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2018 TWILIGHT

ON THE PIERSCHEDULE

SEPT 05LATIN WAVE

ORQUESTA AKOKÁNJarina De Marco

Quitapenas

Sister Mantos

SEPT 12AUSTRALIA

ROCKS THE PIER

BETTY WHOTouch Sensitive

CXLOE

Death Bells

SEPT 19ISLAND VIBES

JUDY MOWATTBokanté

Twilight Steel Drums

DJ Danny Holloway

SEPT 26ECLECTIC INDIE

BRAZILIAN GIRLSSUDAN ARCHIVES

Capyac

yOya

OCT 03AFRO-BEATAND R&B

FELA! THE CONCERTTiffany Gouche

Twilight Drum Circle

DJ Nnamdi

OCT 07SOUTH ASIAN

SOUNDS

RED BARAATVidya Vox

DJ Rekha

Discostan

If you close your eyes, inhale the oceanbreeze and listen, you’ll hear music in

every moment on the Santa Monica Pier.There’s the percussion of rubber tires

rolling over knotted wood slats, the plinkingof plastic balls bouncing in the arcade andthe song of seagulls signaling supper.

Pier Director Negin Singh hears somethingelse: the sound of people feeling welcome.

“It feels like any day walking down ThePier you can hear every language in theworld,” Singh recently said from her officein the Looff Hippodrome. The global natureof the iconic destination’s 8 million annualvisitors has inspired a watershed year forthe landmark itself and the 34th year of theconcert series that calls it home.

If the Statue of Liberty is the face thatgreets visitors and signals the Americandream to the world, the Santa Monica Pieris the hand that waves, its cracked and knot-ted boards unfurling like suntanned skintoward the Pacific Ocean. Its blue welcom-ing arch peaks behind smiling families incountless photo albums, frames sunsets on

Instagram feeds, and serves as a backdropin Hollywood blockbusters.

By the end of last year, the concerts hadreached a turning point. City leaders grappledwith an event that had become too popular forits own good. Police worried they couldn’tproperly protect a growing audience thatspilled out onto the sand. Meanwhile, localmusic fans fought to preserve the beloved sum-mer tradition. The shows were in a strangepredicament – how to reign in a free event,yet keep it awesome and remain inclusive.

With that underlying tension as the back-drop, a group of interested partners (includ-ing Negin, The Santa Monica PierCorporation, RH&S Concerts and the City ofSanta Monica) came up with a new themethat can be reimagined year after year:Local Meets Global.

Instead of one stage, there will be threealong the Pier, where the team has carefullycurated a custom blend of music, immersiveart and unique vendors to transform localsinto tourists themselves, sampling and learn-ing from other cultures through art and music.

Because the event is limited to the land-mark, police can better control crowds andfor the first time check bags. Fans will still beallowed to bring their own picnics andwater bottles for the event.

The themes include Latin Wave, AustraliaRocks the Pier, Island Vibes, Eclectic Indie,Afro-beat and R&B and South Asian Sounds.Music fans can take a deep dive into theirfavorite genres by hearing new acts descend-ing on Santa Monica from around the world.

“Because we are devoting an entire nightto one theme and expanded to three stages,we can pick people who are doing newthings in that particular music culture andpushing the envelope and representing anew generation,” Singh said.

Now she’s waiting to see how SantaMonica’s locals embrace a global theme.

“Change is always difficult,” Singh said.“The intention here is that we have Twilightfor decades to come. It’s going to take everyone of us to make sure that happens.”

There may be no better time for anAmerican icon to open its arms to the world.

TWILIGHT ON THE PIER WELCOMES THE WORLD

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SEPT 05LATIN WAVE

ORQUESTA AKOKÁNJarina De Marco

Quitapenas

Sister Mantos

ORQUESTA AKOKÁN – FEATURING JOSÉ "PEPITO" GÓMEZ

Orquesta Akokán is a big band collectiveof Havana’s top musicians both young andold, joining forces with some of the most cre-ative and spirited talents of New York’s Latinmusic scene. Born out of a shared vision bysinger José "Pepito" Gómez, producer JacobPlasse, and arranger Michael Eckroth, thegroup reinvigorates the sound of the goldenera of Cuban mambo with a bold new energy.

José "Pepito" Gómez began his musicalcareer in Cuba, where he cut his teethsinging with local groups and playing trum-pet in the municipal band. His first profes-sional break came when he auditioned forthe legendary group Maravilla de Floridaand was hired as their new lead singer. Fromthere his career expanded and he was askedto join musicians from the famed groupIrakere as a founding member of HabanaEnsemble. It was through this renownedgroup that he met the legendary César"Pupy" Pedroso. Pedroso asked Gomez to bethe lead singer in a new group he was form-ing called Pupy y Los Que Son, Son. He con-tinued to travel and sing where he wouldoften sub in for as lead singer was LosHacheros, lead by Jacob Plasse. Gómezwould forge a friendship with Plasse overtheir shared love of Cuban music. Togetherthey would rediscover the sounds thatGómez knew from childhood on a journeythat would culminate in the creation ofOrquesta Akokán.

