Gagner l’argent Francais (which translates as “to earn French money”) begins, like any other West-targeted West African album, with the pitter-patter of tiny congas and some delicately picked kora. But then, two minutes in, a bright stab of reverb-heavy keyboard heralds the entrance of grungy rock guitar and drums. It’s a bold way to open an album in that it may alienate some of the Radio 3 Late Junction world music demographic. But it isn’t the first time Mamani Keita has put before her audience challenging and innovative music. I have particularly fond memories of Electro Bamako, her 2001 collaboration with Marc Minelli. This was a unique fusion of sophisticated Parisian pop, jazz and electronica juxtaposed to Malian melodies and rhythms, which - unlike many such throw-everything-into-the-pot exercises - was actually greater than the sum of its parts.

Back in June of this year, the international successful Malian blues band gave what felt at the time like a curiously muted performance at the World Cup Kick-off Celebration Concert in Johannesburg. But perhaps it was the effect of having their laidback hypnotic grooves juxtaposed to the in-your-face emoting and hip-gyrating of the likes of Shakira and Alicia Keys that seemed to somewhat mystify the stadium audience.

I am talking to Toumani Diabaté on a phone line into Bamako that, as he explains with an audible shrug, sometimes works and sometimes doesn’t. He was due in London a couple of weeks ago to promote Ali & Toumani, his album of duets with the late, great Malian guitarist Ali Farka Touré, but was struck down with malaria at the eleventh hour. It rather puts the standard rock star bleating about "stress and exhaustion" to shame.

Here’s a deceptively simple question. What is African music? Does a band make African music simply by dint of the fact they come from Africa? One of last night’s three African Soul Rebels acts was South Africa’s Kalahari Surfers. Ensconced behind a table’s worth of laptops and other gismos, they made subtly menacing, dubby rock with an early '80s slant. And in fact they did it rather well, conjuring memories of Gang of Four and their ilk.

Oumou Sangare, Malian diva and one of the world’s great singers, is not, as I eventually found out myself, a woman to be trifled with. When she bought some land outside Bamako, the capital of Mali, a local official by accident or oversight also sold the land to someone else who planted the fields. Sangare turned up with a bulldozer and destroyed the man’s crops. She also had a quiet word with the President of Mali and got the offending official sacked. I could easily imagine Sangare in her preferred garb of traditional colourful African robes and Parisian stilettos in the driving seat of a bulldozer – she’s chic, tough and is a woman who bridges the divide between cosmopolitan and traditional Africa.

Theatre director Peter Brook is back in London. Brightly, eloquently, he's promoting his new show, in English (most of his work since the 1970s has been in French), currently running at the Barbican: entitled Eleven and Twelve, it's a dense chamber piece exploring a religious dispute in early 20th-century Mali. Quiet, sensitively investigative of an unknown strand of north African faith, it will enlighten some and bore others. Classic Brook?