Many African populations now tend to categorize some of their most precious musical instruments as “relics of the past.” Regarding the balafon specifically, a pervasive assumption is that its progressive disappearance is triggered by powerful external dynamics such as modern technological innovations, the institutionalization of Islam and Christianity, and the lingering legacy of colonial rule. Concomitantly, some brave African artists have profited for decades from the universality of music to propagate balafon music in the Global North, but their accomplishments are still marginalized in the historiography on globalization and immigration. This chapter seeks to correct this lacuna by emphasizing the case of the Malian griot Adama Daou. The chapter brings to light his professional career by distinguishing three watershed moments in his transatlantic trajectory (Mali, France, and Canada). These developments will help us better understand Daou’s views on the balafon’s agency, or its capacity to interact successfully with other musical instruments on the global scene of world music.