Jacob Plasse was playing tres for the musi-cal "Celia" about the life of Celia Cruz,where he met pianist Mike Eckroth. Realizingtheir shared musical affinities they beganmaking albums together. However it was hisfriend, pianist and arranger Michael Eckroth,who lent him the Beny Moré album thatwould inspire the next chapter in his loveaffair with Cuban music.

Michael Eckroth is an accomplishedpianist, composer and arranger fromPhoenix, Arizona who has recorded andtoured internationally with numerous jazzand Latin music greats including Johnny"Dandy" Rodriguez, Andy Gonzales, NelsonGonzales, Pedro Martinez, and JohnScofield. He earned a PhD from NYU with athesis on Cuban piano solos of the '40s.Through his academic work, he gainedaccess to an expansive archive of rare

Cuban recordings. With his knack forarrangement and his intimate familiarity withthe sounds of Cuba's great big bands,Eckroth was the final piece of the puzzle.

The trio got together and worked on somearrangements however initial sessions withNew York musicians left the trio flat. It was-n't until Gómez invited the duo to accompa-ny him on a trip to Cuba that the projectbegan to come to life.

Gómez had enlisted his old friend CésarLopez from Irakere, and together they hadassembled a group of some of the greatestmusicians of Cuba, many of which had longbeen heroes and inspirations to Plasse andEckroth: A saxophone section made up ofJamil Shery and José Luis "El Chewy"Hernandez on tenors, with Evaristo Denis onbaritone, and of course César Lopez on alto.On trombones, Carlos "Afrokán" AlvarezGuerra of Cubanismo fame, Heikel FabiánTrimiño, and Yoandy Argudin. SantiagoCeballos Seijido and Harold Madrigal Fríason trumpets. Itai Kriss on flute. EduardoLavoy Zaragoza on bongo, with OttoSantana Selis on conga and sharing timbaleduty with Carlitos Padron. Coros would be

sung by Eddie Venegas and Luis Soto.Though Plasse himself rose to the occasion toplay a bit of tres, and Eckroth handled thelion's share of keys with inspired prowess,they did convince Pedroso to lend aninspired piano performance on "Cuidadocon el Tumbador." These musicians, armedwith Eckroth's hard-boiled arrangements andfronted by Gómez' soaring vocals, were tobe the backbone of Orquesta Akokán.

JARINA DE MARCO

Jarina De Marco and her sound embodythe multi-ethnic future. Her work defiantlytranscends categories and borders. She is acreative visionary who sings in four lan-guages and spearheads all aspects of herproject: songwriting, production, visualdesign and video direction. She’s supportedby a creative and politically left leaningcommunity of like-minded globalistas, Jarinais out to make a difference through her artand music.

Jarina's first single "Tigre" was releasedas part of the Broad City (Comedy Central)soundtrack, and is one of many songs of

hers featured on the show. Pitchfork andFADER were among her early supporters aswell as Mark Ronson and Major Lazer whohave collaborated with her as a vocalist fortheir projects.

Following the success of “Tigre”, shereleased "Release The Hounds" in supportfor the people of Standing Rock’s movementto protect their land against the Dakotapipeline. Rosario Dawson, Chris Rock, LauraGomez, and others joined in the cause tocreate this moving visual piece.

Jarina’s childhood and family inform hergenre-defying sound and politics. She wasborn in the Dominican Republic and spenther early years traveling in remote parts ofthe Amazonian rainforest and Dominicancountryside, cataloguing indigenous soundsand rhythms with her parents, bothrenowned musicologists and musicians. Aspart of the resistance against the brutal dic-tatorship of Joaquín Balaguer, her parentsperformed a protest song in front of a largepublic gathering and had to immediatelyflee the country and were forced into exilewhere they relocated to Montreal until it

2018 TWILIGHT ON THE PIER BIOS

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ORQUESTA AKOKÁN SISTER MANTOS

JARINA DE MARCO

QUITAPENAS

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was safe to return home.As an outspoken advocate of women's

rights and human equality, Jarina's musicis a unique blend of global consciousnessand global rhythms. She simultaneouslysupports the message of resistance, whilecreating a colorful sound entirely her own.

QUITAPENAS

QUITAPENAS, one word – all caps, foursyllables – all claps, gives you a taste oftheir rhythmic contagion. This tropical Afro-Latin combo was born under the warmCalifornia sun. They borrow aesthetics fromthe radical 60s, 70s and 80s. Each songechoes a remix of history and invites one toengage in the liberating evenings of Angola,Peru, Colombia, Brazil and beyond. Thename means “to remove worries.”Everybody has a "pena" and the mission ofQUITAPENAS is simple: to make you danceand leave you without a worry.

SISTER MANTOS

When Sister Mantos takes the stage, theirpsychedelic blend of LATIN BEATS, PUNKATTITUDE, and FUNK RHYTHMS invigoratethe crowd to dance, sing and rejoice.

