In 2017, the Washington Post published a story entitled “The Death of the Electric Guitar.” But you wouldn’t know it from the sell-out crowd that packed Colony Woodstock this past Monday night, March 21, for a masterclass in six-string sorcery by the acclaimed Nigerian guitarist/singer Mdou Moctar.
For those not in the know, Moctar has been turning heads with his unique brand of African blues/psych rock since his 2008 debut disc, Anar. This astounding collection achieved popularity not via a savvy record company marketing blitz, but when it went viral over African cellphone music trading networks and when two of its tunes were included on the globally-distributed compilation, Music from Saharan Cellphones: Volume 1 (Sahel Sounds). Moctar is the latest exponent of Tuareg Guitar Music, also known as Desert Blues, a fusion of rock, blues, psychedelia and ethno modal music popularized by tribal musicians in the Saharan region, particularly Mali, Libya, Algeria, Burkina Faso and Niger. He is furthering a sound that first gained global popularity via the critically-acclaimed works of Ali Farka Toure and Tinariwen.
Moctar is concluding a 25-concert North American tour in support of his sixth album, 2021’s Afrique Victime (Matador Records). This fiery collection has garnered rave reviews from the likes of NPR Music, Rolling Stone, Paste, Pitchfork and many more. Matador has just dropped an expanded edition with nine additional tracks, including a variety demos and live offerings, the setting where Moctar truly soars.
Moctar’s set at Colony Woodstock was heavily weighted with tracks from his new album. The show commenced with the album opener and its most streamed tune, “Chismiten.” Like many of the songs performed, this kicked off with some unaccompanied guitar, before the band joined in to propel Moctar’s vocals and lengthy solos with pulsing and very hypnotic beats.
The signature of Moctar’s style is the switchblade bite emanating from his white Fender Stratocaster. Though he slings it lefty like Hendrix to whom he is frequently compared, his trebly tonality may be even more reminiscent of that of Telecaster-powered blues legend Albert “The Ice Man” Collins or the Lebanese born, modal-minded pioneer of surf guitar, Dick Dale – both inspirations to Jimi. Mdou Moctar also brings to my mind the great Black Rock Coalition associated guitarist Jean-Paul Bourelly (for more guitar thrills, check out his incredible disc, Rock the Cathartic Spirit). Moctar’s sound is heavily phased and overdriven via a modest array of stomp boxes and his retro Roland Jazz Chorus amp, something not seen much since Andy Summers’ days in The Police.
Moctar’s melodic style mixes Eastern-sounding modal scales with the blues punched up with psych/rock scream. There are plenty of slurs, trills, hammer-ons and pull-offs, single string climbs and even some tapping, in a percussive more so than melodic Van Halen style. The most unique visual aspect of his style may be his picking. This seems to be accomplished solely with his index finger, which plucks away at the strings like a mad chicken one moment, then becomes an indecipherable blur when he unleashes rapid-fire passages.
The hour-long set at Colony Woodstock was a Saharan shred-fest. Many of the tunes again began with Moctar solo and featured him improvising at length and repeatedly, greatly stretching out of the songs featured on his newest album to the delight of the audience. His music would not be anywhere near as powerful without the support of his band. Drummer Souleyman Ibrahim and guitarist Ahmoudou Madassane provided a powerful steady and unflagging rhythmic platform upon which Moctar soared. Bassist Michael “Mikey” Coltun, who has also served as Moctar’s producer since 2017, laid down a rich bottom with his Fender bass, just like Billy Cox in Hendrix’s Band of Gypsies. Kudos to Colony’s Max Siegel for providing impeccable sound and to owners Neil and Alexia Howard and booker Mike Campbell for bringing this intriguing offering to this intimate space.
Mdou Moctar and band brought the evening to a close with an extended version of their new album’s title track, “Afrique Victime.” The track showcased the band’s tight unison playing on melody and stop-time passages and its hypnotic impact, as the tune stretched towards the 10-minute mark, with the rhythm section underpinning Moctar’s most frenetic, noisy and adventurous soloing of the night.
Photo Gallery by Rob Yasinsac
