End of the Year Issue
By Saoirse Aherne
April 29, 2022
If you had walked down Avenue de Saint-Ouen this past Saturday, you might have heard a distant cacophony of noise. You would have caught the audible wail of a classic electric guitar, but layered on a rhythm that was not quite rock, not quite funk, not quite blues. The genre bending noise that flooded Paris’ 18th Arrondissement this weekend was all thanks to Mdou Moctar – a four-piece Tuareg musical act that took the stage of “Le Hasard Ludique” by storm, clad in daraa and tagelmusts, armed with electric guitars, and biting political lyrics in Tamasheq.
About twenty minutes into the concert, frontman Mahamadou Souleymane stopped the music. In solemn and simple words, he stated “Africa suffers. We are suffering.” He continued, demanding an explanation for the deployment of French and American troops in numerous African nations, stating “it is not the 15th century.” Yet, according to Souleymane, colonial practices prevail. Souleymane described the extraction of resources from his home country of Niger at the hands of French mining companies, underlining how his people had seen no profit from their own nation's riches. Souelymane called on the audience to inform themselves on what the French government was doing in nations across the continent of Africa, and to condemn their leaders for the practice of imperialism. Leaving his words to settle in the humid air of the cramped concert hall, Souleymane stepped back, raised his guitar, and launched into a whining guitar lick. As the rest of the band joined, the song took the form of a typical Mdou Moctar ballad – rife with rhythm and spirit, a soul-catching groove layered with melodic vocals and lively drums.
This interlude was a stark reminder that what we, the crowd, had gathered to listen to was not simply music, but a political demonstration. Such has always been the case of desert blues – a genre born in Libyan military training camps in the 1970s, an intricate fusion of rock, blues, and traditional Tuareg sounds.
The Tuareg, a historically nomadic sub-group of the Amazigh residing in the Sahara-Sahel region, have long faced subjugation in the nations across which their people reside. There is a strong separatist movement within the Tuareg community, which has acted as a significant source of conflict since the Saharan-Sahel nations gained independence. In the 1980s, Gaddafi opened the Libyan borders to Tuareg refugees fleeing persecution and began recruiting them into his army. Libyan military camps flooded with young Tuareg men, fueling a number of insurrections and rebellions across the Sahara in the 1990s. However, another unexpected outcome emerged from these training camps, a different manifestation of the Tuareg desire for emancipation and autonomy: Desert Blues.
It was a band by the name of Tinariwen that pioneered this genre. Front man Ibrahim Ag Alhabib met his bandmates in a guerrilla training camp in Libya. The young men began to write songs about their struggles, the horrors that had forced them to flee their homes, and the subjugation of Tuareg people. They formed a musical group, playing at weddings and parties, speaking to the longing and suffering of their fellow Tuareg exiles. Soon they came to be known as “Kel Tinariwen,” which translates to “The Desert Boys” in Tamasheq. And so began Tinariwen, the first Desert Blues group, which expertly combined traditional Tuareg sounds with bluesy guitar riffs and unfalteringly political lyrics. In 1985, Tinariwen set up a makeshift studio where they wrote and recorded songs. They offered these recordings for free to all who could provide a blank cassette tape. These tapes were exchanged and dispersed across the Sahara by rebel groups fighting for Tuareg independence throughout the 1990s.
Tinariwen were the first of many bands from the Sahara-Sahel region to use music as a tool both in support of their own people’s spirit and to draw the eyes of the world to their suffering. Mdou Moctar in many ways is inspired by Tinariwen’s model. Especially with regards to their most recent album, “Afrique Victime,” Mdou Moctar’s lyrics are harshly anti-imperialist. Although distinctly Tuareg in musical style, “Afrique Victime” speaks for the continent of Africa as a whole, using music to condemn its exploitation and violation by Western powers.
Mahamadou Souleymane is Tuareg, born in a small village in the mid-80s in Niger. Due to resistance from his parents, Souleymane took up guitar, first by fashioning bike wires to a piece of wood and teaching himself to play in secret on this makeshift instrument. Inspired by music emerging from the neighboring country of Nigeria, Solelymane fused traditional Tuareg sounds with drum machine tracks and autotune. His creations began to circulate, and somehow made their way to American music blogger Chris Kirkley. Awestruck by the musical innovations Souleymane was creating, Kirkley departed to Niger to attempt to find the mysterious musician behind these haunting tracks.
After successfully locating Souleymane, Kirkley’s label, Sahel sounds, helped to produce a number of albums for Souleymane’s band– Mdou Moctar– which have garnered increasing international recognition. But music for Souleymane is merely an accessory to his central mission of bettering the lives of those within his community. Each time Mdou Moctar releases an album, he builds a well, a vital resource in Niger where access to water is a continual issue. Souleymane lives and works for the most part in Tahoua, as do the rest of the band. He knows the community, plays at local weddings, and rents out his car for a small fee – that is, when he’s not touring the world. In recent years, the fame achieved by Mdou Moctar has provided Souleymane with a platform to propagate his message to Western audiences. In an interview with Dazed magazine in 2021, Souleymane stated “[French] companies have extracted all the uranium and gold in Niger but help none of our problems. I’ve seen it since I was a small child. It’s modern slavery, racism, and colonialism combined.” He continued in this interview, proclaiming “I am calling the whole world to stand up and revolt against the conditions we face. We don’t have the technology here in Niger to manufacture weapons, so how are they entering the country? Why are other nations storing tools of war on our land? France, the US, NATO — they’re all complicit. Why are they here? Why?” Souleymane offered a damning final sentiment: “They’re playing with my people.”
Mdou Moctar utilizes its music to dissolve the simplistic portrait of the marginalized as weak and miserable. It draws attention to the evils of imperialism through a medium which showcases the beauty of Tuareg culture. Souleymane is shockingly talented, a compelling speaker, and an internationally recognized artist, all the while remaining an integral part of his community. He advocates for his people from within.
The music of Mdou Moctar is not only a stunning auditory experience, but also deeply powerful and moving. Such is the nature of political music, for it is from conflict and marginalization that the most compelling art arises. Desert blues have provided the Tuareg with a means to document their unique struggle, to draw the eyes of the world to their needs. And Mdou Moctar, in its embrace of this genre, has extended its political demands to represent all those that suffer beneath the burden of imperialism.