Bombino

with Paul Metzger

Wednesday, September 13 | All Ages

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Bombino

Guitar luminary + Tuareg folk hero Omara “Bombino” Moctar knows the nomadic life well. Being constantly on the road for his music while also perpetually on the move throughout the Sahel region of Africa is the norm.

So when the pandemic brought the world to a screeching halt, Bombino found himself in an unfamiliar space: being in one place. “I’m used to traveling virtually every week and then I was locked down for two years,” he says from his home in Niamey, the capital of Niger. “On the positive side, I get back in touch with my home and spend real time there with my family for the first time in a long time.”

What resulted was the follow-up to 2018’s Deran, a record that turned Bombino into the first-ever Grammy-nominated artist from Niger. This new collection of songs, entitled Sahel after the African region spanning East-West from the Atlantic Ocean to the Red Sea, is Bombino’s most personal, powerful, and politically-minded work to date. It’s also his most sonically diverse, a quality he set out to achieve from the start, and one that is meant to directly mirror the complex tapestry of cultures and people that make up the Sahel region itself. He says, “the general plight of the Tuaeg is always on my mind and while I’ve addressed it in my music all along, I wanted to give it a special focus on this album.”

To bring the songs to life, Bombino worked closely with Welsh producer/ mixer David Wrench (David Byrne, Frank Ocean, Caribou, Goldfrapp, Erasure, The xx, Sampha), decamping with his bandmates to a studio in Casablanca for ten days to lay down the album. “Bombino’s an incredible musician, easily one of the best musicians I ever worked with,” Wrench says with fondness of seeing the Tuareg guitarist up close. “What he does looks effortless, but it's so complex. It’s such a refined style, it’s so him, it’s unique. It contains all this history in it, it’s amazing.” The feeling is mutual. While Bombino has been fortunate to have sympathetic guitarists like Dan Auerbach and David Longstreth sit in the producer’s chair in the past, Wrench provided a new level of expertise.

The ten songs that comprise Sahel range in theme from the plight of the Tuareg to the ache of lost love to the follies of youth. He explains: “When you look at the situations in each of the five countries that make up the Sahel (Libya, Algeria, Mauritania, Mali, and parts of Burkina Faso), the Tuareg people are not represented in these governments.” And only recently did that situation change in Niger.

Sahel looks forward and to the past, a mix of new and old songs, but each one of them resonated with Bombino for one reason or another. “A lot of bands go into the studio with a set of tracks that they’ve rehearsed, but that’s not how Bombino works,” Wrench says. “He goes with what he’s feeling at the time and it’s a much more instinctive way of recording. He’s drawing from this memory of these hundreds of songs he’s written. He pulls from that well of his own work and the history of his culture; he pulls out of that what he feels is right.”

Aside from loss of representation in these countries’ governments and the absence of the Tuareg in mainstream culture, Bombino sees that even with the instant interconnectedness that smartphones can bring, “the biggest threat I see is technology and modernization. A small, marginalized culture like the Tuareg risks getting lost in the homogenization of culture.”

With Bombino as your guide, let Sahel take you there as well.

Paul Metzger

"The banjo and guitar extrapolations of Paul Metzger reveal the true meaning of virtuosity. His banjo and guitar contain multitudes. Suspended between past and future, honouring the tradition while hijacking it, listening for its voice while revelling in its inarticulacies; this is how the thing sings. And the song, in the obsessive extensions of Metzger’s instruments, truly has no ending." - The Wire, David Keenan.