While examining the sonic, cultural, and historical meaning of key Senegambian and African American blues songs’ lyrics, this article attempts to provide a comparative study of their circum-Atlantic and cosmopolitan features. The article explores crucial connections between circum-Atlantic and cosmopolitan songs of the Senegalese blues singer, Aminata Fall, and those of African American blues legends such as Muddy Waters, Robert Johnson, Memphis Minnie, and Bessie Smith, among others. These blues songs have lyrics that thematically and technically resonate with one another. The songs share aural and cultural patterns demonstrating the strong ties between circum-Atlantic and Afropolitan traditions, which have historically influenced one another. These relationships reveal strong affinities between the music and cultures of blacks of Africa and the diaspora. Moreover, they register the resilience of local and specific black cultures that, however, share transnational and cosmopolitan dimensions that continuous circum-Atlantic flows and cross-fertilizations between African-derived and other musical traditions have influenced. Fall was a major symbol of such black circum-Atlantic and Afropolitan musical crossbreeding. Her songs remain Afropolitan since they reflect key elements of African American blues while being steeped in Senegambian blues traditions. Without denying the great influence of African American blues on her life and music, Fall, however, recognized the strong impact that Senegambian blues and cultures have had on them. Therefore, Fall embodied the complexity and richness of Afropolitan Senegambian blues and traditions that spread their wings toward strong black diasporic blues cultures while preserving unique forms of timelessness and authenticity that also deserve scholarly attention.