Sister Mantos sings songs in Spanish andEnglish about love, QUEER & POC empow-erment, and utopias that are free of warand oppression.

Sister Mantos is a solo performance bandor a huge orchestra depending on the timeand place but a guaranteed party either way.

Audiences are sent on a spaced out psy-chedelic road trip and treated to mysticalexperience of spastic dancing, bumpingbeats, and POSITIVE ENERGY.

Originally started as an alias for a solomusic/art performance project by OscarMiguel Santos in 2008, Sister Mantos hastransformed into a live band multi-instrumen-tal band that traverses sonic genres.

SEPT 12AUSTRALIA

ROCKS THE PIER

BETTY WHOTouch Sensitive

CXLOE

Death Bells

BETTY WHO

Casting a striking presence as a per-former, emanating confidence as a writer,and inspiring as an independent force,Australia-born and Los Angeles-based popstar Betty Who has quietly elevated herself toa worldwide phenomenon on her own terms.

Acclaimed by Entertainment Weekly,

Vogue, Rolling Stone, Buzzfeed, ElleMagazine, and more, Betty’s sophomorealbum, The Valley, yielded a string of inter-national hits, including “I Love You AlwaysForever” certified double-platinum inAustralia and “Human Touch.” Total Spotifystreams exceed 150 million as she regularlyaverages over 3.3 million monthly listenerson the platform. Beyond countless sold outheadline tours, she’s delivered knockout tele-vision appearances on The Today Show,Late Night With Seth Meyers, The View, andmany more aside. Betty’s commitment tocharity, health, and wellness matches herpassion for music. She has given perform-ances to benefit UNICEF, ACLU, PlannedParenthood, The Trevor Project, HumanRights Campaign, and many more. Shejoined forces with Lululemon and Soul Cycleto launch the acoustic “Beats Per Moment”tour, ran a Nike marathon on the entertain-ment team, and partnered with a personalfavorite workout app, Aaptiv, for playlisting.

SEPT 19ISLAND VIBES

JUDY MOWATTBokanté

Twilight Steel Drums

DJ Danny Holloway

JUDY MOWATT

Judy Mowatt is one of the strongest, mostinfluential female vocalists in reggae music.In addition to faithfully recording and tour-ing with Bob Marley as one of the I-Threesfrom 1974 until Bob’s passing, she has putout at least nine solid solo albums. HerBlack Woman LP (Shanachie, 1980) is con-sidered by many critics to be the greatestreggae LP ever recorded by a femaleartiste. It was also the first reggae LP to beproduced by a woman.

Judy Mowatt is a very spiritual womanwho has continued to grow and evolve on

her spiritual journey over the years. In herlive performances she shares with convic-tion her current thoughts and beliefs withoutcompromise. Her beautiful voice is still a joyto hear, strong and true.

Judy Mowatt is a legend.Judy Mowatt was born in the year 1948

in Gordon Town, St. Andrew Jamaica. Sheis an internationally acclaimed reggaeartist who rose to fame as one of the I-Threes, who were the background vocalistsfor Bob Marley.

At 13 years old, Judy Mowatt became amember of a dance troupe which touredJamaica and other islands in theCaribbean. Her ambition was to become aregistered nurse, but instead she dedicatedher life to nurse and restore healing to thehearts and soul of mankind through hermusic. Her earliest influences were ArethaFranklin, Otis Redding, Curtis Mayfield,Dionne Warwick, Bob Marley, MarciaGriffiths, The Staple Singers and TheSoulettes. A coincidental meeting with twoteenage girls who were earlier in her dancetroupe led to the formation of the Gaylettes,in 1967.

Judy Mowatt associated with BunnyLivingston/Wailer in the early 1970s, andshe has written some of the tracks recordedby Bunny Wailer. At that time, for legal rea-sons in the music business, she used alter-nate names such as Juliann and Jean Watt.On The Wailers LP Burnin' (1973), twosongs with Bunny Wailer as lead singerwere written by Judy Mowatt under thepseudonym Jean Watt - "Hallelujah Time"and "Pass It On". Furthermore, the Wailersrecorded a single, "Reincarnated Soul",also written by Jean Watt and sung byBunny Wailer. This song – with the namechanged to "Reincarnated Souls" – wasincluded two years later on Bunny Wailersfirst solo album Blackheart Man (1976).

In 1974, Judy got her big break by join-ing Bob Marley's backing vocal trio the I-Threes. The trio had met working in the stu-dio and their voices had immediately blend-ed into something special. Marley himselfhad recruited them to be part of his backing

band, The Wailers. Judy remembered, "Thefirst song we did was 'Jah Live' and Bobwanted us to work with him on his NattyDread album. The I-Threes continued towork with Marley until his death."

Her Black Woman LP (1980) is consid-ered by many critics to be the greatest reg-gae LP done by a female artiste. It was alsothe first reggae LP recorded by a womanacting as her own producer.

She became the first female singer nomi-nated for a Grammy in the category of reg-gae music when her Working Wonders LPwas nominated in 1985.

