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MOJO, UK - Four ****stars
‘Superb acoustic griot album from the first African to sell a million singles… he has gone back to basics, with only electric bass acknowledging the world outside centuries-old Guinean music. And, it’s a cracker, charging along on complex, tumbling rhythms played on kora (harp) and balafon (xylophone), with Kanté’s soaring voice jousting joyously with his backing singers. Once upon a time, the singer was able to usurp the great Salif Keita as lead singer with Bamako’s Super Rail Band, at last we get to discover why.’

The Guardian, UK - Four****stars
‘Mory Kante assured his place in African music history in 1988 when he became the first African artist it sell a million singles, with that rousing dance hit Yeke Yeke. A hereditary musician from Guinea, he had first moved to Mali to join the legendary Rail Band, and them moved on to Paris to top the European charts with his fusion of old griot melodies, new funk dance beats and rousing vocals. This time he has recorded and acoustic album dominated by traditional West African instruments like the kora and balafon, most of which he plays himself. But he has retained his mass-market appeal, and the best songs match his soaring vocals and impressive multi-instrumental work with the rhythms section at times galloping away with the songs.’

The Times, UK – Four****stars
‘Kanté has now gone back to his roots with an all-acoustic release recorded strictly on African instruments. In doing so, he is following a trend set by his fellow West African starts Youssou N’Dour and Salif Keita, both of whom have also recently abandoned more pop-oriented styles to make strongly traditional albums – and with Sabou, Kanté has made a record to rival both of them… the real strength of Sabou lies in its gloriously textured harmonies and cascading melodies as Kanté’s own virtuoso playing of the harp-like kora is backed by ethereal female choruses, African flute, balafon (a kind of wooden African xylophone) and some thrilling traditional percussion. The result is a record imbued with an almost spiritual grace that must rank as Kanté’s most satisfying release in years.’

Observer Music Monthly, UK - 3***stars
‘Kante was Europe’s first African pop star, selling a million copies of his sumptuous, kora-led dance tune ‘Yeke Yeke’ in 1984. Now, following the current vogue for simplicity among West African singers like Youssou N’Dour, Kante has slipped down a few gears and turned to his traditional Guinean roots. Except that he doesn’t abandon the twangy, electrified style he created on kora (harp) and which blends so beautifully with the balafon xylophone’s rippling melodies. The rhythms alternately roll like a camel and stroll like a griot in a heat haze, but the lyrics are deceptively tough amide the sweetness, covering universal issues and paying tribute to strong women. Another magical future classic.’

Global Rhythm, USA
‘Kanté’s newest collection of original tunes, Sabou (‘Cause’), has brought him home… the result: Sabou, Kanté’s loving tribute to his past. Kanté dispenses with the slick, sometimes overly fussy production of his ‘90s output, leaving his straightforward melodies simply adorned and allowing his able chorus… to shine. You won’t find false sentiment and rose-colored nostalgia here. The singer/multi-instrumentalist allows his music to carry the messages, resisting the urge to hide behind well-executed gimmicks. The beat hasn’t died, though, so dancing to songs like ‘Désolé’ (‘Sorry’), ‘Mama’ and ‘Nafiya’ (‘Bad People’) is expected and encouraged. Sabou is more than a look back, though. On it are Kanté’s observations of a challenging present… and a promising future. Most important, however, is that Sabou is a statement of joy…refreshing, satisfying.’

Jazzwise, UK – Three***stars
‘Hot on the heels of his critically appraised, largely acoustic performance at London’s Queen Elizabeth Hall a couple of months ago, Guinean superstar Mory Kante plunges into this precedent-setting-all-acoustic effort with electric zeal… His griot roots, however, have driven him onto greater creative heights… Displaying impressive dexterity on a range of instruments including kora, bolon and dundun drum, Kante keeps his social conscience to the fore on the opener ‘Nafiya’, a diatribe against bad behaviour, sings the praises of and offers comfort to his New York-based daughter on ‘Mama’, insists that African people support each other, maintain acts of kindness, on the title track. Instrumentation, intelligent and perfectly placed, sparkles in the background, giving vocals plenty of room to mesmerise.’

Limelight, Australia
‘Music appreciation is subjective but I can safely say this album by the legendary West African singer Mory Kanté is fabulous…Kanté has used only traditional west-African instruments on the album (with the exception of the acoustic guitar). Djou is beautifully arranged, full of cascading balafon and kora riffs, female backing vocals in perfect harmony and Kanté’s voice soaring above it all… His knowledge of traditional griot roots and his experiences in the pop mainstream ensure this album is not merely sweet acoustic fare but a funky, edgy rhythmic exposition.’

The San Francisco Chronicle, USA
‘Like Salif Keita or Ali Farka Toure, Mory Kante is a seminal figure from West Africa whose every release is a reason to celebrate. Sabou doesn't disappoint. It's an acoustic masterpiece at a time when more and more African artists are incorporating electric sounds and electronic fusion, but Sabou is also high energy, guided by Kante's intense kora playing and rich voice, the back-up vocals of Mariamagbe Mama Keita and others, and a phalanx of sterling instrumentalists (including African flutist Babagalle Kante)… Sabou, which means ‘the cause’, should re-establish Kante for a new generation of listeners.’