The Perfect Storm: Beirut’s Alt Music Scene

In early July, this article appeared in Red Bull Music Academy’s Online Magazine. Beats and Breath would like to thank James Singleton, Lisa Blanning, and Davide Bartot of RBMA for the opportunity. More articles to come with RBMA – a great publication.

Tarek Attoui (right) and France’s Uriel Barthélémi -a composer, drummer and electro-acoustic musician at the Irtijal experimental music festival (Image – Tanya Traboulsi)

Lebanon is a complicated place. Historical antagonisms, both internal and external, have shaped its political and social landscape. Its diversity, ethnic and religious, is unmatched in the Arab world, and since the 1950s, its capital city Beirut has become the fulcrum between oriental and occidental, creating the ‘perfect storm’ of influences that has made it the mecca for progressive musical trends in the Middle East and North Africa (MENA).

The diva Fairuz, her politically charged composer son Ziad Rahbani, oud player and composer Marcel Khalife, and singer-composer Zaki Nassif have all pushed the conventions of traditional Tarab and Dabke (popular folk music forms) over the last 50 years. Less known are the efforts of Beirut-based musicians who, since the devastating Lebanese Civil War (1975-1990), continue to forge new Arabic musical directions outside of bubblegum Arab pop, modern Dabke twists or the patriotic anthems of the Lebanese resistance, Hezbollah.

Mazen el Sayed (aka El Rass) is a poet, musician, journalist and upstart MC whose debut album Kachf El Mahjoub (Unveiling The Hidden) (2012) on the Beirut-based Ruptured label signifies the unchartered musical territory that is being forged as the Arab world reels from the unprecedented change that has occurred in the last 18 months.

“This phenomenon [of change] is happening on all levels in the Arab world – including on the musical level and artistic level,” El Rass explains. “There’s a dialogue going on without any rules besides the artistic rule – which is to do great things that touch people, enlighten people and give people more awareness towards how they experience what they’re living and their surroundings.”

El Rass (left) and Munma
El Rass (left) and Munma (Image – Tanya Traboulsi)

El Rass’s production partner for Unveiling The Hidden is Jawad Nawfal – aka Munma, the brother of Ruptured label founder Ziad Nawfal – whose main body of work began in the aftermath of Israel’s war on Lebanon. Six years on, Munma has become synonymous with Beirut’s avant-garde musical community that counts names like neo-futurist composerTarek Attoui and trumpeter Mazen Kerbaj among its ilk. On the album, Munma demonstrates his uncanny sensibility for elaborate broken beat, ambient synth musical layers – think the Anticon label, Shabazz Palaces, Aesop Rock – and traditional musical underbeds as a perfect compliment to El Rass’s provocative wordplay. With images of turtles running on treadmills and cocaine-addicted politicians given power solely by birthright, El Rass’s flow cuts directly into the political and social inequities of Beirut life.

While Munma fashions himself as part of the sonic dissonance of a post-war Lebanese society, El Rass is a musical cog working in tandem with the youth-driven political and social movements elsewhere in the Arab world. But more than anything else, the album is a testament to years of development within Beirut’s underground scene, which has produced the most iconic Arab alternative musical acts of the last 15 years.

The Evolution Of The Underground

Amidst the apocalyptic, Mad Maxlandscape of post-war Beirut, there was in fact a vacuum that needed to be filled, and around 1993, peace began to feel like a possibility for the first generation of post-war youth eager for something beyond the ruins. Tracing the evolution of what can be considered the birth of the post-civil war underground scene in Lebanon, and arguably the birth of the contemporary alternative music in the region, Zeid Hamdan, the underground’s self-styled ‘gardener’ and the front man for numerous musical outfits since the mid-1990s says, “People began asking themselves, ‘What is Lebanon today?’ There became interest for something else other than what they were used to: the mainstream Arabic music that they had always listened to.”

Prior to that bands like Force and Amnesia joined the progressive Oriental musical stylings of Rahbani and Charbel Rouhana, to become what local music journalist Muhammed Haamdar says were “the trendsetters for Beirut’s civil war alt musical legacy,” that all but faded from view in the initial post-war years as Beirut society focused on vapid pop music to wash away their war weariness. This was the time when a microscopic western-influenced audience, who had been raised equally on Fairuz as with Led Zeppelin and Kraftwerk, rejected the sexually charged ‘habibi’ love songs flooding the radio airwaves, and instead raided black market cassette shops and CD stores in a search for punk, electro, alternative rock and hip hop.

