Music Matters: Rediscovering the forgotten sounds of Somalia

Iftin is the The Ministry of Education’s band. (Supplied)
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Updated 17 September 2020
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Music Matters: Rediscovering the forgotten sounds of Somalia

  • Some of the Arab world’s most intriguing music is uncovered in Analog Africa’s latest compilation ‘Mogadisco’

MUSCAT: In the aftermath of the Ogaden War, Somalia’s Bakaka Band found themselves “somewhat meaningless,” in the words of singer Shimaali Ahmed Shimaali. Founded to sing patriotic songs by the government’s Ministry of Interior in 1978 — the height of the Somali-Ethiopian border conflict — peacetime presented a crisis of identity.

After reinventing themselves as a private party band, playing to tourists in Mogadishu’s hotels, the musicians were arrested — all because they had inadvertently chosen a new name, Gor-Gor Band, (meaning “Eagle”) that also happened to be the title of a militant group opposed to Siad Barre’s ruling regime.

As Shimaali tells it, the president had to personally intervene to get the group off the hook, ordering them instead to take the name Dur-Dur Band, and they went on to become one of the best-known groups from a golden era of Somali music that has gone largely unheard beyond the country’s borders.

Tracks by both Bakaka Band and Dur-Dur Band make up a healthy share of “Mogadisco: Dancing Mogadishu (Somalia 1972-1991),” a compilation released by the eclectic Analog Africa imprint at the end of 2019. It is more than a record, it’s a musical archaeology project accompanied by vintage photos and fresh interviews, in which Shimaali’s story is told.




Dur-Dur Band became one of the best-known groups from a golden era of Somali music that has gone largely unheard beyond the country’s borders. (Supplied)

Analog Africa’s Tunisian founder Samy Ben Redjeb tells Arab News that his visit to Somalia was the first by an international label, his efforts uncovering miraculous musical moments otherwise forgotten — such as “Hab Isii” (literally “Hug Me”) an infectiously seductive dance-floor filler driven by a stonking reggae rhythm and tropical flavor, recorded by singer Omar Shooli in 1986 — that offer a window into the culture of a country often overshadowed by its tumultuous socio-political situation.

“The thing with Somalia is that all the news you get from the country is only negative,” says the 49-year-old Redjeb.  “So to imagine that this was one of the most beautiful towns in Africa and extremely rich culturally – that was basically the message I wanted to navigate through the compilation, to paint a more positive picture of that country.”

After finally obtaining a visa, invite and host for his stay, Redjeb spent five weeks in the Somali capital in late 2016, waiting each morning to be picked up by the armed guards who would take him to the dusty archives of the state’s Radio Mogadishu, where he dug through stacked boxes of hundreds of often sparsely labeled cassettes.

“I knew I was not going to come back empty-handed, that’s for sure, but I didn’t know what exactly I would find,” he says. “That’s basically my job — to go into uncharted territory and try to find music that is interesting enough to be released for an international market.”




Samy Ben Redjeb is the Tunisian founder os Analog Africa. (Supplied)

Amid the radio jingles, political speeches, background music, devotionals and theater soundtracks, he uncovered documents of the capital’s thriving ’70s and ’80s band scene, original multilingual material heavily influenced by the era’s Western disco and funk flavors, but rooted in regional Balwo musical poetry traditions, and often smattered with a Latin and Caribbean lilt. More than mere ethnography, the music he assembled for release is as fun and familiar as it is fascinating and obscure — just listen to Marvin Gaye-loving singer Mukhtar Ramadan IIdi’s primitively recorded foot-tapping “Check Up Your Head” and “Baayo.”

Collectively, the release’s 12 tracks tell the story of a period both uniquely fertile but strictly controlled. Now the subject of their own standalone Analog Africa retrospective gathered from the same visit (“Dur-Dur of Somalia – Vol. 1, Vol. 2”), Dur-Dur Band’s story is not uncommon; after assuming the presidency following the 1969 coup, President Barre invested heavily in culture, and almost every government ministry boasted its own well-funded band. “While other African countries were going down musically and culturally in the Eighties, Somalia was going up,” says Redjeb. “Ghana in the Eighties was completely dead, while Somalia was exploding just because of the political environment.”

But the Bakaka Band’s brand of patriotic music is far more than the crude jingoism associated with the genre, the languid “Godonimada” (Choose Freedom) pits lazy call-and-response tribal chants over reggae groves, while the trippy “Geesiyada Halgamayow” (Brave Fighters) bounces between slow, spooky, and furious funk passages.




