Non-c: Khaira Arby – Lula Tue evening.
Small World music brings an interesting non-cuban artist at Lula this week. And if you haven’t got your PUPY tickets yet… get them at the early discount, Sophie will be in the house.
Khaira Arby Queen of Desert Blues
Progressive, traditional, deeply rooted and inspired by her cousin Ali Farka Toure. She taps her Berber and Sonrhai roots to create a sweet mixture of desert blues balancing the electric and ancestral.
Make dinner reservations, guarantee your seat and enjoy dinner with the show! See our evening menu!
Door time: 7pm
Khaira Arby: 8pm
Tickets: $20 at the door
$15 in advance Buy your tickets now by clicking here
More about Khaira Arby
Returning to the U.S. for a whirlwind April-May tour, Khaira Arby promises to mesmerize audiences with an intensity that flows from her home and from her unique spirit. Cities include Atlanta, Boston, Chicago, Los Angeles, Montreal, New York, San Diego, SF Bay Area, and Toronto, as well as the Festival International in Lafayette, LA and the Joshua Tree Festival in Joshua Tree, CA.
Born in a village not far from the famed city of Timbuktu, Arby is firmly planted in the desert sand. Her creativity flows in part from the people of her home region of Northern Mali—the young musicians in her band all hail from Timbuktu—and from their past and present struggles. As Arby puts it, “Trab is our land, our home, Timbuktu. Its history, its mystery, everything…”
Arby’s most recent album, Timbuktu Tarab (Clermont Music), shifts seamlessly between the edgy and progressive and the traditional and deeply rooted. Inspired by her cousin Ali Farka Toure, Arby turns to her mixed Berber and Sonrhai roots and draws on a sweet mixture of desert blues and recording sophistication, blending ripping electric guitar with the forefather of the banjo and funky drum breaks with the traditional percussion of the scraper and the calabash.
History runs deep through Arby’s music. “Djaba” is a song about a legendary ancestral Tamashek warrior; it is also an authentic dance in Timbuktu. By reframing and reinterpreting the tale, Arby hopes to not only retell this important story, but also keep the dance alive among younger generations. “Sourgou” recounts the Tamasheks’ struggle against colonial domination, while “Youba” recounts struggles of a more contemporary sort, praising the brave return of salt mine workers by moonlight.
Arby has taken up—and updated—one important role of African women in traditional societies: praise singing. This means bluesy homage to the prophet Mohammed (“Salou”) or to good friends. “Dja Cheickna” praises a beautiful friend of Arby’s from a good family: “May Dja Cheickna live a good life.” The song bursts with funky high-hat, sizzling bass and guitar, and Arby’s stunning yodeling, as age-old hand-clapping rhythms entwine with crunchy distorted guitar.