Some happy moments are easy to relive. A dinner that came together just right. A book worth rereading. An inside joke that keeps making you and a friend laugh.
Then there are moments so singular that you’re filled with gratitude at having experienced them as they zoom away in the rear-view. I can say with certainty that I won’t soon have a Friday evening like last Friday evening.
So many thanks go out to my friend G, who gave me a heads up earlier in the week about an event happening at the University of Richmond involving Tuareg desert blues — a style she and I have a shared enthusiasm for. We’ve sent Sahel Sounds Bandcamp links back and forth, and I even grabbed a used copy of Music from Saharan Cellphones: Volume 2 when I saw it at Plan 9 because I knew she’d dig it.
She repaid me a thousand times over by letting me know that Mdou Moctar, one of the artists featured on that compilation, would be performing at UR after a screening of Akounak Tedalat Taha Tazoughai, which translates to “Rain the color blue with a little red in it.” That’s right — Moctar collaborated with Christopher Kirkley from Sahel Sounds on a remake of Prince’s Purple Rain set in the Sarhara, purple motorcycle and all. It was insanely cool, though I have to confess: I can’t comment on the intertextual angle, because [takes a deep breath] I’ve never seen Purple Rain. I thought about finding it and cramming it into the busy days leading up to the event, but then I fell in love with the idea of seeing Akounak Tedalat Taha Tazoughai first. How fun will watching Prince’s version be for the first time? I seriously can’t wait.
After the screening, Moctar and his band — the same rhythm guitarist and percussionist who backed him in the movie — walked down the auditorium’s aisle to thunderous applause and went on to play six songs, with stretches of Francophone Q&A sprinkled throughout and translated by Kirkley. Especially interesting was hearing how Kirkley and Moctar first connected — wary phone calls, files sent haphazardly via Internet connectivity Moctar likened to what the U.S. would have had in 1996. It’s amazing to think how easily that connection could have been lost. Yet there they were, working together to answer questions from Central Virginians about the movie they made together in the Sahara desert.
Moctar’s playing was exceptional. His left-handed Stratocaster work first seemed more focused on color and shape than virtuosity, as he’s extremely gifted at shading via countermelody. But by the sixth and final song — a chunkier rock tune — Moctar was plucking as fast as I imagine a hummingbird beats its wings, and the runs he unleashed while standing next to the drums and egging his bandmates on were nothing short of jaw-dropping. True to the Saharan Cellphones tradition, I made a few crappy iPhone recordings, and somehow the audio of that last song is even more impressive than my memory of seeing it, which doesn’t even make sense.
I also walked away with a vinyl copy of Moctar’s newest LP, Sousoume Tamachek, signed by the three-man band I’d just seen in-person and onscreen. I’ve been spinning it nonstop — it paints a really varied and intimate picture of Moctar’s approach, with a nice mix of acoustic and electric guitar. Check out the title track below, and click here to see the remaining dates on this tour. Not every stop involves a screen of Akounak Tedalat Taha Tazoughai, but I can guarantee a singular experience nonetheless.