On Friday night, March 18, the public showed up early to BabelMed and rushed in at the opening of the gates, eager to have a good time.
Born into a noble family and descendant of Mogho Naba Konkis Konkistenga the village of north-eastern Burkina Faso, Alif Naaba delivered us folk music at the Tent stage. The lyrics were in French and his native language Mooré, one of the two official regional languages of Burkina Faso. He revisited the musical traditions evoking the West African regions of today.
With the song “Manita” Alif Naaba explained that musicians do not have easy love relationships under pressure from the families. Who wants a man who cannot afford to buy a pair of shoes?
Alif Naaba is a singer with a clear griot (storyteller, poet, musician) voice like Baaba Maal orSalif Keita.
Autostrad, a self-produced band stating its independence showcased at the Salle des Sucres. The musicians from Jordan compose on western scales, but the lyrics are in Arabic dialect.
“Estann Schwai” was a nice pop song on a slow reggae beat that made me think of Chris Rea or 10CC. The super Zen melody ended with a saxophone solo.
“Habeetak Bel Turki” featured beautiful guitar solos with jazzy guitar riffs throughout the entire song.
The term “Arabic Mediterranean Street indie” suits the band.
Breabach emerged in 2005 from the Scottish folk scene to undertake an international career. The musicians entered the Tent stage in total darkness. We listened to a flute, then a voice…The lights turned on, the crowd went on shouting and whistling.
Spectators could not keep their feet on the ground and jumped on the tent floor. We were not in the Wild West, but the atmosphere propelled by the rhythm generated an infectious energy.
The band played “Proud to play a pipe”, a composition dating back to the 17th century claiming their Scottish identity. Megan showcased her vocal capacities during the last verses and choruses.
I discovered the best of Scottish musicians with an academic background and the passion to create. They were pleased to be in Marseilles, smiling and joking during the concert.
Ricardo Ribeiro is advertised as being the rising star of the Portuguese Fado. Most of the time, Ricardo Ribeiro kept his hands in his pockets at the Tent stage.
His mournful tunes expressing melancholy, resignation, frustration and fatefulness made me feel down. Some people in the crowd overwhelmed by the Portuguese saudade applied handkerchiefs to their eyes to wipe off the tears. It was a bit unrealistic watching people coming to a concert to cry.
French band Temenik Electric, including five musicians, appeared on the Salle des Sucres stage to (re) discover their Arabian Rock. The group mixes Western music, reggae, funk and North African roots. They sang in the Arabic dialect northwest of Oran, but sometimes make incursions into French or English.
On the song “Denia” the vocals were backed by an energetic rhythm section and a powerful bass line. The keyboardist added oscillating synthesizer sounds in clever arrangements. Meanwhile, the singer said “Salam aleikoum, we salute you“. ACDC is singing “For those about to rock (we salute you).”
Indeed, Temenik Electric can easily appear on a rock, alternative or world music stage.
During the last song “Ouesh Hada” (what happens? In Arabic), the atmosphere was Middle Eastern trance, whipping the crowd into euphoria.
Temenik Electric is a band aware of the events in the world, but not engaged, without political or philosophical claims. Their language is the universal one.
There is no wonder that Justin Adams (Tinawiren, Robert Plant guitarist) became interested producing their latest album “Inch’ Allah Baby” given the outstanding qualities of the band.
Read The Cultural Richness of Diversity Showcased at Babel Med Music 2016 – Day 1
Author: Crygor
