stage with Oumou Sangaré, Toumani Diabaté, Kasse Made Diabaté and the BBC Symphony Orchestra. Jobarteh is a regular member of her brother Tunde Jegede's African Classical Music Ensemble, which has toured England, Ireland, Africa and parts of the Caribbean. She has contributed to his albums Malian Royal Court Music and Lamentations, for which she composed two pieces, one of which also featured on the album Trance Planet Vol. 5 (released on Triloka records, Virgin in the US). She also works with the distinguished spoken-word artist HKB FiNN as an instrumentalist, co-writer, singer and producer. For her solo work, such as her performance at the 2014 Festival Internacional Cervantino, in Mexico, she has a band with members Kari Bannermann on electric guitar, Kyazi Lugangira on acoustic guitar, Mamadou Sarr on African percussions (as calabash or djembe), Alexander Boateng on drums and Andi McLean on the bass. Her debut album was Afro-Acoustic Soul, containing songs about bittersweet love and social themes. The influences on this album are mixed with some that could be played on more conventional European radio formats. Her second was Fasiya (2011). She makes a guest appearance on the 2021 album Djourou by Ballake Sissoko. Jobarteh also teaches the kora in London. She worked with her father, Sanjally Jobarteh, in setting up a formal music school in the Gambia, named after her famous grandfather. Film composer Sona Jobarteh made her debut as a film composer in 2009 when she was commissioned to create the soundtrack to a documentary film on Africa entitled Motherland. The score was an innovative exploration into the cinematic representation of a classical African sound world. While much of Jobarteh's score drew primarily on the West African griot tradition, she also had to reinvent it to accommodate for the demands of the visual realm. To create this film score Sona explored instruments in different ways to that of their traditional setting. She has used the kora as a bass instrument as well as tuning it to an "Arabic" scale. She has used the guitar to emulate the sound of an African lute, as well as being influenced by the West African griot style of playing. She invented a new instrument called the Nkoni for use in many of the compositions to capture a unique sound. This instrument is a cross between the kora and the Donso Ngoni, expanding the tonality and mood of the African musical