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Forbes
19-04-2025
- Entertainment
- Forbes
Tremor 2025: The Ultimate Insider Music Festival
Asmâa Hamzaoui and Bnat Timbouktou, Tremor Festival 2025 Paul Allen/Andfotography2 Taking place every April on the Azores island of São Miguel, Tremor, a five-day experimental music festival, is an extraordinary, magical event, full of surprises. Situated in the heart of the Atlantic Ocean, the Azores are an autonomous Portuguese archipelago located about 1,400 kilometers from Lisbon and nearly 1,900 kilometers from North America. These isolated, volcanic islands, spread across the ocean, provide a breathtaking and secluded backdrop for an unforgettable musical experience. Why the Eye, Tremor Festival 2025 Paul Allen/Andfotography2 April 2025 was the eleventh year of a festival that features a range of music by Portuguese and international artists, in wonderful indoor settings and spectacular outdoor venues. Each gig is around 45 minutes long and some overlap in different locations so choices have to be made. But that's part of the fun and adds to the sense of discovery and adventure. And another feature of the clever programming that makes this festival really special are hikes in gorgeous natural settings that involve performances en route and daily 'secret gigs' in surprising locations. Audiences don't know where the gigs are until two hours beforehand and the actual gigs are a complete surprise as well. These mysterious gigs are just one reason this festival always sells out months in advance. Fulu Miziki at Tremor 2025 Paul Allen/Andfotography2 Tickets for Tremor 2026 have just been released (booking details below). While the festival has expanded considerably since the first one-day event with 300 tickets sold, current festival ticket sales remain capped at 2,000 attendees. This is a deliberate choice of the four festival directors as they are keen to keep the festival intimate and also to not overwhelm the island's infrastructure and local population. Joseph Keckler at Tremor 2025 Paul Allen/Andfotography2 Among the many highlights this year were gigs featuring women musicians, including a Moroccan band in a botanical garden with hot springs, a Portuguese female guitar virtuoso and a flute solo by a very young member of a youth orchestra, mentored by a famous French jazz saxophonist. There were many more wonderful moments in a festival that fuses sounds and artistic expressions from across the globe, coming together in one of the most stunning and secluded places on Earth. Perhaps the most magical moment of Tremor 2025 was during a walk through a beautiful wood when we encountered Asmâa Hamzaoui and her group Bnat Timbouktou seated beside a tree, performing Gnawa spiritual songs. The group brings a refreshing energy to this ancient art form originating from Morocco. Though women are essential to Gnawa rituals, there have been very few female Gnawa musicians, something Asmâa Hamzaoui aims to change. The guembri, a lute played in a percussive style, the rhythmic percussion of qraqeb (iron castanets) and Asmâa Hamzaoui's expressive voice created a mesmerising soundscape that floated around the idyllic outdoor setting. The Zenmenn, Tremor Festival 2025 Paul Allen/Andfotography2 Held in the mountainous, serene surroundings of the Reserva Florestal, a protected forest area in the hills of the Azores, this intimate show's unconventional location added an air of mystique and exclusivity to the event. A forest trail opened up to a large field with a small stage in the center. Using a synthesizer and blending the old with the new, the organic with the electric, and the harmonic with the rhythmic, the trio created a chilled mix of both traditional Western and Eastern sounds. The Swedish experimental supergroup Fire came together in 2009, led by a core trio of saxophonist Mats Gustafsson, bassist Johan Berthling and drummer Andreas Werliin. Merging elements of free jazz, psychedelic rock, and noise, the group creates a distinctive and adventurous sound. Known for their fearless improvisation and genre-defying performances, the trio's performance in a hall, on the grounds of a former convent, was a 45-minute, intense, non-stop wall of sound. Gustafsson's explosive saxophone lines, Berthling's deep, rhythmic bass and Werliin's commanding percussion blew the crowd away. One of the most fantastical (and entertaining) concerts of the festival was from Why the Eye, a Belgian experimental masked quartet playing on DIY instruments at a remote lakeside location. The group describes their music as "Prehistoric Techno" probably because they perform with homemade instruments and laptops while wearing bizarre furry masks. Their noisy and experimental sound ecouraged listeners to