The state-funded bands were frequently called on to provide live accompaniment to musical plays staged at the National Theater of Somalia. (Supplied)

When they weren’t on government duties or representing Somalia at international festivals, these incredibly versatile state-funded bands were frequently called on to provide live accompaniment to musical plays staged at the National Theater of Somalia, with The Ministry of Education’s Iftin Band contributing the eerie, sci-fi-flavored synth instrumentals “Sirmaqabe” (No Secrets) and “Ii Ooy Aniga” (Cry For Me).

With new productions staged on a monthly basis, there was a constant demand for new, audience-pleasing scores, big on singalongs, which were hastily recorded and distributed to the public prior to the production’s opening. That’s the source of the compilation’s “Waakaa Helaa” (I Like You), an imploring falsetto sung by young female singer Fadumo Qassim, backed by the legendary Shareero Band.

After these formal theater gigs, the musicians would typically pile into a minivan with their equipment to moonlight at the city’s higher-end hotels, playing Michael Jackson or Tracey Chapman hits to a mix of Italian tourists and moneyed locals. When the revellers went home in the early hours, the bands would often stick around until dawn, writing and recording DIY cassettes of their own original music away from the demands of dancers and the pressures of politics.

“You couldn’t be totally independent, you always had a toe in politics, because you were a voice and the government would use that voice whenever they wanted,” warns Redjeb. “You might be independent, but when they called you, you had to be there.”


REVIEW: Coldplay blends emotional highs of 25-year catalog with visual artistry in Abu Dhabi

Updated 13 January 2025
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REVIEW: Coldplay blends emotional highs of 25-year catalog with visual artistry in Abu Dhabi

DUBAI: The biggest rock tour of all time (amassing $1 billion and counting) graced Abu Dhabi’s Zayed Sports Stadium this week in a dizzying flurry of fireworks displays, endless streams of confetti, and celestial bodies that floated over audiences’ heads ever so gracefully.

British rockers Coldplay brought their lauded “Music of the Spheres” tour to the UAE, delivering an unforgettable evening that showcased the band’s enduring appeal and innovative artistry.

The seamless production, relying heavily on visuals and everything from streamers to pyrotechnics, was led by the band’s lead vocalist Chris Martin, who deftly deployed his practiced charisma to work the crowd into a frenzy.

In addition to speaking in fluent Arabic multiple times, Martin went beyond the prescribed amount of obligatory shoutouts to include thoughtful audience interaction.

The band opened their two-hour set with the energetic “Higher Power,” immediately energizing the crowd as their wristbands (dubbed Xylobands by fans) ignited in an explosion of color. Over the course of the evening, they delivered a carefully curated setlist that blended old favorites like “Yellow,” “The Scientist,” and “Viva La Vida” with tracks from their latest album, “Music of the Spheres.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Opening act Elyanna, a Palestinian-Chilean artist, delivered a striking performance with songs like “Ganeni” and “Mama Eh.” Her duet with Coldplay on “We Pray” was a standout moment of the night.

Coldplay’s dedication to sustainability remained a core feature of the tour. From the use of renewable energy to power their shows to their pledge to reduce carbon emissions, the band demonstrated their efforts to set new standards for environmentally conscious touring.

Ultimately, Coldplay’s Abu Dhabi show was a masterful display of artistry, theatrics and connection. From the immersive visuals to the emotional highs of their music, the concert felt both intimate and epic — a testament to the band’s ability to unite a global audience through their craft.


Rapper Saint Levant teases new music video directed by Lyna Zerrouki

Updated 13 January 2025
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Rapper Saint Levant teases new music video directed by Lyna Zerrouki

DUBAI: Algerian director Lyna Zerrouki has directed a new music video for rapper Saint Levant for a song titled “Exile.”

Set to release in full on Tuesday, a snippet of the video released on social media on Monday seemed to feature Moroccan Italian model Malika El-Maslouhi falling through the air against a blue background. Arab News has reached out to Saint Levant’s team to confirm the model’s involvement in the new video.

The short video clips released on Monday also features a shot of the camera panning toward Saint Levant, who is illuminated from behind as rolling fog covers the floor.

Saint Levant, a Palestinian French Algerian Serbian rapper, is known for such songs as “From Gaza, With Love” and “5am in Paris.” He performed at the Coachella Valley Music and Arts Festival music festival in California in 2024.

