Tinariwen, Wellington NZ, 2024

Tinariwen

30th May 2024
The Opera House, Wellington, New Zealand

Review by Rob Harbers. Photography by Reef Reid.

In a spectacular display of passionate and driven musicality, the powers of Tinariwen and support act LEAO asserted the status of indigenous voices, proudly defiant in the face of those who would seek their marginalisation, if not complete silencing. On the same day that the colonialist power structure of Aotearoa sought to further entrench a long history of ignoring the principles on which this country was founded, in another part of the same city was presented a reminder of the strength of cultural diversity – and I know which one gets my vote!

Openers LAEO brought Pasifika groove into the cold Põneke night, offering a sunny vibe that has gained them at least one new fan, i.e. me, and no doubt a few more besides. They expertly blend the sounds of their Samoan heritage with a rock sensibility, to create a truly intriguing hybrid that captures a unique spirit. The combination of lap steel and jangle results in a fascinating mix, one that is both profoundly Pasifika and profoundly indie, all presented in a charmingly self-effacing manner that never seems to take itself too seriously. Their skilful combining of old and new puts me in mind of Son Rompe Pera, who mix the Mexican Cumbia of their heritage with a speed, volume, and intensity comparable to the Ramones. Definitely one act I’ll be interested in following further, and whose fusion of seemingly disparate elements sets the tone perfectly for the main act!

And then to Tinariwen themselves. This is not as much a concert, in the traditional sense, as it is an experience, evoking the wide-open spaces of the Sahara desert that is their home. Their heritage draws on the nomadic Bedouin tribes, such as the Berber and Touareg, the indigenous peoples of the area that encompasses such countries as Algeria, Tunisia, Morocco, Mauritania etc. But as nomadic people, they’re considerably less bound by borders, instead drawing on the common thread of brotherhood across the region – an example that holds the potential to offer hope for all humanity in these times in which the flames of division are being stoked by bad actors (one of whom has just been found guilty as I write this!!! Woohoo!!!!)

The players enter the stage in a low-key fashion, free of hype (but enthusiastically welcomed nonetheless). The lighting palette is predominantly purple, calling to mind the colours of a Saharan sunset, as befits the genre known as “Desert Blues”, of which Tinariwen are pioneers. This style melds electric instrumentation, notably guitar, with the ancient tribal sounds from down the centuries. Their performance is simultaneously delicate and full-throated, the plucked guitar contrasting with the call-and-response massed vocals, but the delicacy of touch is maintained as the volume increases. And increase it did – by the time it was over, things were fair pumping! But always with the same lack of egotistical flourish, the ensemble reflecting centuries of Bedouin hospitality in their frequent questions of “Are you ok?” and “Are you happy?”, to which the answer was always enthusiastically in the affirmative. This was one of those events where performers and audience felt at one, coming together for a few all-too-brief hours in common celebration of life!

The opening song of the four set encore perhaps best encompassed the spirit of the night, with its leading out with a sole figure playing an acoustic guitar and singing, before eventually being fleshed out with the remaining five members, for the full effect. This poignant piece drew audience and performer even more together than they already were, and led to a joyful close, one from which all parties emerged greatly satisfied! The audience’s obvious enjoyment was matched by that of the players, each drawing off the other. A brilliant example, when it’s needed most, of how humanity shines through when there are common goals.

To put this event into its wider context, the day started with an activation of Tangata Whenua and Tangata Tiriti, given impetus by the unprecedented attacks on this land’s very foundations by a short-sighted, tone-deaf, spiritually bereft collation of the most disaffected and ignorant elements found therein. The need for this action was laid bare by the presentation later in the day of one of the most cold-hearted, financially illiterate government budgets ever, one which seeks to reinforce it’s culturally bereft notions of White is Right! And then, in a far more tolerant House than that occupied by the other pack of racist buffoons, came more fight against this notion, in the purest and simplest form – cultural exchange. One that declared that no matter what some may try to have things, we demand a better future! And for representing that fightback, Tinariwen, we say La Shokran, Merci Beaucoup, Thank you!!

Tinariwen:

LEAO:

Were you there at the Opera House to witness this magnificent desert blues show? Or have you seen Tinariwen perform live somewhere else? Tell us about it in the comments below!

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