No strangers to Ireland over years past, Tinariwen stand as much for their ethnic community as they do for their collective approach in creating music. Indeed, the music is an expression of the political and social issues that occupy their Tuareg people, as the various tribes have suffered over many decades in fighting to maintain their nomadic way of life in the deserts of their homeland in Mali.
Founded originally back in the 1980’s by band leader Ibrahim Ag Alhabib, the group has released nine records to date and continues to perform with regularly shifting line-ups across Europe, America and Australia, drawing high praise wherever they play.
The audience in Dublin is no different to many that Tinariwen encounter on a regular basis with much interest in the exotic appearance and ethnic dress worn by the group and lots of engagement in their live dynamic as they perform the songs. Their rhythmic structures bear little resemblance to any of the usual arrangements that Western populations are used to hearing every day, whether on the radio or via the various media outlets that surround us.
The band name translates as ‘Deserts’ and the traditions of their past are celebrated each night in the robes worn by the seven musicians, with only Ibrahim opting not to wear the traditional Tagelmust (turban/veil) headdress. The Tuareg are often referred to as the ‘blue men of the desert’ due to the strong Indigo dye that they use in their clothing and long shirts. The silk and cloth robes display different colours, although two of the band members tonight wear a plain white robe.
Due to the lack of normal communication outlets in the desert areas, this collective change touring musicians, depending on who is available or contactable. This results in a dilemma of sorts because, without band member introductions, it is nigh on impossible to know all seven musicians playing onstage tonight. Similarly, the songs are delivered in their native tongue and the lack of insight into the words or translation, means that the setlist is not easy to decipher, as one tune runs into the next. This is an area that Tinariwen could address in bringing their message of oppression to foreign audiences, but perhaps they prefer the mystery of their image to prevail?
Many of the songs carry an expansive syncopation and groove, with the predominant electric guitar sounding somewhat similar across a number of the extended jams that develop within the song structures. Although based in traditional African rhythms, the arrangements also incorporate the individual influences of the band members and many of the songs stray into jazz-like experimentation with Latin beats adding to the overall fusion of styles. However, at the root of the sound is a blues influence that is raw and pulses through the fuzz guitar lines of many solos, both primal and reflecting the wide open desert landscapes where Tinariwen find their inspiration.
Judging from a recent concert they played in America, the current album, Amadjar (2019), featured most with six songs, followed by a number of tracks from both the Emmaar (2014) and Elwin (2017) releases. They do however change the setlist and always include tracks from the early records like Amassakoul (2004) and Aman Iman: Water Is Life (2007).
Abdallah Ag Alhousseyni on acoustic guitar and vocals is one of the principal performers and often moves front and centre as he encourages the audience to partake in the clapping and addictive rhythm that is the cornerstone of the sound. Pivotal to the energy created is the percussion section and the two players who drive each song forward with their compelling playing, either solo, or as a duo together. Add the very creative and expressive bass playing of Eyadou Ag Leche and it all makes for a compelling, trance inducing cocktail.
Add to this the dancing dervish that is Alhassane Ag Tohami, one of the original members, who lifts the collective spirit with his body and hand movements and the atmosphere created is always one of celebration and joy. As Abdallah asks, on a regular basis, “Are You Happy”? – to which the response is always a pronounced cheer and positive shout from the crowd. Hypnotic and elemental, all the fun of the fairground. Sahara Blues at its best.
Review and photograph by Paul McGee