Just another Thursday night, just another night of exceptional, world-class talent at the Basement in Sydney. For Bombino’s sophomore tour of Australia, the house was full, and justly so. Described by Rolling Stone as a “hot-shit guitarist from Niger”, Bombino’s most recent release, Nomad, produced by Grammy award-winning Dan Auerbach of the Black Keys, debuted at number one on the iTunes world music chart and the Billboard world music album chart, with the BBC describing the album as “utterly, utterly fantastic”.
Omara “Bombino” Moctar is a member of the nomadic Tuareg Ifoghas Tribe from Agadez, Niger. His music is sung in the Tuareg language of Tamashek, and features lyrical content inspired by the Tuareg People’s fight against the government of Niger and the imposition of colonialism and strict Islamic rule. Bombino delivers distinctive desert blues rooted in the traditions of his African homeland, all the while calling to his western guitar heroes Jimi Hendrix and Jimmy Page.
Eddie Boyd & the Phatapillars opened what was to be a night of exceptional guitar playing. Eddie’s skilful songwriting and charismatic stage presence were received by an appreciative audience who found themselves up and dancing before Bombino had even hit the stage. Eddie went on to impress the crowd with flawless fingerpicking and solos that proved he really knows his way around his instrument. The set was tight, reflective of their relentless touring, and each song was distinctive and catchy. New tune “Juliette” proved to be the standout track, with a red-hot guitar riff and radio worthy chorus. It was a solid set from a band that won’t have much in their way once they refine their genre and style.
Considering the crowd was already on the dance floor, Bombino’s set began more subdued than expected. Only one percussionist was visible from the crowd, with Bombino and the bass player and drummer sitting down. The music began slowly, meditative and hypnotic. Rolling, cyclical rhythms and melodies tugged the crowd along, with each song escalating in tempo and culminating in a frenzy of speed and feverish dancing from the audience. Halfway through the set, Bombino stood up and began to play his electric guitar. A great smile broke out on his face as he welcomed the audience with strategic, tasteful solos. There wasn’t much to be said for negative space within the music, which was laden with bass, drums and guitar, but the overall effect of this created a surprisingly vast, expansive effect, reminiscent of the desert from which it comes. The occasional singing and chanting added to this, taking us to an ethereal and dream-like place.
Bombino exuded a sense of joy, swelling and receding like the music, a joy laden with anticipation of its inevitable return, yet fraught with uncertainty. It is not an uncommon view that artists create their best work when they express what they know. Listening to Bombino, I heard them speaking so clearly of their home, their lives and their political struggles, that I felt I was transported there. What more could one ask of a performance?
