Join us in this Q&A interview with Michael League and Malika Tirolien as they delve in on how diversity influences their creative process and shapes their sound. Discover their mission to amplify the voices of the marginalised and learn more about their upcoming album…

Rhythm Passport: Can you provide a brief overview of Bokanté’s journey? How did the band members come together, and what is the significance behind the name “Bokanté”?

Michael League: I formed the band based on a vision I had to unite musicians from very different traditions in an unconventional instrumentation. “Bokanté” is a word Guadaloupean Creole that means “exchange.” It seemed to sum up exactly what the band is about.

Bokanté is composed of band members from diverse cultural and musical backgrounds. How does this diversity influence the creative process and shape the distinct sound of Bokanté?

ML: I think it’s the biggest and most important element of our sound. Having different perspectives and opinions widens your range of creative possibilities, and we try to take full advantage of that. Specifically on History, Malika and I gave more freedom than ever to the individual members of the band to create parts in the recording session.

You mentioned that Bokanté aims to be a “voice for the voiceless.” Could you elaborate on this mission and explain how it is reflected in your music?

ML: I think that Malika does an incredible job of expressing her experience as a black female in a way that all genders and races can relate to. She understands how to speak for the oppressed or marginalized while making it accessible to those who may never have had similar experiences.

Could you share more details about Bokanté’s upcoming album, History, including the themes and messages it explores?

ML: As with all Bokanté albums, Malika broaches a variety of relevant, contemporary socio-political topics. Specifically, this record touches upon the effect of narrative on the way we see and interact with the world.

The album incorporates a variety of traditional and folkloric instruments from different cultures. Could you discuss the creative process of blending these instruments with a contemporary musical vision?

ML: My rule is always that whatever sounds good IS good. Certain instruments combine beautifully sonically but have never really co-existed because they come from different musical traditions. On this record, we’re mixing so many things together that I can’t imagine that these specific combinations have happened before. But the priority isn’t to be unique, it’s to create something that sounds beautiful. Every decision we made was in the pursuit of a good, interesting sound.

Can you provide insights into the recording process of “History” and how it differed from your previous albums? How do you perceive the evolution of the band and yourselves as artists?

ML: Malika and I intentionally chose to “under-write” on this album in order to leave space for the band members to co-compose. Most of the songs were only groove ideas with rough melodies when we came together to record at my house. This allowed everyone loads of space to contribute individually as composers. At any one moment, the guitarists were in my bedroom writing parts, Malika was in the kitchen working on lyrics, and I was upstairs recording the percussionists. It was wonderful. Then, when everything was pretty much done musically, Malika crafted and recorded the final vocals.

Bokanté is based in New York. How does your new album reflect, discuss, and integrate itself into contemporary America and its current socio-political landscape?

ML: The USA is kind of like a microcosm of the entire planet. So, in my opinion, anything that relates to the diversity of the earth can easily be applied to New York. You have a constant clash the spurns innovation and diffusion.

What role does the blues play in shaping Bokanté’s music, and how do you trace its roots from West Africa to the present day?

ML: It’s the most prominent element in our music, for sure. I wouldn’t place its roots solely in West Africa largely because West Africa was influenced- via the slave trade- by Arab music as well. No one knows where the blues began, but we can see its mark on at least 4 continents.

Michael, you play a variety of instruments in Bokanté, such as the bass, the guembri and the ngoni. How did you learn to play these instruments and what are some of the techniques and styles that you use or adapt in your playing?

ML: I take lessons! Depending on the instrument, I’ll either study very traditionally and then adapt the technique and knowledge to my compositional curiosity or I’ll intentionally study very little traditional technique in the hopes that I’ll develop a more unique approach to the instrument.

Could you share any memorable moments or experiences that occurred during the recording of “History” in Spain, where the entire ensemble converged after a period of separation?

ML: Just these hilarious nights in the local bar (which is 100% Catalan), coming in with 9 people from 5 different countries… the villagers got a real kick out of that.

How do you hope History will be received by listeners, and what impact do you aspire to make with your music?

ML: I hope, above all, that it will transport people when they listen to it. We’re tapping into a variety of very deep traditions and Malika is an incredible storyteller. I just hope it all comes through and that people feel the innate value in cross-cultural cooperation.

Malika, as the lead vocalist, how did you approach singing in both Guadeloupean Creole, French and English? What emotions or stories do these languages convey in the album?  

Malika Tirolien: Before, I thought melodies with longer notes were just easier to write in English while rhythmic melodies sounded better in creole and storytelling melodies were shinning in French.

But now, I think all languages can be used for anything. It is just a question of which “sounds” better in the context of each song. Per example, I started writing “Pa domi” in English but it ending up being in creole because the words chosen for this song were flowing better.

The album features a song titled “Ta Voix” where you celebrate the beauty and importance of singing and music-making. How do you approach vocal technique and expression in your singing, and how do you collaborate with the other musicians in the band?

MT: “Ta Voix” is indeed about music. It is about the joy, comfort and healing music has brought me (or anyone) since I was born. I am more of an intuitive singer, emotion is important just like the narrative and the feelings that come with it. The musicians are amazing in this band. Each of them is at the top of their craft and their excellence allows me to be honest and vulnerable when I sing because I know they have my back.  

History is a socially engaged work, with songs like ‘Tandé’ addressing black history and the struggles of black people throughout centuries. How do the lyrics in the album reflect current social issues such as identity, decolonisation, and alternative histories?

MT: “Tandé” is partly about white people pretending they can’t “hear” about black people’s struggles while still profiting from our cultural, economic and historical contributions.

It is also mostly a declaration of emancipation. Black people are not trying to plead and beg a system that was built to maintain us down anymore. Instead, we concentrate on ourselves, our stories, our memories and history, our multiple identities and allow ourselves to thrive without waiting for white people’s approval.  

This is one example of how the lyrics on this album reflect current social movements. We tackle on topics like overconsumption and the toxic effects of grind culture, unity as human, the subjectivity of history and more!

Looking ahead, what future projects or plans does Bokanté have in mind, and how do you envision the band’s evolution in the coming years?

Michael League:  The future of the band is uncertain. Recording-wise, I don’t think we’ll ever stop making albums. But touring depends on how people receive and support the group.

We usually close our interviews with a tricky question… In a few words, how would you introduce Bokanté and your music to someone who never listened to it before?

ML: I would call it a gumbo with spices from all of the places in which the blues has lived.

- Bokanté's new album, History, will be released via Real World Records on 30/06.
You can listen to it and get your copy HERE -

Photo ©: York Tillyer