Live music review: Far Out Lounge paid homage to Sub-Saharan African musicians

Far Out Lounge has begun a trend of booking Sub-Saharan African musicians. A number of western African artists have popped up with more relevance: Tuareg guitarist Mdou Moctar signed to Matador Records (who represents heavy hitters Interpol, boygenius, and Belle and Sebastian) in 2020 and Malian blues artist Vieux Farka Touré collaborated with Houston based Khruangbin. Far Out Lounge hosted Etran de l’Aïr in early April for an intimate introduction to the genre. Both Mdou Moctar and Vieux Farka Touré performed African music during Austin Psych Fest.

This summer, Far Out Lounge will also host Imarhan on July 25. No surprise, on algorithmic musical style tracker, Every Noise, the genre ‘Tuareg guitar’ sits in close proximity to ‘classic psychedelic’, making the introduction at APF a no-brainer. ‘Malian Blues’ can be found a distance off (algorithms be damned). The title of “Hendrix of the Saharan desert” could not concretely be attributed to one artist either, via Google search. Artists such as Tinariwen and Bombino paved their way onto Western airwaves for more Tuareg musicians to come later.

Etran de L’Aïr

In early April, Far Out Lounge hosted Niger based band Etran de l’Aïr. On the outskirts and competing with Built to Spill’s crowd at Mohawk, the show proved more difficult to draw people out, however, the performance was much more intimate and wholesome because of it. The Tuareg band’s beat undulates as if in a figure eight pattern, sharply enunciating short patterns while letting them fall gradually in a steadfast repetition. Knowledgeable music enthusiasts comprised the crowd, respectfully listening and dancing without the animosity of pushing towards the stage.

Their album ‘No. 1’ was recorded on a cell phone. “Agrim Agadez” trudges through gleefully as its own celebration on snare with clapping, dipping and peaking through all while a lighthearted guitar floats over. The guitar hangs airy, not as fuzzy as classic psychedelia, but dainty enough in its free form. A city of Sub-Saharan African musicians and guitarists, Agadez hosted many bands to perform in a circuit of baptisms, weddings, and political events. Also check out “Adounia”.

Vieux Farka Touré

Vieux Farka Touré made a name for himself on Western airwaves with a collaboration with Houston desert rock act, Khruangbin. The Malian blues artist is the son of Ali Farka Touré, who was ranked amongst Spin magazine and The Rolling Stone’s list of top guitarists of all time. Initially, his father discouraged him from pursuing music, due pressures once faced, however Vieux persisted.

On the final day of Austin Psych Fest, pavement in front of the stage ablaze at midday, many lounged underneath the tree and enjoyed Vieux Farka Touré without dealing with the Texas sun. Vieux Farka Touré encapsulated a late Sunday evening, with soothing and mellow music. Vieux was dexterous without urgency, precise but not overly calculated. Many of the songs from the set came from his most recent album Ali.

Mdou Moctar

Mdou Moctar welcomed crowds back (or on arrival for those who chose to wait out the storm) on day one of Austin Psych Fest at the Janis stage. Originally slated for 6 p.m., a thunderstorm threatened their time slot. Organizers pivoted and had the artist from Niger swap with local artist Annabelle Chairlegs moving the band from the main, Willie stage.

Mdou Moctar signed to Matador records in 2020 and released their track “Chismiten”. The video includes footage of Niger and Agadez mixed with illustrations. The Tuareg singer songwriter sounds fuzzier, edgier, bluesier, and more grounded in rock than Etran de l’Air, Imarhan, and Vieux Farka Touré. In the Guardian, he describes his first guitar: “I was from a religious family and music was not welcome, but I would go and listen to local musicians and dream of being like them.” He built his first guitar out of a piece of wood and an old bicycle’s brake wire. Also check out “Afrique Victime.”

Imarhan 

Started in Algeria with a group of friends, their name translates as “the ones I care about” in the language of the Kel Tamashek people. While Mdou Moctar, Vieux Farka Touré, and Etran de l’Aïr derive nearly straight from Hendrix-era psychedelia, Imarhan does not shy away from experimentation: funkier hooks on their self-titled album with more energy and liveliness than aforementioned artists. Tahabort’s licks sound straight out of “Soul Train. On Aboogi, “Tamiditin” piqued an interest as instruments suited for melodies served as percussion keeping time. “Tarha Tadagh”, lyrics aside, faintly resembles a flamenco, with bursty guitar that teases. Get tickets to see these Sub-Saharan African musicians July 25 at Far Out Lounge here.

Cover photo of Mdou Moctar by Michael Maly