Soumik Datta on the sarod
The word ‘sarod’ itself is Persian, meaning ‘melody’ or ‘song’, hinting at the instrument's inherent musicality. Known for its deep, expressive tones, the sarod is a captivating fretless lute, allowing for characteristic bends of notes central to Indian music. Its ancestry is intriguing and can be traced back to the Afghan rabab where it was played by migrant horse traders. I was 13 when I accidentally discovered my late grandmother’s sarod. It was meant to be. I hope Edinburgh discovers the sarod's richness, allowing them to be moved, surprised, and engaged by its sound; it’s equally arresting in both traditional and contemporary settings giving it a cross-generational appeal.
The Hub, 5 August, 8pm.

Sidiki Dembélé on the djembe
The djembe is one of our most instantly recognisable instruments.  A centuries-old connection between the skin of the drum and the skin of the drummer’s hands conjures a fluidity of spirit, life and storytelling. I use three standard sounds, which exist within a spectrum of rhythm and melody to involve my audience in a joyous exchange of beats and harmony. I was born into a Griot family in Côte d’Ivoire, West Africa. It’s a rich heritage of music, oral history, diplomacy and counsel and a proud culture spanning centuries of Mandeng civilisation. From infancy, I learned from masters; music was everywhere and everything.
The Hub, 6 August, 8pm.

Hamilton De Holanda on the bandolim
The mandolin originates from Italy. This instrument arrived in Brazil through Italian and Portuguese immigrants and has become one of the main instruments in Brazilian culture, especially in the choro genre. choro is the older sibling of samba, with a similar rhythm and mostly instrumental repertoire. The mandolin has a unique sound, largely due to its double strings that produce a magical ‘chorus’ effect. Typically, the mandolin has eight strings. In 2000, I asked a luthier to build a ten-string mandolin to expand harmonic and polyphonic possibilities. Today, in 2024, all Brazilian luthiers and several from other countries are making ten-string models. It has become a new standard.
The Hub, 9 August, 7.30pm.

Makhabat Kobogonova on the qyl-qiyak
The qyl-qiyak is an upright bowed fiddle with two horsehair strings. Horses are really important in Kyrgyz culture. I’ve been playing it since I was so young; I remember it always being with me. I just feel a real deep connection to its vibrations and to the deep sound, and it’s so capable of expressing grief to heal the soul. This instrument has always had a strong connection to shamanism and the recitation of oral poetry. The special sound of qyl-qiyyak is due to the unique properties of its strings, which are made of 60 or 70 fine horsetail hairs. It’s a sound palette wired to elicit an emotional response in the human body.

Bek Alagushov on the komuz
In Kyrgyzstan, the komuz is like our national instrument. A three-stringed long-necked lute carved from apricot wood, you can pluck it, strum it and strike it. There are also special hand and arm gestures that add narrative to what you’re playing. My great-grandfather was a well-known komuz player, so the tradition has been in our family for a long time. I started playing at ten in my home in the Issyk-Kul lake. Joining the Ustatshakirt Centre was a joy, because they had revitalised this instrument and even managed to make it cool again to play the komuz in Kyrgyzstan in the post-Soviet era. Now, there are so many virtuoso komuz players, and the instrument is getting the recognition it deserves.
Ustatshakirt Ensemble, The Hub, 13 August, 8pm.

Mustafa Said on the oud
‘Oud’ is a name used to refer generally to a short-necked string instrument. Old Arab manuscripts suggest that the oud’s origin is Greek, though we aren’t sure that the instrument they describe is the one we know now. Despite various depictions throughout history, paintings and manuscripts from the early 11th century suggest that the oud we know now originated during the Fatimid period. In my programme at EIF, I introduce an instrument that was described in a manuscript from the 14th century, trying to find, through the past, a better way for the future.
The Hub, 19 August, 8pm.

Wu Man on the pipa
The pipa (琵琶) is a Chinese traditional instrument, belonging to the plucked-string category of instruments. Pipa is a pear-shaped, four-stringed lute. It came from Persia and was introduced to China through the Silk Road trade around 2000 years ago. The instrument has a wooden body with a varying number of frets ranging from 12 to 24. Pipa is played with a forward and backward plucking motion that sounded like ‘pi’ and ‘pa’ to fanciful ears. Hence, all plucked instruments in ancient times were called ‘pipa’. When I was 12, my parents encouraged me to learn the pipa because they believed that I had musical talent and they both loved traditional music. And since then, this instrument has been part of me. The story and the culture behind the pipa are part of my blood: it’s me.
The Hub, 20 August, 8pm.