Judy’s discography includes MellowMood (Tuff Gong, 1975), Black Woman(Shanachie, 1980), Only A Woman(Shanachie, 1982), Working Wonders(Shanachie, 1985), Love Is Overdue(Shanachie, 1986), Beginning (TuffGong/EMI, 1986 with Rita Marley andMarcia Griffiths), Look At Love (Shanachie,1991), Rock Me (Pow Wow, 1993), Love(African Love/Jet Star, 1998) SomethingOld, Something New (Judy M Music/TuffGong International, 2002)

Judy Mowatt is currently highly respectedas one of the best female artists in Jamaica.

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BETTY WHO

TOUCH SENSITIVE

DEATH BELLS

CXLOE

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BOKANTE

For the newly-formed international musicensemble Bokanté, connection is the founda-tion upon which all things are built. Amongthe members themselves, the connectionsspan almost two decades. But outwardly, theband’s formation was born in the desire toconnect with society and the problems mosturgently facing it. Rich in the sound of bothdelta and desert, the unusual but evocativeinstrumentation blends musical worlds toconvey an urgent message of social aware-ness against the rising tide of exclusion andhuman indifference.

The word bokanté means “exchange” inCreole, the language of vocalist MalikaTirolien’s youth growing up on theCaribbean island of Guadeloupe. Now liv-

ing in Montreal, she stands among 8 musi-cians from 4 continents, each one accom-plished in their own right and well versed inmusic far beyond that of their point of ori-gin. Three-time Grammy award-winning gui-tarists Michael League, Chris McQueen, andBob Lanzetti (all from Snarky Puppy), percus-sion legend Jamey Haddad (Paul Simon,Sting), pedal and lap steel virtuoso RooseveltCollier (Lee Boys, Karl Denson), andunplaceable percussionists André Ferrari(Väsen) and Keita Ogawa (Banda Magda,Yo-Yo Ma) come together to create a diverseensemble rich in groove, melody, and soul.

An experiment conceived by SnarkyPuppy founder and GroundUP Music cre-ator Michael League (who has traded hisbass in for a baritone guitar in thisgroup), the process of formation was allbut conventional. The music and some ofthe melodies were written by League,demoed while on tour with other bands,and then sent to Tirolien with lyrical con-cepts attached. Tirolien then wrote lyricsand melodies, demoing and ping-pongingthe new content back to Michael. Many ofthe musicians had never even met until thefirst day of recording. By the end of theweek-long session in upstate New York’slegendary Dreamland Studios, the bandfelt abnormally cohesive. “Unity was para-mount in the formation of this group,”observed League. “Though the ensembleis multi-lingual, multi-cultural, and multi-generational, we all feel connected asmusicians and people. And in combiningour different accents I feel that there is astrangely common and poignant sound,one that can reach and relate to listenersaround the world.”

The band’s debut album, “StrangeCircles,” goes from Zeppelin-esque bluesstomp to folkloric Caribbean kaladja overthe course its ten tracks, blending the exten-sive and varied knowledge of the individualplayers with a strong, yet empathetic, lyricalapproach. Singing in both Creole andFrench, Tirolien’s words draw nuanced pic-tures of the struggles we face in our worldtoday- racism, the refugee crisis, a dyingplanet, apathy towards human suffering- andoffer words of thankfulness for those thingswhich unify us, as well as hope for the futureof our race. Through it all, Bokanté is avibrant image of what it wishes to see in theworld: connection, unity, and love- throughexchange.

DANNY HOLLOWAY

Danny Holloway was raised in LongBeach California, played in bands throughhis teens and moved to London at 20.Holloway worked as a music journalist atthe NME newspaper just as it was enteringits rebirth in 1972. While there, he inter-viewed David Bowie, Stevie Wonder, theRolling Stones, Frank Zappa, CaptainBeefheart, Elton John and Arthur Lee. InDecember of '72, Danny accompanied theRolling Stones to Jamaica while the Stonesrecorded their Goats Head Soup LP. Shortlyafter, Holloway joined Island Records'London office, reporting to and being men-tored by label owner Chris Blackwell.Holloway contributed to 3 Bob Marleyalbums: Burnin', Natty Dread and he record-ed the breakthrough album Bob Marley Livewith No Woman No Cry. He also assem-bled albums by Jimmy Cliff, The Meters, The

Maytals; as well as producing the Heptonesalbum Night Food in Jamaica. Hollowaymoved back to LA and produced severalpunk bands and the Plimsouls before rejoin-ing Island. This time, he headed theSoundtracks department and worked withsongwriters as VP of music publishing for 15years. In 1997, Danny started DJing and in2007, he joined the Internet radio collectiveDublab. He has contributed over 40 mixesand also released a "Future Roots Mix" CDwith Dublab in 2013 called Shots Fired.Additionally, he has interviewed KennyDope, Scientist and Ned Doheny for Thesite. Holloway has promoted the successfulclub nights Blazing 45s and Fuzz and alsocurrently co-owns the popular reissue 45slabel, Ximeno Records. He has consulted asa musicologist to iTunes, AllMusic and over20 films. Holloway also had Danny's per-sonal record collection was over 50,000pieces before he trimmed it. He has done DJgigs for the TED conference, many boutiquehotels and Damian Marley's Welcome ToJamrock Caribbean Cruise in 2014 and2015.

