Etran de L’Aïr are going to be dynamic, hypnotic and blazing with joy at Melbourne Recital Centre next month, with a sound that could only come from Agadez.
Legends of Saharan rock, Etran de L’Aïr, are bound tightly to their home of Agadez. The name itself means “the Stars of the Aïr”, that mountainous area in Northern Niger of which Agadez is capital. For decades, this has been an epicentre of Saharan desert rock, a movement that is itself a blend of genres and cultural influence reflecting this singular place.
Etran de L’Aïr
- March 4: Melbourne Recital Centre
- March 6: Sydney Opera House (Utzon Room)
- March 8: A Festival Called Panama, Lone Star Valley
- March 9 + 10: Womadelaide, Adelaide
- March 13: Powerhouse: Ωhm Festival Of Other Music, Brisbane
Check out our gig guide, our festival guide, our live music venue guide and our nightclub guide. Follow us on Instagram here.
The music of Etran de L’Aïr sounds like sunlight. Like dancing dizzy in the heat of the desert. Even on their first album, No. 1, recorded live and lo-fi and released through Sahel Sounds in 2018, they embodied an irrepressible energy of place, identity and life. Now, with the release of their third album, 100% Sahara Guitar, they’re bringing the joy and fervour of an Agadez party to the Melbourne Recital Centre. For band members Moussa “Abindi” Ibra, Abdourahamane “Allamine” Ibrahim, Abdoulaye “Illa” Ibrahim and Albhabid Ghabdouan, it’s a great honour.
“We are excited to play in Melbourne,” Abindi said.
“For us, 100% Sahara Guitar reflects the Sahara and the desert. In this album, we explore many themes, including peace, the desert, Imouhar [community], the Aïr region, and love, to name a few.”
The confluence of culture in Agadez is evident in the Pan-African layers of Etran de L’Aïr. They sing in Tamasheq, the language of the Tuareg ethnic group. They wear traditional dress onstage. They’ve spoken previously about the inspiration of Abdallah Ag Oumbadougou, one of the founders of the ishumar style of desert blues and Tuareg guitar music, involved in the Tuareg rebellion of the 1990s. Abindi also points to the influence of syncretic folk-blues-rock sounds from Mali, the Congo and other parts of Niger. Although they use western rock or blues elements, their product is deeply rooted in the identity of this region and the celebration of culture, shared with joy through music.
Electric guitars were difficult to locate when they started out 25 years ago, so they began with just an acoustic guitar and a calabash fruit and sandal. They now tour with Fender guitars, a Stratocaster, a Telecaster and a Precision, as well as a drum kit. It’s one of the more obvious ways they’ve developed to create this iconic sound, but Abindi says even over the past few years their professional music-making has changed immensely.
“Our music has evolved over time, considering the hard work we put in every day – the themes explored in different albums, the style, and the unique sound of Etran de L’Aïr, which is very distinct,” Abindi said. “In the beginning, it was really difficult – our music lacked proper equipment, our training was irregular, and we also faced many financial problems, which didn’t allow us to dedicate enough time to practice.”
“But now, things are much better. The sound system is top-notch, rehearsals are regular, and we have enough time to meet. Compared to our previous albums, things were a bit difficult, but with time and the experience we have gained over the years, it’s really great now.”
Abindi said this collaborative songwriting style gives “impeccable” results, yet there’s still a live energy and dynamism to the final product of Etran de L’Aïr. The hypnotic, almost ecstatic dance music for which they are renowned, along with the fame of their love songs, is unsurprising considering they are one of Agadez’s most sought-after wedding bands. Vibrant songs of adoration like Nak Deranine and Toubouk Ine Chihoussay belong in the celebratory throng of a wedding party.
“In Agadez, our performances last several days because fans eagerly await the return of Etran de L’Aïr to start planning their wedding celebrations,” Abindi said. “Some fans even postpone their festivities in our absence. This trust and support gives us strength.”
“The people truly love all our songs. You have to see it to believe it. From start to finish, the fans dance. Sometimes they request songs like Imouhar, Agadez, Tamiditine, Tchingolane…”
When they transpose this spirit of outdoor festivity to concert halls around the world, their songs transport you. Etran de L’Aïr has the kind of rhythm that bypasses the brain and taps beats on your bones. The adrenaline of their music can become frenzied, infectious. Bluesy basslines and steady, rolling percussion build with overlapping guitar solos that heighten the excitement. Abindi and Allamine weave intricate, energetic melodies on jangly electric guitar that evoke classic rock and roll or surf rock.
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Part of tradition but not bound to it, the adaptability of desert rock makes it enduringly popular among new artists.
“Music evolves with each generation, as every era has its own approach and way of doing things,” Abindi said. “Desert rock is highly appreciated by the younger generation – the melody and the way of playing have had a big influence on this. Young musicians are bringing many changes, introducing new sounds and tones. For example, the young Abdourahamane Ibrahim, known as Allamine, is a major inspiration for both the younger generation and even adults. Young artists are bringing a lot of innovations to the future of this music, including new melodies, sounds, and tonalities.”
Etran de L’Aïr have staked out a clear place in the lineage of the desert rock and blues genre, but their music is also at the heart of a community and its ceremonies. Few bands can offer that authenticity of experience, to carry a place with them wherever they move.
Through Etran de L’Aïr the world has heard the song of Agadez – even if this is the closest we come to seeing the stars.
Find out more about Etran de L’Aïr’s show at the Melbourne Recital Centre here.
This article was made in partnership with Melbourne Recital Centre.