Zeid Hamdan at the venue Democratic Republic of Music in West Beirut. (Image: Jackson Allers)

Hamdan returned from the war in the early 90s filled with western sounds in his head – The Pixies for one – and co-founded the seminal electro-Arabic fusion act Soap Kills withYasmine Hamdan (no relation), considered the voice of an entire generation of post-civil war youth in Beirut. Soap Kills self-produced four albums between 1997 and 2005. Their sound was derived from the production influences of Massive Attack and Portishead, and featured Yasmine’s contemporary, if not uninflected, interpretations of classic Arab songs like “Ya Habibi Taala Lhaeni” (“My Love, Come Chase Me”). It was a bold new approach and took more from the classical Arabic repertoire of their parents’ generation than the nominally popular Lebanese rock acts of the 1990s and early 2000s did.

Ultimately, their second album Bater sold 5,000 copies in the Lebanese market, which was unheard of at a time when there was no reliable internet commerce or a viable music industry to speak of. But none of the albums received radio airplay, and as Beirut-based cultural writer Kaelin Wilson-Goldie observed, “For nearly a decade, Soap Kills was held up as the next big thing. It was a band that served as an unprecedented artistic hothouse for live experimentation and studio innovation, a band that was always on the verge of a major record deal but never quite made it happen.” Seven years after their last release and nearly as long since their disbandment (2005), Soap Kills is ironically seeing more airplay now than they ever did during their heyday.

For his part, Zeid Hamdan never left his underground roots, having co-founded his own short-lived independent label Mooz Records (2003-2006) with musician and film composer Khaled Mouzzanar. At its peak, Mooz counted practically the entire alternative music scene as part of its roster, and in May of 2006 Mooz held the Beirut Luna Park Music Festival. It was the largest festival of its kind, but it became a symbol of Beirut’s propensity for false promises. Most of the cultural elite that constituted the alternative scene, and certainly most of the roughly 1,500 festival attendees, were looking haphazardly to the future, ignoring the country’s fragilities and external political actors. Articles at the time reflected the country’s optimism, but on July 12th, Israel invaded. 33 days of bombing later, huge swaths of Beirut and south Lebanon were destroyed. Irreparable damage was also done to Beirut’s alternative music scene, and according to Zeid, Mooz records was forced to close.

The two subsequent years of violence and political instability that followed continued to wreak havoc. Scrambled Eggs was one of the groups that suffered the most. From 1997 to outbreak of war in 2006, the four music geeks that founded the group wore their musical sensibilities on their wrinkled button-up shirts and tight jeans, hammering out smart, hard-hitting post-punk that appealed to a burgeoning fanbase. But they banked on the false promises of peace like nearly everyone else in the alt scene – and in the possibilities of an active, independent, then up-and-coming music industry that had enjoyed roughly six years of peace.

After the war and at the beginning of the group’s denouement in 2007, the unofficial spokesperson Charbel Haber, a talented experimental musician in his own right, was glib when talking to the press, exhibiting a fuck-you attitude that, like so many of his peers from the post-civil war generation, showed open contempt of religion and politics. In a2007 Time Magazine article, Haber extolled, “We do everything as if the world is going to end tomorrow. The Syrians might come back, Israel might attack, Hezbollah might start another war. In a situation like this, you do a lot of self-destructive things,” adding, “At the end of the day, sex, drugs and rock’n’roll means freedom.”

Despite their appearance at South By Southwest in 2008, Scrambled Eggs’ slide into inactivity inevitably opened the door for other groups to join the alt music fray. Between 2000 and 2008, grunge unit Blend signed briefly to EMI, and rock band Meen – alongside electro-pop group Lumi – courted the vestiges of break-out fame afforded to very few of Beirut’s independents. Meen released their last LP 3arouset Bkeseen in 2011, and sing mostly in a Lebanese Arabic dialect, often about mordant subject matter – a marked contrast to the pure pop sensibilities that Lumi represent.

