Bombino's US tour brought him back to Brooklyn, New York, last night for an ebullient show at Brooklyn Bowl for what the New York Times music critic Jon Pareles calls a "full and overjoyed" crowd. In his review, Pareles notes "Bombino’s pithy, incantatory electric guitar lines and the band’s perpetual grooves." Read the complete concert review at nytimes.com.

The tour, featuring music from Bombino's recently released Nonesuch debut album, Nomad, heads to the West Coast next week for three performances in California: at the Santa Monica Pier with Hanni El Khatib August 8, in San Francisco's Golden Gate Park for the Outside Lands Festival on August 10, and at The Independent in San Francisco the night in between for an Outside Lands Night Show w/ Trombone Shorty & Orleans Avenue. The next leg of their European tour begins August 13 in Stockholm. For details, visit nonesuch.com/on-tour.

As part of the US tour, Bombino and his band played at the famed Newport Folk Festival this past Sunday. NPR Music was there to capture the weekend's highlights, including Bombino's set. "A young, Niger-born Tuareg guitarist inspired by the wizardry of Saharan rock bands like Tinariwen, Omar Moctar (a.k.a. Bombino) has helped make African music more relatable to U.S., thanks to both his own instrumental gifts and to collaborators like The Black Keys' Dan Auerbach, who produced Bombino's new album, Nomad," writes NPR's Stephen Thompson, "[T]here's a hypnotic kick to his music that transcends barriers of language and geography." Watch his Newport performance of the song "Kammou Taliat (You, My Beloved)," off his 2011 Cumbancha album, Agadez, below, and listen to the complete set at npr.org/music.

Relix has published a feature profile of Bombino, in which the Tuareg guitarist, singer, and songwriter discusses his early years, his introduction to the guitar, working with producer Dan Auerbach on Nomad, and his hopes for his music.

"With the help of Auerbach and his studio wizardry," writes Relix's Sam Davis, "Bombino churned out an album that successfully bridges the Ishumar style with those of his blues and rock heroes: snarling guitar lines lasso Tuareg chants while Eastern rhythms and clanging percussion instruments transform traditional African melodies into quasi-psychedelic journeys. He hopes that his music will bring wider attention to the problems occurring in the Sahel region of Africa and, in doing so, will bring to light the injustices that continue to plague the territory."

Read the complete article at relix.com.