The musician used the opportunity to address the ongoing war in Gaza, saying: “Coachella, my name is Saint Levant and I was born in Jerusalem and raised in Gaza … as I hope all of you are aware, the people of Gaza have been undergoing a brutal, brutal genocide for the past six months. And the people of Palestine have been undergoing a brutal occupation for the past 75 years.”

Born Marwan Abdelhamid in Jerusalem, the singer previously spoke to Arab News about his childhood.

“The actual cultural makeup is my mom is half-French and half-Algerian. My dad is Serbian, half-Palestinian. And they actually both grew up in Algeria. But they decided, in the early 90s, post the Oslo Accords, that Palestine was going to be free.

“So they went back, my dad went to live in Gaza in the early 1980s. And my dad actually built a hotel there and that’s where I grew up,” he said.

“For everyone, childhood is very meaningful. And for me, it was a juxtaposition because I remember the sound of the drones and the sounds of the bones. But more than anything, I remember the warmth, and the smell … and the taste of food and just the odd feeling of soil.”


Lyna Khoudri supports French Arab directors ahead of Cesar Awards

Updated 12 January 2025
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Lyna Khoudri supports French Arab directors ahead of Cesar Awards

DUBAI: French Algerian actress Lyna Khoudri took to social media to drum up support for “Bye Bye Tiberias,” which is eligible in the documentary category at the 50th Cesar Awards in France.

France’s answer to the Academy Awards, the Cesar Awards will be held on Feb. 28, with voting for all categories closing on Jan. 28.

The awards are voted on by a cohort of 4,000 professionals in the film and media industries.

Khoudri does not feature in “Bye Bye Tiberias,” French Palestinian Algerian filmmaker Lina Soualem’s documentary feature that follows Palestinian actress Hiam Abbass. Best known for her roles in HBO’s “Succession” and Hulu’s “Ramy,” as well as films including “Munich” and “Blade Runner 2049.” Abbass grew up in the Galilean village of Deir Hanna. In her early 20s, she made the decision to leave her family home and follow her dream of becoming an actress in Europe. Behind her she left her mother, grandmother, and seven sisters. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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It is this decision that is central to “Bye Bye Tiberias.” Reflecting on Abbass’ chosen exile and the ways in which the women of her family have influenced her and her mother’s lives, Soualem’s film portrays four generations of daring Palestinian women, including her great grandmother, Um Ali, her grandmother Nemat, and her great aunt Hosnieh. 

“When my mother reads a poem about my great grandmother, we can feel that she is overwhelmed by emotion,” Soualem, who is also Abbass’ daughter, previously told Arab News.

“And the story of my great aunt combines all the tragedy of our family, because it’s the loss of place, it’s the separation from family, it’s the body separated from the soil. I couldn’t imagine being separated from my mother and sister for 30 years. And what is impressive is that, despite all of this, my great aunt seems to be a model of femininity and positivity for my mother. The one who lost the most is the one who taught her the most.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Khoudri also took to Instagram to promote director Hakim Atoui’s “Blood Ties” in the Best Short Fiction Film category.

“When Ali and Leila visit their mother, who has just been discharged from hospital, they have some revelations to make. They are shocked to discover that she is now living with Elyo, a medical assistance robot. Lunch with this strange machine soon turns into a family feud,” the logline of the film reads.


The Harrods Hive networking hub returns to Saudi Arabia 

Updated 12 January 2025
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The Harrods Hive networking hub returns to Saudi Arabia 

RIYADH: The Harrods Hive Riyadh returned for its second edition on Saturday, this time hosted at the Diriyah Sales Center in Al-Diriyah. In partnership with the Saudi Youth Society, this edition focused on the evolution of luxury experiences and the engagement of audiences with culture and creativity. 

The event featured afternoon tea and three insightful panels. The first panel, titled “Growing a Creative Community in the Spotlight,” discussed the importance of connection amid rapid evolution and growth in the Kingdom. The second panel, “Stories That Matter,” centered on owning one’s passion and pioneering change. The final panel, “Sparking Innovation Locally through Global Influencers,” explored the intersection of local and global creativity. Attendees had the opportunity to network with panelists and members of the Harrods senior leadership team. 
  
The first panel included Saudi artist Lulwah Al-Homoud, bespoke tailor Yousef Tammar, chef Mona Mosly, and cultural advisor Yasmine Rasool. An artist known for blending traditional Islamic art with modern abstraction — Al-Homoud emphasized the significance of connection in art.
 “Art is a bridge that connects us all … when someone resonates with my work, it feels like a validation of my journey.” 
  