A duo composed of guitarist Marc Codsi (Scrambled Eggs, Zeid & The Wings) and singer Mayaline Hage, Lumi entered the scene in late 2005 and quickly rose in popularity, due in no small part to their 2006 single “Don’t F With My Cat”, which helped them land a major record deal with EMI/Virgin for their second album Two Tears In Water (2008). Like Scrambled Eggs before them, Lumi’s approach was a contrast to the doldrums of Lebanon’s volatile political reality. Embodying the “glamour and chaotic dynamic of Beirut,” Hage told the local paper The Daily Star in 2008, “We wanted to do something popular but intelligent – intense and happy,” while bandmate Codsi saw Lumi’s pop sensibility as a challenge to “do something that could be heard and felt by everybody.”

It’s likely that the most influential regional alternative group to come out of Beirut in the last decade is the seven-member indie rock act Mashrou’ Leila (which translates to ‘Overnight Project’). Formed in 2008 as part of a music workshop at the American University of Beirut, there is little to compare them to musically. With tinges of Armenian folk music mixed with Arab punk guitar riffs, DJ samples, hard-hitting break-beats, gongs and Arabic folk rhythms, Mashrou’ Leila have relied on their original student fanbase, spreading their musical message to college campuses throughout the Arab world through the now familiar, but highly effective use of social media platforms and internet distribution methods. As a result, they’ve managed to expand their influence almost exponentially in the last three years to include not only the Middle East but cities as far afield as Paris, Amsterdam and Prague. They’re a musical phenomenon with unabashedly risqué lyrics that are satirical masks held up to the face of Lebanese society. Both their self-titled debut album (2009) and their EP El Hal Romancy (2011) are tomes to the possibilities of future independent Arabic music.

Rap And Rebellion

While Mashrou’ Leila’s fanbase within the more rock-oriented orientalist circles is growing, their political sentiments and their sample-friendly approach have also gained audience crossover from the alt music scene that has emerged most prominently as the soundtrack to the Arab revolutions: Arab hip hop.

“The revolutions definitely inspired the youth to write about what was going on in their own countries,” John Imad Nasr, aka Johnny Damascus – bassist and longtime fixture of the Beirut hip hop scene – explains. Based in Brooklyn now, Damascus adds, “Cats in Lebanon were writing about what was going on (on the streets) before the revolutions. And during and after,” just like the heads in Egypt, Tunisia, Syria, Jordan and Palestinian Territories.

Right now, that political reality in Lebanon is looking increasingly grim with the situation in Syria a constant threat to sectarian antagonisms here. But that has only added fuel to the fire with the hip hop community in Beirut, who are consistently organising and producing events in spite of the potential for violence – with voices that stand in clear opposition to the veneer of the notoriously insipid party scene that brings in artists like Flo Rida and Wiz Khalifa, but has no room for homegrown Arab hip hop talent. But according to the Middle East’s premiere turntablist Hussein Mao Atwi, aka DJ Lethal Skillz, “Used to be the only references to hip hop in Lebanese hip hop circles were the corporate acts. But now the young heads are beginning to realise they are their own destinies.

DJ Lethal Skillz (left) with The Lo Frequency
DJ Lethal Skillz (left) with The Lo Frequency (Image Tanya Traboulsi)

“There’s constant political instability always hanging over your head here in Beirut,” Skillz continues. “Only in the last five years or so are there people you can turn to and say ‘Hey, those are the veterans.’ There was no real historical record in the late 1990s [digitally], so people don’t even remember the [1995] DMC DJ World Championships were held in Lebanon, with heavyweights like DJ QBert and DJ Noise, or that Lebanon’s first turntablist Sweet Lil’ DJ was competing on an international level with the best of them – rest in peace.” (Sweet Lil’ DJ died of a car accident in 1999.)

Skillz has also lent considerable production to dozens of pan-Arab hip hop recordings, and his 2012 sophomore release Karmageddon is a who’s who of the global Arab hip hop movement. With some of Beirut’s best MCs, it includes the lyrical satirist Omar Zeneiddine aka MC Dee; the understated yet highly politically charged writer Edouard Abbas aka (El) Edd of Lebanon’s most well-known hip hop group Fareeq al Atrash; and lyrical savant Ramcess L’Hamorabi, whose self-released, self-produced albumL’Hamorabi was among the best international hip hop offerings in 2011.