join the lead singer in a wild, energetic dance. Another thrilling surprise for festival goers was Joseph Keckler who, using a laptop, piano and a projector, gave one of the most electrifying performances at Tremor. Celebrated for his operatic vocals and dark humor, the American artist took to the stage where he transformed mundane tales into surreal, poignant experiences. It's no surprise he's received rave reviews including from The New York Times who described him as a "major talent who shatters conventional boundaries." Mr Keckler's theatrical performance included haunting ballads, mesmerising storytelling, eerie grooves and comic autobiographical arias on sex with a ghost and buying too much vinyl clothing. Ranging from baritone to falsetto, Keckler captivated the audience with his powerful voice and unique artistry. The main concert venue at Tremor is on the seafront in a cavernous warehouse space, ideal for the exuberant Afrofuturist Congolese group, Fulu Miziki (music from garbage in Lingala). And in fact, the music ensemble make all their own instruments, costumes and masks from recycled materials. Their music combines raw, percussive energy with elements of traditional Congolese rhythms, noise and avant-garde experimentation. Each performance is a visual spectacle, with members wearing elaborate costumes inspired by African culture and futuristic visions. Their upcycled instruments — fashioned from items like PVC pipes, discarded metal, and plastic — created a distinct, infectious sound that had the entire crowd joyously dancing. In a fishing village once described as the poorest in Portugal traditional Azorean music met contemporary rap. Filmmaker Diogo Lima became DJ Gaivota for the evening. Also on stage was the crew that Resident Advisor dubbed the "Azorean DJ collective Convidados." And on the docks, Som Sim Zero, a group made up of deaf performers and art collective Ondamarela, regaled the crowd with choral singing, psychedelica, traditional songs and spoken word. Their energy was contagious and you didn't have to understand Portuguese to revel in the joyful experience. Eugénia, Auditório Luís de Camões, Tremor Festival 2025 Vera Marmelo Eugénia Contente, a guitarist from Ponta Delgada, wove her Azorean roots with jazz-fusion in a dynamic performance. Born in 1992 in Ponta Delgada, Ms Contente discovered her passion for the guitar at the age of nine and honed her skills at the famous Lisbon jazz venue, Hot Clube de Portugal. Her trio played from her debut album, Duckontente. to an adoring crowd. Fidju Kitxora, Portas do Ma Vera Marmelo The main Tremor dockside hub hosted an artist who divides his time between Lisbon and Cape Verde. Blending field recordings, atmospheric synthesisers, and vocal samples, Fidju Kitxora created a distinctive, memorable soundscape. In a lively collaboration with French saxophonist, Guillaume Perret, the Rabo de Peixe Music School performed a winning combination of jazz, electronic music, rock and funk to an appreciative crowd. A surprise was a beautiful solo by young flautist, Maia. And treating the audience to his own solo at the end, Guillaume Perret showed off his creative use of pedals and effects to expand the saxophone's sonic capabilities. Oko Ebombo at Tremor Festival 2025 Paul Allen/Andfotography2 Parisian multidisciplinary artist Oko Ebombo mixes poetry, hip hop, soul and dance, inspired by his own life and urban experiences. His charismatic movements, combined with hip hop and soul, greatly appealed to an admiring audience at the dockside main venue. Portuguese-born, Cape Verde based Ari experiments with beatbox and percussion. He was accompanied by dynamic French dancer Débora N'Jiokou who specialises in hip hop and house. Tremor was the first time they'd performed together and what a gorgeous, captivating debut it was. Azores Sao Miguel, Miradouro da Vista do Rei, Sete Cidades,, aerial drone view getty São Miguel is a two-hour flight from Lisbon and Oporto and a six-hour flight from Boston or New York. TAP Air Portugal offers daily flights from London Heathrow and London Gatwick to Ponta Delgada, via Lisbon. An optional free stopover in Lisbon on the way there or back is a great way to extend your trip and see more of Portugal. If traveling from North America, TAP flies from Boston, Chicago, Miami, Montreal, New York, San Francisco, Toronto and Washington to the Azores, via Lisbon and offers the same free stopovers. Tremor 2026 will run 24–28 March. Ticket sales, are to be released in tiers at different prices as follows: From Friday, 18 April 2025, the first 400 tickets were released at the €80 early bird rate. Once those are gone, the next 400 tickets will be priced at €90. All remaining tickets will be available at the standard price of €100.
