Tinariwen- Tuaregs' spirit

After I have dedicated several articles to African Amazigh music, I thought it was necessary to evoke Tinariwen, a great Algerian band of Tuareg music which has already been widely acclaimed throughout the world, and deserves to be known by even more listeners.

Worth-mentioning is the fact that Tuareg music addresses the senses if one gets a taste for it immediately. However, the soul is pervaded by it subtly, as the piece of music develops to the sandstone of the rhythm’s changes, depending on the mood of each song. This Berber or Amazigh music is also closely linked to its geographical framework, namely the desert, and to the nomadic way of life of Tuaregs who are constantly moving over sandy stretches. Consequently, the music produced by this way of life reflects the feelings experienced by these space and time travellers. It’s the reason why, although the songs of Tinariwen are based on the classical music structure made of a verse and a chorus, they cannot be listened to in a lineal fashion, and the listener must rather let himself be carried away, gradually, in a spiral making him feel like he’s in a trance. That spiral recalls several aspects of Tuaregs’ nomad life like hunting, feasts, or just the fight for survival in hard conditions.

My favourite album of Tinariwen (which means deserts in Tamashek language) is arguably Elwan, released in 2017, and available most of the time on YouTube since many fans appreciate it, because this album contains a great variety of atmospheres and nuances, throughout its thirteen different songs.

One can quote, for instance, the fierce tune called Tiwàyyen, that is often played on stage, the song Sastanàqqàm with its catchy groove based on bass and electric guitar; instruments introduced by the band in its repertoire for they marry wonderfully with Tuareg music, hence creating a king of “blues of the desert” as qualified by some admirers. Should I recall again that Blues music in the United States is itself inspired by the African rhythms brought by black slaves…

The song Nizzagh ljbal is also worthy of being listened to. Here the rhythm slows down in an acoustic guitar, like in the tune Talyat.  

On Hayati, the music is swaying, reminding a bit of funk rhythm.

The more powerful song of the album is undoubtedly Assawt, which is always very well welcomed on stage, with its spirit of escape and freedom.

Nannuflay is more relaxing with its bitter/sweet atmosphere like one can find in jazz music.

Fog Edaghan ends the album; its dusky ambiance and the high-pitched sound of its guitars remind us surprisingly of the song The End by the American rock band The Doors.

I wish that this insight will inspire some to discover or rediscover Tinariwen’s music and, beyond that, Tuareg music in general in all its richness.

Lyes Ferhani