Tammar, an emerging Saudi tailor studying in Rome, described his transformative journey as “like a fairy tale.” He reflected on the cultural shifts he experienced and expressed a desire to integrate his skills into Saudi culture, focusing on elevating the quality of traditional clothing. “I want to bring a new perspective to traditional designs,” he shared. “It’s about honoring our heritage while embracing innovation.” 
  
Mosly shared her culinary inspirations rooted in her family's love for food, noting that “behind every chef is their mother.” She highlighted the importance of family in nurturing culinary passion, adding, “Food is not just about sustenance; it’s about connection and love. When I cook, I’m sharing a piece of my heart.” She also spoke on the challenges of her career, stating, “Every chef faces moments of doubt, but those are the moments that shape us. It’s crucial to remember why we began this journey.” 
  
For her part, Rasool discussed the myriad opportunities available in Saudi Arabia for creatives. She expressed excitement about the potential for collaboration among diverse talents, stating, “This is the best time to be in Saudi … we're on the brink of a cultural renaissance, with so many voices ready to be heard. Together, we can create something truly magical.” 
  
This year's theme of the networking hub aiming to connect industry experts with emerging talent was “The Connector,” The theme serves as a powerful reminder of the importance of nurturing meaningful bonds, both locally and globally — as Al-Humoud concluded, “In a world that often feels divided, art and creativity are what unite us.”


Limitless Orchestra marks world premiere at Dubai Opera with show honoring Johann Strauss, Hans Zimmer

Updated 11 January 2025
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Limitless Orchestra marks world premiere at Dubai Opera with show honoring Johann Strauss, Hans Zimmer

DUBAI: Dubai Opera played host to a world premiere this week that reimagines orchestral music for a new generation of music lovers.

“Global Waltzing — from Johann Strauss to Hans Zimmer,” presented by The Limitless Orchestra, took place at the intimate venue at the heart of Dubai on Jan. 10 and 11.

The brainchild of Russian-German violinist and composer Aleksey Igudesman, the orchestra enjoys the distinguished patronage of legendary film composer Hans Zimmer, who also made a special guest appearance on stage on both nights.

The orchestra enjoys the distinguished patronage of legendary film composer Hans Zimmer, who also made a special guest appearance on stage on both nights. (Supplied)

Under Igudesman’s innovative “fail forward” approach, “The Limitless Orchestra” breathes new life into the traditional boundaries of symphonic artistry, blending timeless musical techniques with contemporary creativity to deliver an experience that is as daring as it is transformative.

“The world definitely does not need another orchestra, for sure, but I think the world needs this orchestra and other orchestras like it,” Igudesman said ahead of the show.

“The orchestra essentially has not changed, or an orchestra has not changed its format more or less for 150 years. It has become an institution, a very vital cultural institution. But everything that stays the same becomes stagnant and becomes a museum, and then dies eventually, and we do not want an orchestra to die. So, for me, I think launching the ‘Limitless’ orchestra with the help of my great friends is something that I just had to do, because I did not want to have the things that I love so much die, and I wanted to show a possible new way of doing things.”

The show sees the orchestra revitalize the timeless works of Johann Strauss. (Supplied)

The show sees the orchestra revitalize the timeless works of Johann Strauss, skillfully blending the cherished compositions of the Austrian king of the waltz with the epic film music of Hollywood legend Zimmer.

Zimmer, displaying his trademark humility, said: “I don’t think there are limitations to classical music. I would hate to go about ruining Bach or Mozart. That’s their music and we can have new music.

“I’m just a peasant of music. I write film music. But the weird thing is that every day I get to go out and hire an orchestra. I get to go out and play in arenas for 20,000 people. So, something is working with what I’m doing. I’m adding instruments to the orchestra, I’m adding playfulness.”

“Global Waltzing — from Johann Strauss to Hans Zimmer” took place at the intimate venue at the heart of Dubai on Jan. 10 and 11. (Supplied)

The program will showcase a dazzling fusion of classical and cinematic music through an innovative selection of compositions, including the opening piece, “Emperor Waltz, Sultan Style,” by Igudesman and Tristan Schulze, inspired by Johann Strauss.

Other pieces include “Sherlock Holmes Fantasy,” “From Time to Time — Inception Waltz,” and “The Banker’s Waltz.”

Igudesman, celebrated for his electrifying performances and whimsical approach to classical music, will perform original works and innovative compositions, accompanied by the mesmerizing voice of soprano Ekaterina Shelehova.