Morocco World
01-03-2025
- Entertainment
- Morocco World
Why Layali El Bahja at Mövenpick Mansour Eddahbi is a Must-See This Ramadan
Marrakech – It's that time of the year again when the magic of Ramadan fills the air with a special kind of energy — one that's both reflective and celebratory, peaceful and joyful. And this year, at Mövenpick Mansour Eddahbi Marrakech, they're turning up the volume on this spiritual atmosphere with the second edition of Layali El Bahja. The name? It means 'nights of happiness,' and, trust me, this hotel delivers exactly that. Every evening feels like a grand celebration — a dance of culture, food, and community where the spirit of Morocco wraps itself around you like the warm desert breeze. Last year, the hotel's immersive Ramadan experience, available throughout the month, was a hit. This year, they've taken it up a notch, promising even more joy, wonder, and magic. The hotel itself becomes the stage for a story that unfolds through every corner, each one telling a different chapter of how they celebrate the holy month. And you, my friend, are part of it. From the moment you step into the room, it's like you've crossed into another world. Lanterns dangle above, casting a warm glow, while rich fabrics drape over every surface, making you feel like you're walking through a page in an ancient Moroccan tale. It's a place where you're not just checking in — you're being invited to join a journey. And that journey starts with a single question: What's the next story going to be? A feasts that transport you Now let's talk about Le Saray restaurant's ftour buffet — the heart of this celebration. If you've ever wondered what it would be like to dine in a legendary caïdal tent, well, this is it. This fast-breaking experience is nothing short of magical — tables brimming with the flavors of Morocco, from the most tender lamb tagines to flaky pastries that melt in your mouth, with a little modern twist to keep your taste buds guessing. It's not just food; it's an adventure, taking you on a journey through Morocco's rich culinary landscape. And let's be real, every bite is a story. One moment, you're at the coast, tasting the freshest seafood; the next, you're nestled in the mountains, savoring a dish full of spices that transport you straight to the Atlas. It's a feast, but also a taste of Morocco's soul. As you wander through the hotel, it's like stepping into a souk — but with a twist. The sounds of Gnawa music fill the air, while master calligraphers work their magic before your eyes, making ancient art look effortlessly cool. You can almost hear the hustle of the Marrakech markets in the background as you move from one experience to the next. It's intimate, it's enchanting, and it's a perfect blend of old and new. You're not just witnessing the traditions — you're living them. You're part of the rhythm and the magic. Entertainment galore One of the best parts of Layali El Bahja is the artistic programming. It's not your typical hotel entertainment — it's an immersion in Morocco's deep, rich culture. From Andalusian music that takes you back in time to gnawa rhythms that have you feeling like you're in the heart of the city, every performance is a way to connect with the spirit of Morocco. It's an evening out, but one with meaning, with purpose, and with heart. Each performance is a brushstroke in a much bigger painting, telling the story of the culture and the people who call this place home. It's not just for the eyes or the ears — it's for the heart. Layali El Bahja will feel like home So why should you care about all of this? Because, just like its name suggests, Layali El Bahja is all about happiness. And it's not the kind of happiness that comes and goes; it's the kind that lingers, the kind that feels like home. The kind of joy you feel when you're surrounded by good food, great company, and even better music. Mövenpick Mansour Eddahbi offers not only a place to stay, but to belong, to celebrate, and to create memories that last well beyond Ramadan. Each night you spend here is more than just a meal or a performance — it's an experience. It's a chance to connect with Morocco in a way that's intimate, personal, and unforgettable. Every corner of this hotel tells a new story, one where the joy of Ramadan is felt deeply, in every laugh, every shared plate of food, and every note of music that fills the air. If you're ready to lock in your spot, visit their website and gear up for a Ramadan experience you don't want to miss. Tags: CelebrationHotelJoyMarrakechramadan