Above: Aks’ser w/DJ Lethal Skillz “Safeit bi 3akss el Seir” (1998, perhaps the first Lebanese hip-hop video)

Beyond their solo work, these MCs have taken to frequent collaborations with other rappers from Egypt, Jordan, Palestinian Territories and Syria. The previously mentioned El Rass, Osloob – an MC with the raucous Palestinian crew Katibe 5 (‘Batallion’ 5) from the Bourj al Barajneh refugee camp south of Beirut – and MCs Jaafar and Nasserdyn from the Bekaa Valley’s crew Touffar – a name that literally translates to ‘outlaw’ – represent a new breed of Lebanese hip hop talent.

Touffar: Nasserdyn (left) and Jaafar
Touffar: Nasserdyn (left) and Jaafar (Image – Hani Naim)

Osloob’s newest self-produced release “Fasl” (“Separation”) (2012) includes MCs from Jordan, the West Bank, Gaza, Lebanon and Syria, who all lay down revolutionary verses on one continuous track that Osloob spent months composing. And Touffar, who spit about the AK-47 lifestyle in the Bekaa Valley and their unapologetic antagonisms towards the absentee Lebanese government, is busy at work delivering new tracks for an upcoming pan-Arab hip hop compilation about new perspectives on revolution called Khat Thaleth(Third Rail) with Syrian-American producer Ahmad Khouja aka Munaqresh/Dub Snakkr.

And with nearly unlimited access to music from the net and plenty of sources for cracked sound-editing software, many Beiruti MCs carry that hyphenated rapper-producer credit de facto. Throw in some warped 808 effects with the wealth of sampling material at their disposal – from the decades of classical Arabic record production coming from Lebanon and Egypt – and you begin to understand why Beirut’s hip hop stalwarts are helping to change the very underbed of sound production in Arab hip hop. And increasingly these heads are catering more to their local audiences than to the world at large. This local scene has provided its supporters with their own socially aware soundtrack since the late 1990s with groups like Aks’ser and the crew Kita3 Beirut both rhyming about the realities of urban Beirut life and about social inequity – not in French, as was the case in the Maghreb during that period, but in their native Lebanese dialect.

Labels And Legacy

Despite the problems that surround Lebanon politically and economically, there are some bright spots within the local alternative music market, namely where independent labels and artistic representation is concerned. Zeid Hamdan’s Lebanese Underground and the regional music agency Eka3 are two of the most active where independent music is concerned, and combined represent the majority of alternative musicians in the region. While they certainly don’t have mass appeal, Forward Music label and Ziad Nawfal’s Ruptured label are two examples of independent record companies with business models that are geared towards preserving catalogues and funnelling their artists towards live shows – the bread and butter of any musician these days.

From 2006 to 2010, the label that was the driving force in Beirut’s alternative music scene was Incognito. Nawfal spent two years with Incognito before forming his Ruptured label, and for the better part of 20 years has been charting the evolution of Beirut’s more western-influenced alternative music scene on the state-sponsored radio station Radio Lebanon.

Untitled Tracks On Alternative Music In Beirut book cover
Untitled Tracks On Alternative Music In Beirut book cover

In 2009, Nawfal also co-edited a book with photos by Lebanese-Austrian photographer Tanya Traboulsi called Untitled Tracks On Alternative Music In Beirut that captured a moment in time with Lebanon’s emerging alternative music scene. All of the artists featured in the book have made it on his weekly radio show Ruptured Sessions, and four of Nawfal’s eight albums released on Ruptured were based on live sessions during his radio show. Nawfal’s ninth album will reveal his own proclivity towards Beirut’s exploding electronica scene.

With a mission to elevate Arabic music beyond its pop confines, veteran musician-producer Ghazi Abdel Baki started the Forward Music label in 2001. While Forward Music has assured the increasing relevance of contemporary interpretations of oriental traditions it has also championed hip hop talents like Fareeq al Atrash, former Aks’ser front man Rayess Bek and DJ Lethal Skillz. And luckily, when Icognito folded, Baki kept the discography alive; a sign that perhaps whatever you throw at Beirut’s alternative music scene – civil war, political assassination, socio-economic depravity – it is destined to go on.

