I Just Read About That…

[DID NOT ATTEND: July 24, 2024] Tinariwen

Tinariwen is a pretty legendary band.  They play a guitar driven “desert blues” in which the guitar is played pretty much non-stop.   It’s unique and original to American ears but is apparently part of a Mali musical sound that combines traditional Tuareg and African music with Western rock.

I’ve been trying to see them for a number of years and things never seemed to pan out, until this year.

The night was a challenge as parking was limited and I wound up coming in later than I intended.  It was also much more crowded (so early) than I anticipated.  So I had  to stand off to the side.

About half way through the show, I had to get out of the crowd and Underground Arts was super nice in that someone got me a chair (I’m using a cane at the moment).  I actually felt obliged to stay in the chair which meant I was in kind of a crappy location visually for most of the show.   But it was so crowded that I wasn’t going to see much anyhow, so I’m grateful for the seat.

I’ll take a quote from Strange Carolinas to start

Attending a Tinariwen concert … was a mesmerizing experience.  From the moment the Tuareg musicians took the stage, their presence commanded attention, draped in traditional robes and turbans, transporting the audience to the vast expanses of the desert.

The band’s setlist was a well-curated journey through their extensive discography, featuring both classic hits and tracks from their latest album. Each song was a tapestry of hypnotic guitar riffs, rhythmic handclaps, and soulful vocals, creating a soundscape that was both haunting and uplifting.

The intimate setting added a layer of connectivity between the band and the audience. The small venue allowed for a more personal interaction, with moments where band members exchanged smiles and nods with fans, enhancing the communal feel of the event. Tinariwen’s music, rooted in themes of freedom, resistance, and cultural identity, resonated powerfully in this setting, making the performance not just a concert, but a shared cultural experience.

And that really sums up the show for me.  Although I have to say I didn’t really notice many traditional elements (except for some percussion), but the stage was bathed in blue and my view was obscured quite a bit).

What I really loved about the show was how much the audience got into it.  There was clapping and dancing. There may have been singing along (the band sings in their native language, Tamashek).

There were six players on stage–three singer/guitarists Ibrahim Ag Alhabib, Alhassane Ag Touhami and Abdallah Ag Alhousseyni and a fourth guitar player Elaga Ag Hamid who hung out in the back.  Then there was bassist Eyadou Ag Leche and I loved his sound!  The bass had great resonance and the basslines he played were appropriate and infectious.   And in the back was percussionist Said Ag Ayad.  I pretty much never saw him except when he came from behind the kit (did he even have drums?  I have no idea) to play the giant gourd–which was super cool and sounded amazing.

I don’t know any of the band’s songs by name–indeed, I have a general sense of their music, which I like, but I couldn’t tell you any thing about the songs they played.  There was amazing guitar work, grooving basslines, and clappable beats.  It was a night of joy and celebration and I was happy to be a part of it.  I’d definitely see them again, but I would get there much earlier.

This is a setlist from a few days earlier.  It is similar but not exactly the same as our night.

1. Ténéré Tàqqàl €
2. Koud Edhaz Emin £
3. Cler Achel ≅
4. Imidiwan Win Sahara ‰
5. El Ghalem
6. Nànnuflày €
7. Amassakoul
8. Anemouhagh ©
9. Imidiwan Winakalin ≅
10. Imidiwan Sadjdàt Tislim ⇔
11. Amidinin ∇
12. Tamatant Tilay ≅
13. Toumast Tincha £
14. Imidiwan Ma Tenam ‰
15. Tiwàyyen €
    encore
16. Ittus  €
17. Assàwt €
18. Sastanàqqàm €
19. Chaghaybou £