The Guardian
24-02-2025
- Entertainment
- The Guardian
I got lost in Morocco's maze of medinas – and loved every minute
Somewhere between the coppersmiths and the woodcarvers, I achieve my goal. Mustapha, my guide, has stepped aside to buy some sweet pastries from a stall. ('You've got to try the kaab el ghazal, the 'gazelle's horns'. They're really special.') But there are some Gnawa musicians, with long black tassels on their hats rotating in time to their drums, and then I cannot resist looking at large copper pots, and the handmade kettles that lead on to brass antiques. I turn. What's up here? A doorway and the clacking of a hand loom. As-salamu alaykum! Maybe I should head back? A man with a laden donkey bellows, 'Balak!' Gangway! I take another turn. Hang on, I don't recognise any of this. At that moment, all the colours, tastes, sounds and sights are sprinkled with a magical leavening of adrenaline and the whole lot rises up like some delicious cake in the oven. I glance at the phone in my hand and make sure that location services have failed. It tells me nothing except that I am in Fez, a city of more than a million. The labyrinth has worked. I am lost. Morocco has many such mazes. There are good ones in Rabat, El Jadida and Essaouira; Marrakech is known to many, and Tangier is wonderful, too. But I'm exploring the north-east of the country, starting with the largest and arguably the best: Fez, considered to be the spiritual and cultural capital. The labyrinth has obsessed humans for a very long time. King Minos of Crete supposedly incarcerated the minotaur inside the original labyrinth under his palace. As a symbol for life's uncertain and indirect path, the labyrinth has appeared throughout the ages – check out the Mappa Mundi in Hereford Cathedral. But what, I wonder, as I head deeper into Fez, is it like to live inside a maze? What does that do to the brain? In a world of GPS and satellite-tracking, when every key and sock will soon be instantly located by embedded software, when digital dependency is total and mental-mapping consigned to history, will we dream of getting lost? Outside one small shop, I watch an old man carve combs from camel bones. There's a slap on my back. 'There you are!' says Mustapha, laughing as always. 'We have a saying: those who can speak are never lost.' We ask the comb-maker, Mohammad Shaïli, about life in the labyrinth. He is 95 years old and has been a resident all his life. 'Why should I stop? I'm producing things, I'm no burden on anyone.' He went once to Marrakech, never any further. He has no boss and is surrounded by friends, family and neighbours. He picks up a small axe and begins expertly splitting tiny sticks of bone. 'For putting on mascara.' How should one enjoy a long life? In the 'blue zones', the world's reputed longevity hotspots, the keys are said to be diet and active participation in society. I want to know what Mohammad thinks. He grins. 'The hand that gives is better than the one that asks.' Is that a hint? Mustapha presses some money into the elderly man's hand. 'Thanks be to God,' he says happily, 'I'll have fava bean soup for lunch today!' I suppose we must add 'staying alert to opportunities' to that blue zone wishlist. We head off to find some lunch ourselves. In the meat and fish market, there are no refrigerators. 'So people know it is fresh.' The medina's inhabitants shop daily for their food, a habit that forces constant interaction. Mustapha's sister married into the Marrakech maze, living in an extended family of 30. She now swears she will never leave. 'People feel as if they belong,' Mustapha points out, 'and children love it.' We eat bissara, the Fez favourite winter warmer of fava bean soup, and then mint tea with wormwood leaves, and set off again, stopping at the bucket-maker's. He has a warning, lest I get too enthusiastic about medina life. 'People can be arrogant and there are outlaws.' I've seen a few of those, breezing through the alleyways with a sharp eye for a quick chance. The labyrinth demands concentration from everyone. 'In the future,' adds the rather pessimistic craftsman, 'the buckets will leak.' The next day we drive west to see a different kind of maze. The large village of Moulay Idriss Zerhoun is close to the big tourist attraction of Volubilis, a ruined Roman town, but it attracts only a fraction of those visitors to wander its quiet alleyways. 'Each neighbourhood has five vital elements,' Mustapha says. 