In Arabic, the word samidoun comes to mind – literally translated it means ‘steadfastness’. That’s what the scene has going for it. Somehow, somewhere, even in the dusty bins of some backwater garage, you’ll find Beirut’s musical heritage surviving, at least according to the all-vinyl funk, soul, rare groove DJ Ernesto Chahoud, aka DJ Spindle, himself a pioneer in the scene currently working on a film about underground 1980s disco belly-dance recordings.

Ernesto Chahoud aka DJ Spindle (left) and Rami Obeid – founders of The Beirut Groove Collective
Ernesto Chahoud aka DJ Spindle (left) and Rami Obeid – founders of The Beirut Groove Collective (Image – Manal Abu Shaheen)

“For me, the alternative scene in Beirut is like a bunch of outcasts accepted by hardly anyone,” Chahoud says. “The political powers or political players in and outside the government don’t acknowledge them. So, when you have these outcast musicians – or DJs, or artists – that are expressing themselves and nothing but themselves, without care for anything, this is Beirut’s alternative scene. And it is what makes Beirut an underground trendsetter in the region.”

Of course Beirut’s musical history is often subsumed by civil war and post-civil war narratives, but a quick survey of the music coming from Beirut over the past 60 years reveals, as Chahoud says, a vibrancy affected by war and political turmoil with a cadre of musicians “that have always searched for the ‘alternative’ to what was going on,” in both traditional and non-traditional terms.

“My relationship with music has always been like this,” posits the poet-MC El Rass. “I want to synthesise and absorb the cumulative experience of the culture I belong to on a musical and artistic level and be a continuation of this culture. This is what is happening in the Arab world. Now it’s prime time and it’s at some sort of peak. I know I’m not alone when I say this, but I always see myself as trying to create something that’s going to be perceived as traditional music a century from now.”

Other Notable Mentions:

Rayess Bek – A veteran of the hip hop scene, Aks’ser’s former frontman has collaborated as an MC/producer with worldclass talent (RZA, Niles Rogers, Miles Copeland), composed for TV and has released three solo albums – the last, Khartech Aa Zamn (The Leftist Man), with his multimedia musical experiment The Rayess Bek Orchestra.

Lazzy Lung – With one album to their credit (Strange Places, 2010) they won the the 2011 Rolling Stone Magazine Middle East‘s Battle of the Bands contest and a 2012 Ray Ban sponsored trip to Capitol Records Los Angeles last April.

Slutterhouse – The electo-pop duo was formed in 2006 by singer songwriter Raibih Salloum and veteran Beirut producer Nabil Saliba (aka Trash Inc). Their three releases have spawned two European tours and a growing fan base in France and the UK that includes the likes of Duran Duran’s Andy Taylor.

Zeid And The Wings – Hamdan’s newest project.

Rima Khcheich – Her recent tribute album to the legendary Lebanese singer and actress Sabah is less of a reinterpretation of the ‘pioneer of popular tarab’ than a revival of a song tradition.

The Kordz – A veteran alt-rock band that has a wickedly loyal fanbase and have opened for the likes of international acts like Placebo, Deep Purple and Robert Plant.

La Gale – Swiss-Lebanese MC who splits her time between Lausanne and Beirut – her lyrics are bombastic threats against the system.

The Incompetents – Fronted by non-musician Serge Yared in collaboration with multi-instrumentalist Fadi Tabbal, Yared’s off-key voice and awkward arrangements betray the honest artistic intent behind the music.

Irtijal – Experimental music pioneers in Beirut guitarist Sharif Sehnaoui and horn player Mazen Kerbaj began the Irtijal music festival 12 years ago to serve an emerging niche of music improvisation in the later 90s.

Acousmatik System – Non-profit cultural organisation founded by electronica promoter and DJ Hadi Saleh – you can find the best of Beirut’s electronica roster on their website.

Extra Inclusion from filmmaker Merass Sadek – who offers a video recap chronicling the Red Bull Music Academy’s 2012 Bass Camp in Beirut

The RBMA Base Camp in Beirut this year brought together a handful of leading musicians, producers, DJs and vocalists from around the Middle East gathered for three days to collaborate in bedroom studios, perform in the city’s best clubs and music venues, and listen to inspiring lectures from DJ Zinc, Jay-Z’s in-house producer Young Guru, composer Ibrahim Maalouf and local underground legend Fadi Tabbal.

