Tunng and Tinariwen [Live] @ Manchester Academy

Manchester, 20th March 2009

Here in Western Europe we have a myriad of musical genres, sub-genres and niche bands that refuse to fit into any genre at all. What about the rest of the world? That’s where the hideously generic label of world music comes in. Anything unfamiliar, something us Brits just can’t quite get our head round is immediately labeled with the ever applicable ‘world music’ sticker. Eugene Hutz, lead singer of Gogol Bordello even commented that “[world music] was not intended a racist term, but it basically is.”

Thankfully, this narrow minded view of music is slowly being broken down. Bands like Gogol Bordello and Manu Chao have (eventually) achieved great success in mainstream music. Our idea of the musical norm is changing, and collaborations of British and African music shows a bright future.

Tunng and Tinariwen are each well established in their own right. Tunng has achieved great success after releasing increasingly popular CDs since 2004, creating an individual style of nostalgic guitar and futuristic synth, topped off with a helping of ambient birdsong. Whilst Tunng formed in a basement in London, Tinariwen have an entirely different story.

Tinariwen formed in Mali in 1982, founded by Ibrahim, who saw music as a way of expressing their experiences of oppression and separation from the government of Mali (they also have a song about tea). While releasing a number of cassettes over the 18 years, they released their first CD in 2000, and it was Tinariwen’s first performance at the Festival Au Desert in 2001 that caught the attention on the western world. Whilst they became well known in Africa, they struggled for acceptance in the Western media; singing in their native tongue and playing music inspired by Tuareg blues, they were by no means marketable in the West.

I had heard before this gig that Tunng and Tinariwen had been experimenting in combining their music, but I had no idea how much of a collaborative act this gig would be. Tinariwen played this gig as a trio, with Ibrahim Ag Alhabib on lead guitar and vocals, Eyadou Ag Leche support guitar/ bass/vocals and Said Ag Ayad playing percussion. Tinariwen opened the night with two of their own songs with an electric guitar, acoustic guitar and the Tablas. They introduced the crowd slowly to their African blues style music with a slow, rolling rhythm on the Tablas and pensive singing. The absence of four members meant there was not the full impact of Tinariwen’s music, but they played a short set of hypnotic riffs that caught the attention of the crowd.

After these two songs, four other inconspicuous musicians joined Tinariwen on the stage, picked up an instrument and went straight on to the next. It took the crowd a little while to realize this was Tunng, as Becky Jacobs and Mike Lindsay’s husky singing settled beautifully next to that of Ibrahim’s. A seamless transformation introduced a stronger drum beat, and Ibrahim’s singing took on a faster pace. The bass plodded soulfully along the track, taking the crowd’s dancing feet with it.

Mother’s Daughter by Tunng was played with the basic ticking beat kept the same, whilst Ibrahim was almost rapping over the top- a wonderful contrast to the slow harmonies by Becky and Mike. Tunng’s song King was adapted for the better, with a lively collaboration that I would prefer to listen to any day. The powerful sound system drove the bass through the crowd, and brought out the beat of the song. Tianriwen’s songs were adapted with Becky’s melodica and Tunng’s signature crackling electronic noise.

Their encore of Bullets blew the crowd away. A catchy folk-pop song intertwined with the off-beat of Tablas and mesmerizing desert blues riffs.

Due to the language barrier, Tinariwen’s songs were introduced by Becky, as she told the crowd that ‘this song was about a freedom fighter in Mali, look him up. Our next song is about an old woman who murders people.’ This comment made it apparent just how different these bands are, and all the more incredible how effortlessly they can work together.

I emphasize that it was effortless, but not seamless. Mike admitted to the crowd that they had only had the past week to come up with a set list. Even though Manchester was the third gig, there was confusion as chord changes were shouted out, and before Tinariwen’s Tea song a long pause was followed by... ‘I don’t know who’s starting this one.’ These uncertainties may have stopped the flow of the gig, but I think also emphasized the spontaneity of this tour; these two bands were experimenting live on stage, still finding the right amount of give and take to make it a balanced and humble partnership.

This was more than a collaboration. This was an experiment between two bands of completely different backgrounds, combining music in a way that was respectful and accepting. The combination of languages over the microphones was wonderful, and I like to think that this will help the progression of non-English speaking acts break through to the western media. (An example of this is the European Song Contest- Why do all these other countries sing in English? The mentality to appeal to the ‘powerful countries:’ knowing that the Western world can’t be bothered to learn another language, and doesn’t give a shit if you’re not going to speak theirs. Apologies- I’m getting carried away)

The purpose of the gig was to experiment with different types of music, and with this Tunng and Tinariwen have taken ‘experimental folk’ onto a new level.

They created something completely new, a true original that pays homage to both band’s unique musical skills.

You can download two free tracks from the Tunng myspace: http://www.myspace.com/thisistunng not as good as the gig, but it will have to do for now.

Failing that you could go onto both band’s Myspace and play tracks at the same time for a similar, if not more haphazard effect.
http://www.myspace.com/tinariwen
http://www.myspace.com/thisistunng