Mastery of the kora, ngoni, balafon, and other traditional Saharan instruments has, until recently, been restricted to an exclusively male griot caste. Talented artists like Rokia Traoré, Mariam Doumbia, Kandia Kouyaté, and Madina N’Diaye have broken this gender barrier in recent years, distinguishing themselves not only as vocalists but as instrumentalists and songwriters. Of this group, the kora player, singer, and songwriter Madina N’Diaye most unflinchingly addresses the plight of Malian women in her music. On her exceptional 2004 release Bimogow, N’Diaye assembles a suite of songs that address an array of issues, including gender inequality in Mali (“Moussow”) and the maltreatment of Malian nationals in European countries (“Tounga”). As eloquent as N’Diaye’s social advocacy is, it would fall flat were it not supported by miraculous musical accompaniment. N’Diaye, who studied under kora master Toumani Diabaté, is never less than an exceptional player, and the five-piece ensemble that backs her on Bimogow is equally accomplished.