 

Crate Sessions

Bye-bye Crate Sessions – a talk with Serge Yared

This is the unedited story written for the Beirut-based NOW Lebanon (Dec 22)- which I feel captures more of the spirit of the Crate Sessions and the editorial philosophy of Beats and Breath. This is a story about the special nature of a Beirut musical experiment that was started by Serge Yared in August of this year. Over 25 Tuesday night sessions devoted to simplicity. Respect due to all the musicians that submitted to the process! (Disclaimer: The submission of this article to NOW Lebanon does not represent the author’s support of any political alliances the website may have.)

Crate Sessions
Serge Yared and The Incompetents @ Crate Sessions © Tanya Traboulsi

BEIRUT – Horace Tapscott, the patriarch of Los Angeles jazz from the mid-1960’s until his death in 1999, used to tell the legendary members of his 40 piece Pan Afrikan People’s (Jazz) Orchestra that “music was meant to be contributive rather than competitive.”

Portrait of Horace
Horace Tapscott – pianist, bandleader, and social activist

Tapscott’s message was a simple one derived from his own experiences as a recording artist and community leader in South Central Los Angeles and Watts. In essence, he meant musicians had a responsibility to look after one another.

Talking with Serge Yared, it’s easy to see that Tapscotts message is a universal one. Yared has been a harbinger of musical humble pie, and the creator of Crate Sessions, a now mythic Tuesday night concert series hosted at the quaint lefty restaurant-bar Walimat Wardeh in Hamra (West Beirut), which is due to have its last session on December 29.

For many who have attended the last 18 consecutive Tuesday nights, it is indeed the curious death of a successful musical experiment with an almost cult-like following. As Yared explains, “Crate Sessions was a very encompassing project. It involved all manner of genres, musically. And they (the musicians) were all constrained by the means of production. It was a sort of musical socialization that made everyone equal in a way.”

Yared, whose day job is with his family’s heater sales business, set the night up to be portable, and low cost – for the artist, the venue, and the fans (5,000LL) – while forcing all the musicians to use a single amp as their source of sound – a Crate, series 15 Cimarron amp that “delivered 12 watts of pure musical power,” according to Cimarron’s own technical rider.

From the 1940’s to the present, the portable amp has become a ubiquitous symbol with blues guitarists and with buskers pan-handling for change in the streets, train stations and parks around the world. Yared, himself the leader of the locally described “psychedelic folk/pop” act The Incompetents, knew this and saw a sense of deliverance in his Series 15 Cimarron amp. “At some point I realized – with two inputs and outputs – I could carry the whole sound system with me. I could carry around a mic, a guitar on my back, and my amp. So I didn’t need anything else.”

Describing the Sessions to NOW Lebanon, he explains, “We showcased an equal degree of known and unknown talent. Some were outstanding. Some were ok. The point is there was no cost, because we had a very minimal set up. So it was something that was built up with our own hands in an environment that was actually open to that kind of experimentation. Very quickly we saw that there was a demand for what we offered.”

The demand, it turns out, was not just from the audience but from musicians as well. Well-known local indy music scions like Charbel Harber, the lead singer of the post-punk group the Scrambled Eggs, and Zeid Hamdan, Beirut’s original indy music icon and leader of The New Government, were among the list of musicians that played sets within the Crate Sessions’ technical requirements.

And while the one amp set-up would logically favour a solo-guitar performance because “that’s what the amp was made for,” Yared said that in reality, imagination and song writing abilities were the biggest limitations to the technical constraints.

crate sessions 2
Mazen Kerbaz @ The Crate Sessions © Tanya Traboulsi

“The Crate Sessions were in the end about the real songwriters. If it was a good song it succeeded with the audience. Good songs are good songs. Period. And with one amp, there’s not any heavy bass or an overpowering rhythm section to cover up the inadequate elements of a song. You are just there, almost naked trying to play what you wrote.”

By all accounts, there were some brilliant moments at the Crate Sessions. Ziad Saad’s experimental pop project – Pop will Save Us – made ample use of the minimal set up. Stephane Rives came with his laptop and according to Yared “gave a devastating show. It was amazing.”