SEPT 26ECLECTIC INDIE

BRAZILIAN GIRLSSUDAN ARCHIVES

Capyac

yOya

BRAZILIAN GIRLS

Brazilian Girls return in 2018 with Let’sMake Love, their first album since the 2008Grammy-nominated New York City. Formedin 2003, the group—Sabina Sciubba (leadvocals, electronics), Jesse Murphy (bass,vocals), Didi Gutman (keyboards, vocals),Aaron Johnston (drums, percussion,vocals)—was born after the four memberscrossed paths at East Village club Nublu.“Somehow we all ended up at Nublu on aSunday, and Ilhan (Ersahin, the club’sfounder) suggested we play together,” saysJohnston. The band began playing Nubluweekly, embracing a free-form ethos thathelped shape their kaleidoscopic sound. “Alot of the spirit of the band comes frombeing so open to improvise like that,” saysMurphy. Fast earning attention for their

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JUDY MOWATT DJ DANNY HOLLOWAY

BOKANTÉ

euphoric live show—and winning fans likeZach Galifianakis, who later cast Sciubbaas a regular on Baskets—Brazilian Girlsreleased their self-titled debut in 2005 andsophomore album Talk to La Bomb in 2006.

Produced by longtime Brazilian Girlscollaborator Frederik Rubens, Let’s MakeLove came to life over the course of sever-al years. Since they’re now scatteredthroughout the U.S. and Europe, the four

band members assembled when possibleto write and record, piggybacking thosesessions onto gigs in Istanbul and Madridand Paris and New York. Despite the dis-tance, Brazilian Girls consistently foundtheir chemistry as kinetic as when theyfirst started out. “It’s a little astounding tous because we’ll go so long without play-ing, and then we get together and thingsjust happen in this very harmonious way,”says Sciubba.

Brazilian Girls bring a woozy romanti-cism to many tracks on Let’s Make Love.

Opening the album with lead single“Pirates,” Sciubba notes of the modern-agenew wave love song, “It’s a song abouthow we should all sleep more and sleepmore together. It would change everything.Actually that's what the whole record isabout. It may even be the true meaning oflife." The album gets its title from a glori-ous anthem at the heart of the album. Likemuch of their latest record, the frenetic yetethereal “Let’s Make Love” takes a moreclassically arranged form than the band’searlier work. At the same time, both album

and title track embody the quintessentialspirit of Brazilian Girls: their strange bal-ance of wildness and elegance, cheekyhumor and fractured poetry, soulful mys-tique and libertine wisdom. “Right now‘Let’s Make Love’ seems like a very goodmessage to put into the world,” saysSciubba of the song’s inspiration. “It’s noteven ‘Make love, not war’—it’s just ‘Makelove,’ and nothing else.”

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SUDAN ARCHIVES

Violinist and vocalist, Sudan Archiveswrites, plays, and produces her ownmusic. Drawing inspiration from Sudanesefiddlers, she is self-taught on the violin,and her unique songs also fold in elementsof R&B, and experimental electronic music.

Sudan Archives grew up in Cincinnati,Ohio, where she "messed around with instru-ments in the house" and took up violin in thefourth grade, eventually teaching herselfhow to play the instrument by ear. Whenshe discovered the violin playing style ofNortheast Africa, her eyes opened to thepossibilities of the instrument. "The way theyplayed it was different from classical music. Iresonated with the style, and I was like,'Maybe I can use this style with electronicmusic,'" she says.

This fusing of folk music and electronicproduction was the turning point for Sudan."I started mixing my violin into beats,” shesays, “It wasn't complicated — I'd just singstraight into the iPad." She honed her at-home style after moving to Los Angeles aged19 to study music technology, and after achance encounter at a Low End Theory partywith Stones Throw A&R and Leaving Recordsowner Matthewdavid, she signed with StonesThrow. At the very start of her musical career,she's already won plaudits from the likes ofthe New York Times and Pitchfork, andplayed live at experimental festival Moogfest.

Her EP Sudan Archives is an extraordi-nary debut statement from a singular artist.Over six tracks, Sudan Archives layers har-monies, violin figures and ethereal vocals,grounding them all with the hip-hop beats.

CAPYAC

In a world where all dogs are gooddogs, only one dog can be the best at beinga great dog. Coming soon to a theater nearyou. #hollywood

That’s an idea we had for a movie.Universal wasn’t into it. They said dogmovies “ran their course” a decade ago.

Whatever, Universal.The next year, they stole our idea and

released The Secret Life of Pets, which made$875 million at the box office.

We tried to sue, but our lawyer was abaked potato and we didn’t even make itinto a courtroom. Even Judge Judy said wedidn’t have a case.

