spots reserved for those with a permit.
– An accessible WC is available.
– You can contact the theatre by calling 031-3315408 or e-mailing info[at]

– Wheelchair users can enter the church from the south side, where the entrance is at ground level.
– There’s a parking for those with a permit available, next to the south entrance.
– There’s an accessible WC available.
– A hearing loop is integrated in the sound system.
– If you have questions you can contact anders.brosche[at]

– It’s possible to access the venue by wheelchair at the back of the building.
– An accessible WC is available.
– You can contact them by calling 031-147100 or e-mailing info[at]

Musikens Hus:
– There’s a parking area behind the building.
– Entry is usually through the main entrance but wheel chair uses can, with help from the staff, enter by the yard directly into the concert venue.
– An accessible WC is available on the ground floor.
– There might be flashing lights and a smoke machine used on stage.
– For questions or help with entry you can contact them by calling 031-121583.

Stora Teatern:
– An access ramp and an elevator is available.
– For visitors with impaired vision seating is recommended from the fifth row.
– There’s a wireless hearing loop system available, visitors can borrow equipment from the staff. The loop system requires a hearing aid with a so called ”T switch”.
– An accessible WC is available.
– Guide dogs are welcome, but you have to book a ceartain seat. You can contact the ticket office by calling 031-3683299 or by e-mailing biljett[at]

The Museum of World Culture
– There are two parking spots available at the main entrance, for those with a permit. There’s also a large parking area at the back of the building. The main entrance is at ground level.
– There are two elevators available. If you need help you can contact the staff in the reception.
– There are accessible WC:s available on the second and third floor.
– The elevators have braille text and guide dogs are welcome.