Hamdan, whose band The New Government was scheduled to head to the biggest record-industry music festival in the world in Austin, Texas this March – South by Southwest – showcased a reggae-influenced pop-dub set featuring local MC, RGB and Indy Arabic-pop singer Hiba that was the inaugural concert of Crate Sessions.

“The experimental music of Mazen Kerbaj and Sharif Sehnaoui was surprisingly well-received,” Yared said, adding that a lesser-known group like Lazy Lung were pleasant surprises.

“It’s a pity that not many people came to see them. But it was one of the best concerts at Crate sessions. They were extremely tight and you could feel the joy they felt playing together. As well, they played by the rules.”

Still, many Crate Session heads point to Harbel’s paired down acoustic performance of his Scrambled Eggs set as a particular highlight. Yared explains, “He came with his acoustic guitar, and he played their music, and to date it was the most moving Crate Session. To see that other light on their songs and their stories. Especially if you know Charbel, having this proximity with the artist was rare for their fans.”

Is Yared sad to see Crate Sessions end? Not in the least. “Because,” he said, “I view it as a thing with a finite lifespan. And as Sir Arthur Conan Doyle told readers when he killed off Sherlock Holmes, ‘You’ve got to leave the with a sense of deprivation rather than of excess.’ So we want the audience to want more, because that points to the next step.”

Crate Session crowd
Crate Session crowd © Tanya Traboulsi

Indeed, Crate Sessions developed an insanely loyal following over the last 4 months, helped in no small part by what Yared called “modern promotional tools” such as social networking sites like Facebook. “I don’t think we would have had the kind of success we’ve had without a device like Facebook. It would have been too exhausting for me to go and print and distribute the promotions and communicate things. And it would have been extremely expensive.”

As well, Yared said that social networking sites like Facebook are helping to create immediate memory because of the participation of other local artists like local music-photographer Tanya Traboulsi, “who created so many posts with her pictures giving people from around the world the chance to come and remember who played there.”

“So now we are having a kind of spontaneous collection and preservation of what is being done now. That was not happening even 5 and 10 years ago,” Yared adds.

Crate Sessions’ last three concerts will continue to push the boundaries representing genre’s Yared had been unable to program until now. On the 22nd (tonight) Crate Sessions welcomes the two-man hip-hop crew from the Palestinian refugee camp Bourj al Barajneh in south Beirut, I-Voice (Invincible Voice) featuring 20-year old MC and beat making wonderkid Yassin al Qasem aka Yaseen, and his power-hitting lyrical partner, Mohammed Turk, aka TNT.

The last Tuesday night Crate Session on December 29 will be a fundraiser for “OUMNIA” a local charity group specialized in providing psychological and medical care for children suffering from cancer. It will feature an all-star line-up of past guests and acts that haven’t performed before, including the Roots-like live hip-hop band Faree3 al Atrash, and the two-main purveyors of the hugely underestimated world of Lebanese Metal, Maher and Mazen Mandini. (List of performers below.)

As for the what’s next, Yared,says Walimat is closing its doors to the public, the victim of a buyout to a developer that will likely build a monstrous high rise apartment building where the historic house stands now. But, Yared said the management for the Hamra landmark is moving into a venue some 10 meters away in what was the Pickwick pub and he’s been asked to continue programming music for them.

“Of course, it is useless to recreate an atmosphere that would duplicate what was done at Walimat. It will be different. A better soundsystem. It will be better ventilated. And change is good.

“The thing for me is that there’s not room for being nostalgic in this music game. But, whatever we do we’ll keep the same line of action. Doing something affordable, approachable and with direct contact between the audience and the artist.”


THE PROGRAM

The mighty ZIAD NAWFAL has gracefully accepted to make the presentations between each of the following acts:

PART I:

1- SIMA
2- ELYAS
3- BASILE/LAYALE/TAD/VLADIMIR
4- CRISTOBAL
5- ABDALLAH EL MASHNOUK
6- YOUMNA SABA Feat. FADI & LAYALE
7- ZEID HAMDAN Feat. HIBA & RGB

————- ENTRACTE ————-

PART II:

1- MAHER & MAZEN MARDINI
2- NADIM & PHILIPPE from “INTENSIVE CARE” Feat. FADI TABBAL
3- THE INCOMPETENTS
4- THE WHITE TREES
5- FAREEK EL ATRASH
6- THE SCRAMBLED EGGS