Since its inception in 2012, PIN Music Conference has illuminated and warmed up the late November chill of Skopje with its vibrant showcase of global musical talent. This year, celebrating a decade of cultural exchange, the festival continued its legacy of connecting diverse musical landscapes from across North Macedonia, the Balkans, and far beyond.
On the first afternoon of the long musical weekend, just hours before their scheduled performance and despite some logistical hiccups with delayed flights, we sat down and had a quick chat with a band that truly embodies the conference’s spirit of inclusivity and eclecticism. Based in Barcelona, AYOM blends musical influences from Brazil, Angola, and Cape Verde, all while infusing a distinct Mediterranean vibe.
Named after the “Lord of Music” in Afro-Brazilian mythology, who resides in the drum and taught humans to play and sing, AYOM is a multicultural ensemble featuring six members from Brazil, Angola, Italy, and Greece. The group’s unique sound began with the journey of their charismatic bandleader, singer, and percussionist, Jabu Morales. Her move from Minas Gerais, Brazil, to Barcelona in 2011 led to meeting Italian accordionist Alberto Becucci and Greek-Italian percussionist Timoteo Grignani. This meeting sparked the formation of AYOM, later joined by Angolan percussionist Walter Martins, Portuguese-Angolan guitarist Ricardo Quinteira, and Italian bassist Francesco Valente.
Their self-titled debut album climbed world music charts in 2020, establishing AYOM as a groundbreaking ensemble and paving the way for their anticipated second release late this year.
“Our music,” she debuted with a smile, “is like Esperanto. It’s a confirmation of music’s universal power.” Her enthusiasm was palpable as she continued, “It doesn’t matter how people are identified culturally, or by their flag or political ideology—it allows people to feel. This gives us the confirmation that we are on the right path.”
Their participation in PIN marked AYOM’s debut in the Balkans, though it wasn’t their first encounter with the region’s rich musical heritage. “Here in the Balkans, they have a language in the accordion that’s very inspiring,” she observed. “Living in Barcelona, I’ve been immersed in many fusion projects involving Balkan music. Coming here to perform gives us the joy of experiencing it at its source.”
Morales elaborated on the synthesis at the heart of AYOM’s sound, shaped by the diverse backgrounds of its members. “Our sound is a mixture because our musicians come from different parts of the world,” she explained. The band’s creative process, she described, is decidedly democratic yet challenging, often slow due to the diverse perspectives within the group. “We strive for a truly horizontal process. It’s often slow and conflicting because there’s no single correct path—we have six different points of view, and discussions can go on forever.”
Reflecting on the band’s evolution, Morales recalled their initial connection through a shared Lusophone heritage. “When we first met, we bonded over our connection to Portuguese-speaking cultures,” she said. “Brazilian music is very present in our sound, as is the music circulating in Lisbon—from Angola, Cape Verde, and the rich hues of Latin and African music. That’s where we meet.”
She then touched on the challenges of defining their music within traditional genres. “Initially, we might say, ‘This song is based on a coladeira’ or ‘This is based on a samba,’ but it didn’t feel authentic because it wasn’t a true coladeira. As admirers of the original music, it felt wrong to mislabel it. We found that focusing on the emotions—the love, passion, protest, nostalgia, and longing—that sparked the music was more genuine.”
This shift allowed AYOM to craft a sound that transcends geographical and stylistic boundaries. “It became more truthful to define our music by the emotions behind it rather than its origin,” she noted. “We wanted to mix with the pulses of time, creating music that doesn’t necessarily have roots in a single place.”
Morales continued with reflections on the profound connection AYOM’s music fosters with its audience. “It’s beautiful because people connect,” she smiled. “There’s a communication that goes beyond language and cultural codes. It’s something powerful, almost healing—therapeutic. People allow themselves to feel, and by the end, there’s a mutual exchange. When we speak to the audience after concerts, there’s a powerful recognition of our shared humanity. It’s very moving.”
Jabu Morales’ journey is as multifaceted as the music of AYOM. Balancing multiple projects, she maintains a deep connection to Brazilian popular culture. “I have a very intimate relationship with Brazil’s popular traditions,” she shared. “I organise a forró festival and have a forró project. I teach popular rhythms and lead a large group in Barcelona called Maracatu Mandacaru. These projects allow me to combine my artistic passions.”
Living in Barcelona has significantly influenced her artistic outlook. “Barcelona opened my mind more than anything,” she reflected. “When I arrived, I had a strong identification with Brazilian music—it was my reference and my strength. But it also conditioned me to always be within that language and community. Barcelona was like a crossroads of the world, with people constantly passing through and bringing diverse influences. Artistically, I see an evolution in my compositions from when I arrived to now—a newfound openness.”
She spoke fondly of local artists who have inspired her. “Silvia Pérez Cruz, a Catalan singer, is like a balm for me,” Jabu said. “Her way of singing is very deep and inspires me a lot. I also admire Aleix Tobias, a percussionist who does incredible research into Iberian percussion. Another artist is Mû Mbana from Guinea-Bissau, whom I met in Barcelona. There are so many talented artists who contribute to the vibrant scene there.”
As we talked, Morales shared her excitement about AYOM’s upcoming plans. “We’re preparing our second album,” she revealed. “It’s finished—we’re in the mixing and mastering phase now. The bureaucratic parts of planning and finding partners are underway. We had the privilege of working with Guilherme Kastrup as our producer. He’s from Brazil and produced Elza Soares‘ Grammy-winning album A Mulher do Fim do Mundo. We admire his work immensely. As a percussionist, he understands the language we use in our music.”
Their collaboration with Kastrup seemed almost fated. “We saw his concert at WOMEX,” she recounted. “Each of us was in different parts of the audience, and by the end, when we looked at each other, it was clear—he was the one. We had just met him, so it felt like a leap of faith to see if he’d work with us. Eventually, everything aligned perfectly, and we’re very happy with the results.”
As mentioned, AYOM’s second album is slated for release in the second half of this year, with singles expected to drop beforehand. “We’re expanding into digital platforms too,” Jabu mentioned. “This opens up new possibilities for exploring different timbres and sounds.”
As our time together came to a close and their performance drew nearer, we asked Jabu how she’d invite someone into AYOM’s world. She thought for a second, then smiled. “It’s an invitation to be present—to forget your phone, set aside your preconceived notions, and join us on a journey across the Black Atlantic.”
When it came to describing AYOM’s music in her own words, she offered a thoughtful reflection. “I think it’s a sound that feels old but is current,” she said softly. “It sounds like something that makes you remember something that never existed.”
Her words nailed the essence of AYOM: a sound that transcends borders and eras, where emotion takes the lead and genres don’t define the experience. AYOM’s music doesn’t end with the performance—it stays with you, leaving an imprint long after the final note and dance step fade.
To learn more about AYOM and their sound, you can visit their official website You can stay up to date with their releases, including their upcoming 2nd album, following them on Bandcamp