By Kimberly

I’ve been cogitating about how best to continue my series of posts on Ethiopian music. Why all the worry? Well, I fear that some people (heck, maybe most people) will be so unused to the sounds of Ethiopian music that if I start with something too unusual sounding, they might not give it a chance.

Case in point: my normally very musically-open-minded husband. I had loaded some Ethiopian music on the ol’ iPod, and one day an Ethiopian song came up on shuffle that sounded pretty “out there” (even to me). Unfortunately, this was my husband’s very first exposure to any Ethiopian music, and it kind of left a sour taste in his mouth. It has taken weeks of me sneakily absconding with his iPod and stuffing it with Ethiopian tunes to get him to give Ethiopian music another try. Thankfully, it’s been a success. In fact, he commented just the other day about a song in the Ethiopiques series that he really liked.

All that to say that I don’t want to get off on the same kind of rocky footing on my blog! So I’ve been trying to find some ferenji-friendly music (read: music that won’t sound too off-the-wall to everyday Americans) to get the musical ball rolling. And I had been drawing a blank…until I ran across an artist named Minyeshu.

Right about now I might be provoking the ire of some Ethiopian folks who would argue against this choice! For starters, Minyeshu, though born and raised in Ethiopia, no longer lives there. She lives in western Europe and married a Belgian man, so strictly speaking this is diaspora music rather than music made in Ethiopia. Second, this is hardly classical Ethiopian music; it’s very contemporary stuff (her most recent album was released in 2008), clearly influenced by Western music. All in all, perhaps not the most “authentically” Ethiopian choice.

However, for those leery of Ethiopian music, Minyeshu’s music remains a great entry point. Sure, it’s westernized, but it retains elements of classical Ethiopian music–the minor keys, some traditional sounding vocal styles, and lyrics sung in Amharic. Plus, Minyeshu was born and raised in Ethiopia, and at a young age, she began performing with the National Theater of Ethiopia. While on a musical tour in 1996, Minyeshu visited Europe and, because of political instability in Ethiopia, decided to stay in Europe and make it her home.

In 2002, she released her first solo album, Meba, which–alas!–I have not been able to find a copy of. But I have discovered her second album, 2008’s Dire Dawa, and have thoroughly enjoyed it. It is (in brief) lovely, laid-back music brimming with quiet joy. And while it appeals to my Western ear, it simultaneously maintains a distinctly Ethiopian vibe. One review describes it particularly well:

“Like Aster Aweke and Gigi Shibabaw before her, Minyeshu Kifle has subtly adapted Ethiopian music for European and American sensibilities and…has added a soft-rock veneer and modern pop production to the characteristic asymmetrical rhythms and pentatonic scales of Ethiopian tradition….

[L]istening to the opener ‘Halafi Nen Kealem’ [sic]…, you can’t help thinking that if Sheryl Crow lived in Addis Ababa rather than California, she might sound a little like this.

If that sounds critical, it isn’t meant to be. The marriage of Ethiopian forms and Western pop motifs is effected with an easy panache and potency so that Minyeshu manages to sound  both accessible to a wider audience yet still authentically — and proudly — Ethiopian at the same time.”

But hey–why not judge for yourself? You can buy Minyeshu’s Dire Dawa CD at Amazon. Unfortunately, because it’s an import CD, it’s kind of pricey: $29. So, in the interest of informed consumerism, I’ve taken the liberty of tracking down a couple mp3s from this album. If you choose to download them, please listen to them and then buy the CD if you like it.