Since then, we’ve just been makingmusic. Kind of boring, really, considering wehad an $800 million movie idea in our backpocket from the beginning. But life isn’talways fair. Rarely is, in fact.

Anyway, the music thing turned out to bepretty fun.

OCT 03AFRO-BEATAND R&B

FELA! THE CONCERTTiffany Gouche

Twilight Drum Circle

DJ Nnamdi

FELA

CHOP AND QUENCH, “The Fela!Band”, is comprised of members of the castand band of FELA! the musical. Individually,the musicians are some of the finest in NewYork, having performed with The Roots,India Arie, Elvis Costello, and many others.Lead singer Sahr Ngaujah was nominatedfor a TONY Award for his performance inthe Broadway show and has been featuredon film and television. As a unit, the bandhas gotten to accompany performers suchas Beyonce, Femi Kuti, and AngeliqueKidjo. Known for their straightforward per-formances of classic Fela Kuti compositions,they have branched out, bringing their ownoriginal music to the stage. After performingaround the world, they recently performedat the Sundance Film Festival in conjunctionwith the premier of Alex Gibney’s film“Finding Fela”. They are now back home inNew York preparing new material to takeinto the studio for their first recording sincethe Fela! Broadway cast recording, andlooking forward to starting a weeklyMonday night residency at the KnittingFactory in Brooklyn.

TIFFANY GOUCHÉ

Hailing from Inglewood, CA, singer,songwriter, and producer, Tiffany Gouché,has scaled her way to the forefront of theSoul and R&B scene. Equipped with her full-bodied melodies, Tiffany’s Pillow Talk EP(2015) and dual single release “Dive”(2017) turned the industry on their ears witha robust epilogue of audacious tales—gar-nering Gouché praise and accolades frommusic’s elite.

Described by Billboard as purely heartfeltand soul-warming, the knob-twiddling multi-instrumentalist has been blazing the scenecollaborating, touring and sharing stageswith a myriad of artists, including:.Anderson Paak, Solange, Ty Dolla $ign, JillScott, Jay Rock, Little Simz, Ms. Lauryn Hill,Kehlani, and Kelela.

Having produced for artists like LalahHathaway and SiR, Tiffany Gouché helms asound that brings an unapologetic authenticityand uniqueness to music. Her nostalgic, yetfuturistic-soul takes on a hip-hop flow, whilegiving room for innovation in the form of R&B.

Anyone that has ever experienced TiffanyGouché will testify that she knows no ceil-ings both on and off stage. The FADERexplains how “her lyrics about thrilling ren-dezvous and sticky situations feel up-closeand multi-dimensional.” To no surprise, in2017, Tiffany toured over 50 dates globally,including 12 shows throughout Europe. Thisyear, Tiffany sold out her headlined return toLondon, and was warmly received at herdebut headline in Berlin (Germany).

Most recently lending vocals and produc-tions to 5x GRAMMY Award winner LalahHathaway for Ms. Hathaway’s Honestlyalbum (2017), Tiffany has not only beenable to create a sound of her own but morenotably a sound that is sought after by someof our most respected legends. Tiffany wasalso featured on the GRAMMY-nominatedalbum, Velvet Portraits, by longtime collabo-rator, Terrace Martin.

Tiffany plans to release her debut LP thisyear, and it is self-evident that it will only raiseher stock as a triple-threat and a performer.

DJ NNAMDI

Nnamdi Moweta (born March 27,1958), is a radio personality, music produc-er, music supervisor, music promoter andconsultant. He is the host of Radio Afrodicia,a radio show on KPFK, a listener-sponsoredradio station based in Los Angeles,California. With an audience of approxi-mately 50,000 listeners weekly, Moweta isthe only African-born radio host in LosAngeles, California. In 2011, Moweta wasfeatured on Reuters Africa Journal segmentabout African DJs in the United States.

Moweta is recognized by UCLA's ethno-musicology program as an expert in thefield of African and African-influencedmusic—he has served as a panelist forUCLA's annual ethnomusicology conferenceswhich attempt to educate the public aboutglobal arts and cultures

Originally from Jos Plateau State Nigeria,Moweta grew up in Jos, Minna, Kano andLagos. He speaks Igbo and Yoruba fluentlyand is Igbo. In 1978, Moweta came to theUS to study film-making at the San FranciscoArt Institute. He moved to Los Angeles in1982 and established himself as a DJ, musicsupervisor, consultant, manager, and eventpromoter. In 1983, Moweta received a grantfrom the Department of Cultural Affairs in LosAngeles to host an eight-week segment aboutthe origins of rap music. The program airedon KPFK that year and afterwards, Mowetawas asked by KPFK to host a weekly showand subsequently, Radio Afrodicia beganbroadcasting on June 21, 1995.

Moweta currently hosts Radio Afrodicia,which features both internationally knownand new musicians. Moweta has interviewedwell-known artists such as Fela Kuti, SeunKuti, Femi Kuti, Baaba Maal, Papa Wemba,

FELA! THE CONCERT

TIFFANY GOUCHE

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Youssou N'Dour, Asa and Fally Ipupa. Forover twenty years, Moweta has increased theUS exposure of African artists such as FelaKuti, King Sunny Adé, Chief Stephen OsitaOsadebe, Koffi Olomide, and Nneka.

