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Warm reunion with Rachid Taha

rachid-taha-fond-toujours-ete(Quebec) CRITICAL / Rachid Taha regularly visited the Quebec City Summer Festival (QEF) at one time. And each time, detonated the pigeon (now the Parc de la Francophonie since). Almost 10 years separated us from his last visit, in the same place D’Youville fills that greeted Thursday. What gave rise to warm reunion, although Taha has not brought the house down.

The singer, 57, dressed in black with a top hat with white stripe, first drew extensively on his recent Zoom (2013) – almost all the songs from the first half of his performance, actually. Including Galbi, his Algerian tribute to Johnny Cash and Elvis.

Taha because, basically, has always been a rocker, who was able to draw as much rai at punk and later to techno. Surrounded by five musicians, including a very solid funky bass player, he then stepped on the accelerator to raise the crowd with known songs as Barra Barra or the inevitable Ya Rayah, with its Arabist melody and her beat weighing that raised the crowd and turned into Place d’Youville outdoor club.

He then followed with his tribute to Joe Strummer, the Clash, dynamics Algerian version of Rock The Casbah. The crowd was jumping everywhere during the chorus.

Hoarse voice, cigarette in hand, a little gruff, a little drunk, Taha was content to sing, sometimes pasty tongue. The air of nothing, the animal has 35 years under his belt, including 25 solo. But is that a reason for sometimes use a lectern?

Obviously the French, moved, could not avoid Nice attacks. But he also recalled the horror in Iraq, Afghanistan, everywhere. “All humans are equal,” he began.

Daby Toure

To use a cliché worn rope, Daby Toure drove the early evening clouds with its lively African music tinged folk rock – a harmonious blend. There was hardly anyone on his arrival on stage, but the Franco-Mauritanian acted as if nothing had happened. The singer-guitarist clear voice even in the treble inspires a lot of soul in each room, helped by a bassist and a discreet but effective drummer to create a good groove.

Gradually, festivalgoers were guided by tribal rhythms and warm melodies to the floor, just to jiggle slightly. Must say it has energy and good communicative mood, Touré. It feels good.

By introducing the title track of his latest album, Amonafi, Daby Touré referred to the common roots of humanity in Africa. “We all come from the same family.” It was circumstance after Nice. And also another way of saying that music transcends borders and races to unite people …

BKO Quintet

Modernism’s proposal Touré contrasted with the traditional music of BKO Quintet, happened then. Malians embody the idea of ​​exoticism with their stringed instruments of thought and circumstance of djembe. Although, ironically, their album is called Bamako Today … With their hypnotic trances (repetitive and, by extension), it was far from afro-pop of their compatriots Amadou & Mariam, even with current music key .

For his first visit to Quebec, the quintet has delivered his performance in a friendly atmosphere, strollers furnishing the space at the rear, adults fluttering front. Exotic, if not mind-blowing.

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