Eneida Marta, a Guinean singer, was born in Bissau, 42 years ago, shortly before the former Portuguese colony declared its independence. An auspicious time and the reason why Eneida Marta sing about freedom, love and the really important things in life. And the truth is that Eneida, born into a family with strong artistic inclinations, always sang from a young age. It was with Juca Delgado, already leaving in Lisbon at that time, that she began to take more serious steps in music, collaborating with renowned artists such as Dom Kikas, Rui Sangara, Aliu Bari or Iva Ichi, before launching, in 2001, Nô Storia, a record that led her to perform in many countries like Cape Verde, France, Netherlands or Germany and, of course, Portugal and Guinea Bissau. In 2002, Eneida launched “Amari”, an album that sparked interest from the world music giant Putumayo: that same year, the American label included some songs from Eneida Marta in the compilation An Afro-Portuguese Odissey. Until the release of her third album, Lôpe Kai, in 2006, Eneida recorded another series of compilations and works by other artists, building her unique and distinctive path, recognized with the first place, in a World Music contest with the theme “Mindjer Dôlce Mel”, that Putumayo would include in the Acoustic Africa compilation.
In 2008, Womex selected Eneida Marta to perform in a showcase before more than 3,000 delegates, a special moment that resulted in a cheered international tour. The following album saw Eneida Marta taking on Angola's music as an inspiration: Eneida Marta With Angola on Voice saw her addressing the music of big names in the Angolan song like Teta Lando or the Kiezos, references from a childhood past in Bissau where she listened a lot of music produced in Angola.
You will only need to listen the voice that sings “O Africa, O tabanka, O people” to be sure that Eneida Marta is a special artist, that her soul has an unusual depth and that her distinct timber can balance lament and hope in the same word, in the same breath. It is not difficult to fall in love with Nha Sunhu and Eneida Marta's voice. Difficult will be to keep away from it after listening it.
This path has brought Eneida to the present, taking her across many stages, from Madrid and Barcelona to Amsterdam or Vancouver, from Rome to Budapest and Mexico City, from Boston to London and Berne. And at the end of each one of these presentations, the same thrilled applause from those who find a voice laden with soul, dreams, pain, and joy.
Eneida is a special woman, of causes, of strength. And this is how she presents herself in the present, with a dream. Recorded between Bissau, Lisbon and Paris, Eneida Marta's album, Nha Sunhu, has her own production, which helps to explain the title: “I had the dream of producing my own work, I wanted to try some ideas that I solidified by over the years. This album is the result of this thirst for independence” explains the singer. Side by side with musicians such as the pianist Ernesto Leite (from Portugal), the flautist Dramane Dembelé (from Congo), the bassist Gogui or the guitarist Manecas Costa (both from Guinea), Eneida Marta signs a work of extraordinary beauty and complexity, with the participation of Netos de Bandim, Guinea's traditional percussion group: “I wanted to include the energy and authenticity of African music”, justifies Eneida Marta. The texts are the result of a selection of works by some of Guinea's most outstanding poets, except for “Nha Principe”, which Eneida Marta wrote herself. "My music is Guinean," says Eneida Marta, who also explains how Congo singer Lokua Kanza once told her "I don't know your country, but I feel I understand it because of your music."
Seeking the melodies in Guinea's own identity and crossing the local genre Gumbé with jazz, Eneida Marta has built her own sound that references classical names of Guinean music such as, among others, José Carlos Shewarz, Ernesto Dabo or Zé Manel. “Surprisingly,” says Eneida Marta, “I don't get much inspiration from women, from singers. At home I hear men like Marc Anthony, Lokua Kanza, Andrea Bocelli, Zé Manel or Manecas Costa”. Perhaps this explains that the voice that really marks Eneida Marta is her inner voice, the one that makes her sing life, love, in poetry lyrics that, as she explains, "They always leave something to decipher."
In 2019, more precisely on her birthday, July 17th, Eneida Marta gift us with the first single from her new album “Ibra”, which is already a huge hit on Guinea-Bissau radio stations and in Portugal, with special emphasis on RTP Africa. According to his words, the first single “Homis di Gossi”, “is being an absolute hit for the very strong message and the excellent editing of the video. It is a theme that is creating debates in society, surpassing my expectations.”
“Homis di Gossi” is an awakening of conscience for those men who leave their children behind and about the full surrender of the responsibility of education to their mothers. Interestingly, Eneida Marta's new single is signed by a man, Eric Daro, anticipating the birth of a new collective and social consciousness in postmodern times.
About "IBRA" — NEW ALBUM
Eneida Marta's fourth album is called "IBRA" in honor of musician Ibrahim Galissa, Guinean master of kora, who died prematurely this year, and musician of choice for Eneida. Thus, announces Eneida Marta: "my album "IBRA" is a tribute to the musician who has accompanied me throughout my career" IBRAHIMA GALISSA "who unfortunately died leaving a huge void in me and my band. I wish people would one day remember this record as the one they portrayed one of the most sensitive themes in the society "ABANDO DE UM FILHO", but above all the disc that immortalizes the memory of IBRAH GALISSA.
My producer and I had an extraordinary tune! This has made all the work easier. I also had two guest appearances, Guinean music icon ZÉ MANEL and artist MISSY BITY. I think the big difference between this record and the others is that, in this work, it mixes traditional acoustic sounds with more electronic sounds, making it a very comprehensive album in terms of artistic approach and sound. I would like people to hear my IBRA, which is yours too, with an open heart”, says Eneida Marta.
The production of "IBRA" has the signature of producer, ATHANASE KOUDOU, from Abidjan, who has worked with some of the big ones such as SALIF KEITA, MONIQUE SEKA, RICHARD BONA, etc.
ALMA NA FALA - the second single from Eneida Marta's acclaimed new album, “IBRA”.
A theme composed by another big name in Guinea-Bissau's feminine music, Karyna Gomes, “Alma na Fala”, is a kind of conversation with God: “It is a deep commitment with who created us,” says Eneida Marta. “The voice of Guinea-Bissau,” as described in Journal I (one of the most read papers in Portugal), assumes, in a sincere and even disarming way, spirituality in her art. “Humanity is going through a very difficult time. Money and power are often assumed to be true gods, making us forget values ??such as gratitude, compassion or empathy for the other. Society makes us live very fast, with few moments to listen or even talk to ourselves. In this theme, I tried to open this space within myself, to use my gift, also as a way of thanking for all the good things, and challenges that I have found in my way. This is my expression, my "Soul in Speech." The video of “Alma Na Fala”, made by Onda Africana, was filmed in the city of Bissau.
“Eneida Marta is a special artist, her soul has an unusual depth and her distinct timbre can balance regret and hope in the same word, in the same breath. It is not difficult to fall in love with Eneida Marta's voice. It will be difficult after that to stay away from her. She has been a UNICEF Ambassador to her country and confesses to be a woman of causes, with no problem explaining that her real mission “is to work with the children. Music is a vehicle that God created so that I could do what I want most, which is to help others”. It won't be easy at all to stay away from Eneida Marta and her dream… Nuno Pacheco in Público newspaper.
Apple Store: https://music.apple.com/pt/album/ibra/1481270665
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