For several years, Moweta has promotedand supported local events in Los Angelesthat educate the public about African culture

and music. One of his largest and longest-run-ning events was the African Village Festivalheld at the John Anson Ford Amphitheatre inHollywood. From 1997-2003, Moweta pro-duced the annual African Village Festival,which showcased music from all over Africa,Brazil, and Cuba. The Festival had a signifi-cant impact on the popularity of Africanmusic in Los Angeles, in that performers suchas Papa Wemba steadily gained a U.S. fol-lowing. International artists such as M'biliaBel, Kanda Bongo Man, Papa Wemba, DibloDibala, and Madilu System all were featuredperformers for the festival.

In 1995, Moweta managed Chief StephenOsita Osadebe, the Nigerian performer whorose to international fame as the leading con-tributor of African popular music, known ashighlife. Moweta oversaw Osadebe's four-month concert tour of North America and co-produced four of Osadebe's CDs with AndyFrankel, two of which, Kedu America andClub América, were released in 1996.

In 2008, Moweta was the music supervi-sor for the winner of eight international filmfestival awards, Kassim the Dream. The doc-umentary is about Kassim Ouma, Ugandanchild soldier became IBF Light MiddleweightChampion in 2004. Later, in 2009, Mowetaagain lent his talents to film, and was themusic supervisor for 40, a Turkish film thatcasts both Turkish and African actors.

Moweta is an interviewer/commentator forseveral international news programs, includ-ing BBC Africa's sports show, Fast Track, TheVoice of America's African sports show, andNetwork Africa, a BBC morning show thatdiscusses current trends in African music.Additionally, Moweta covers Hollywood newsfor the BBC evening program Africa World.

OCT 07SOUTH ASIAN

SOUNDS

RED BARAATVidya Vox

DJ Rekha

Discostan

RED BARAAT

From the moment Sound The People kicksoff with “Next Level” – a wild and exuberantconfluence of Bhangra music with anthemic,psyched-out twists – it’s clear that Red Baraatare very much taking their sonic signature toa new astral realm. On their fifth offering,the Brooklyn-based band continues theirexploration of South Asian culture, whilefirmly placing it within the context of a glob-alized generation as demonstrated by thediverse backgrounds of its members.

“With the migration that’s happened,there is all this varied and expressive musicthat has erupted from the South Asian dias-pora,” explains founder and bandleaderSunny Jain, who was born to Punjabi par-ents in Rochester, NY. “Sound The People isa shout out to, and celebration of, this com-munity around the world.”

With these nine songs, Red Baraat turnsthis celebration into a full-blown infiltration.While the band – completed by ChrisEddleton (drumset), Jonathan Goldberger(guitar), Jonathon Haffner (soprano sax),Sonny Singh (trumpet) and John Altieri

(sousaphone) – has streamlined from aneight-piece to a six-piece in the last year, theever-experimental group, formed in 2008,has once again proven their ability to pushmusical boundaries and transcend dimen-sions. Sound the People draws from a vastexpanse of influences, from bhangra musicto jazz, hip-hop to psych and everything inbetween, utilizing the musicians’ virtuosity toredefine and reimagine the capabilities oftheir instruments.

An array of special guests and carefullycurated covers help to round out the album.“Kala Mukhra” features Pakistani singer andwriter Ali Sethi on a version of the traditional“Gora Mukra,” subverted from the originalmeaning of “fair-skinned face” to “dark-skinned face” all with a feverish and enthusi-astic pace. Elsewhere, the rambunctious andplayful “Moray Gari Suno” is their take onone of the first known songs of Chutneymusic, a mixture of Indian and Caribbeanmusic that gained traction in Trinidad in the1960s. “Vibrations” is a minimalistic andacoustic improvisation overlaid with a pas-sage by American poet and activist SuheirHammad about human connection written bySufi intellect Hazrat Inayat Khan. A similarideology reappears on the boisterous closer“Punjaub March”, read by Americanhumorist John Hodgman, a song that marksthe historical reality of colonialism’s impacton South Asian marching bands, with RedBaraat reinterpreting and recontextualizing it.

The title track is the central force of therecord. A stunning collision of traditionalIndian music and insurrectionary hip-hop,“Sound the People” is centered around a

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politically-charged rap by Heems ofBrooklyn hip-hop group Das Racist.Constructed from disparate ideas about theSouth Asian diaspora, migration and thecurrent political climate, it is a powerful andincisive response to the way the UnitedStates has changed since the November2016 election.

“It’s hard to escape saying somethingabout the time we’re living in,” says Jain,who began writing the album just weeks

after Trump’s victory. “So in a sense, therecord is a call to action against the variousinequalities and injustices that we’re seeing.We desperately need citizen engagement inresponse to those injustices.”

Sound the People coalesces to create analbum that is simultaneously rebellious,important and fun; an inspiring cacophonyof instruments, cultures, and ideas that paytribute to the way diversity makes, and hasalways made, America great. It is a defiantbattle cry and a confident statement thatestablishes Red Baraat as one of America’smost vital bands who remain dedicated to

the spirit of community and joy, along with awonderful reminder that we are truly all inthis together.

VIDYA VOX

Vidya Vox brings together influences ofher Indian-American heritage to create musicthat is refreshingly new, unique and contem-porary, seamlessly fusing together the intrica-cies of Indian music with elements of elec-tronic and pop for an undeniably catchysound. Since launching her YouTubeChannel in 2015, Vidya has amassed over400 million views and over 4 million sub-scribers. She has headlined concerts forthousands of fans across the US and SouthAsia, culminating in her 2017 “Kuthu Fire”concert tour of India. Her work has beenfeatured in publications such as Vogue, Elle,NPR, Cosmopolitan, Billboard, BuzzFeed,The Hindu, and many more.

With her debut EP, Kuthu Fire, Vidyareleased a set of genre-mixing and culture-blending original songs that blend togethervery different cultural styles of music whilestanding apart in their pop and electronic-inspired arrangements. The release haspushed Vidya beyond her previous recogni-tion for mashups, with her original musicgarnering over 200 million views in the pastyear. She has expanded her audience byexploring new ideas while staying true toher original concept: creating a music thatbrings the world closer together.

DJ REKHA

DJ Rekha is a producer, curator and edu-cator based in New York City. She is thefounder of the Basement Bhangra™,Bollywood Disco and co-founder of MutinyClub nights. She was named "Ambassadorof Bhangra" by the New York Times. Rekhaand her frequent co?collaborator, DaveSharma, performed their compositions atChicago Symphony Hall for the Sinfonettathis year. Rekha was the sound designer forthe TONY award-winning Broadway Show,

"Bridge and Tunnel", received a DramaDesk Award nomination for her work on theplay "Rafta Rafta"and the associate produc-er for the NPR Radio Documentary, "A Feetin Two Worlds." Her debut album, DJ Rekhapresents Basement Bhangra was released in2007. In 2009, DJ Rekha was inducted intothe New York City's Peoples’ Hall of Fame.Her record label Beat Bazaar Music issuedits debut single release, Pyar Baile world-wide in Nov. 2011. She has curated eventsfor Celebrate Brooklyn, Central ParkSummerstage and has performed internation-ally. DJ Rekha was a Grand Marshall of the9th Annual NYC Dance Parade in 2015.

DISCOSTAN

Discostan presents musical narrativesfrom Beirut to Bangkok via Bombay. Wematerialize at various times and spaces.

10 TWILIGHTSANTAMONICA.ORG

DISCOSTAN

DJ REKHA

VIDYA VOX

RED BARAAT

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Across from Urth Cafe

310.581.80142400 MainStreet, SantaMonica, CAwww.bikeshopsantamonica.com

Your Bike is Here!

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SERIES CO-PRODUCED BY RH&S CONCERTS

6:30PM - 9:30PM, but those in the

know stake out a good spot early.

Dates are Sept 5, Sept 12, Sept 19,

Sept 25, Oct 3, and Finale Oct 7.

Safety is the name of the game, so

expect bag check at all three entranc-

es. All attendees are subject to search

upon entry so leave a little extra time

to get onto the deck.

We highly recommend alternate

transport for a hassle-free experience

(EXPO, Bus, Breeze Bike Share,

rideshare, skateboard, walk, llama),

but if you need to drive, parking is

available around the area.

Enter on the Pier ramp from Ocean

Avenue and Colorado, The Grand

Entrance on Ocean Front Walk or the

steps by Bubba Gump.

NEEDTO KNOW

IMMERSE YOURSELF

With curated reading lists, culturally-inspired art and a Spotify playlist,

you can immerse yourself in the world of Twilight before the music begins.

Then, when you arrive, get lost in the magic of the Pier and find something

to enjoy from the Deck to the West End and everywhere in between.

WHEN

PARKING

ENTRANCES

BAG CHECK

SANTAMONICAPIER.ORG/IMMERSE-YOURSELF

Immerse yourself in the world of Twilight

with food, drinks, crafts, records, jewelry

and more from our friends at Smorgasburg

LA. The iconic open air market is bringing

out half a dozen vendors from Cheezus to

The Ricans to transform the Pier Deck into

a destination where Local Meets Global.

Have you listened to the playlist yet? Prep

yourself for the series with a playlist of

our artist faves here: bit.ly/twilightpier

The Trapeze School will be flying high

over Twilight and performing to tunes

from around the world each night of the

series starting at 6:00pm.

Dive into your next beach read and

immerse yourself in the world of Twilight.

Thanks to our friends at Santa Monica

Library for creating the awesome

Twilight Book Club!

BIG THANKS TO OUR AMAZING PARTNERS

3 STAGES

PACIFIC PARK STAGE

W

EST END STAGE

MAIN STAGE

12 TWILIGHTSANTAMONICA.ORG