'Mosque, hammam, water fountain, school …' The fifth is revealed by a hooded man walking past with a tray covered with a tea towel. He is taking his dough to the communal oven. We follow him and find Ali, firing up the capacious ancient brick oven with gnarly lengths of olive wood. Sign up to The Traveller Get travel inspiration, featured trips and local tips for your next break, as well as the latest deals from Guardian Holidays after newsletter promotion 'Not so many people come these days,' he says. 'They have an oven at home.' When we poke our heads in the nearby hammam, however, it is busy. Outside the village, I meet 10-year-old Kemal and his friend on their donkeys. 'I'd rather have a donkey than a car,' says the boy. 'You can love a car, but it won't love you back.' Their ambitions? 'I want to be a policeman,' says Kemal. 'Anything except a policeman,' says his friend. A hundred miles north is our next stop. Chefchaouen has become a tourist honeypot in recent years. Built on a Rif mountainside, this fantastic maze of stairs, alleys and archways was apparently designed by a medieval sorcerer with contributions from mind-bending artist Maurits Escher. Tourism took off when an enterprising hotelier hit on the idea of painting his establishment blue, and others followed suit. This labyrinth is most magical late at night when the visitors have gone to bed. My final goal, however, is down on the coast at Tétouan, a lovely medieval Arab medina surrounded by a Spanish-style city. Popular with Moroccan holidaymakers, it remains off the beaten track. The medina is a labyrinthine delight: shady white‑washed alleyways, green shutters, arches and tiled fountains that still run from the medieval aqueducts built by refugees in the 15th century. The market women wear traditional straw hats and sell only things that a local might need: funerary herbs, asparagus stalks and huge rounds of cork from the local forests, handy for plugging up stone jars filled with olives. One septuagenarian trader answers our questions about life in the labyrinth and longevity. 'Just dip these dried figs in honey. That's all you need.' He insists that we eat lots of them before admitting that he doesn't actually live inside the maze. As we wander away, I'm wishing that Britain's mazes were anywhere near as entertaining, and not mostly located in the perfume departments of airport duty-free sections. But Mustapha is chuckling. 'That's the secret,' he says. 'Spend time in the labyrinth. Spend time outside. Eat figs. Be your own blue zone.' The trip was provided by Intrepid Travel, which offers various tours to Morocco. The eight-day North Morocco Adventure starts at £740pp, including accommodation, ground transport, some meals, activities and a local guide
The National
06-02-2025
- Entertainment
- The National
How Bob Marley's feel-good reggae shaped sounds of North Africa
From the streets of Cairo and Tripoli to Morocco's Sahel and Sudan's Nubian desert communities, Bob Marley's musical legacy remains both profound and far-reaching. The vibrant sound and inclusive message of his songs spread across the region through imported cassettes and bootleg recordings – as well as international stations like Radio Monte Carlo. It made the reggae pioneer not just only one of the earliest and most recognisable international pop stars in the Middle East and North Africa but also an artist whose influence seeped into some of the region's musical traditions. At times, his impact added new and richer layers to existing sounds, while in other cases, it inspired entirely new subgenres that carried on long after his passing in 1981. To mark what would have been his 80th birthday on Thursday, here is a look at some of the countries and bands that Marley influenced. Reggae music found a natural kinship with traditional Libyan folk music, largely due to their shared rhythmic foundations. North African folk music, with its intricate polyrhythmic patterns, blended seamlessly with reggae's signature offbeat rhythm. This fusion enabled the sounds of Bob Marley and his Jamaican contemporaries, Peter Tosh and Lucky Dube, to be embraced by Libyan musicians such as Ibrahim Hesnawi and Ahmed Ben Ali. They infused reggae's strident drums, pulsing basslines and syncopated guitar riffs with Arabic percussion and Middle Eastern melodies. Marley's message of global peace also resonated deeply in Libyan reggae, echoed in Hesnawi's anthems Al Hob Wal Salam and Only World. While Libyan musicians adapted reggae to their own cultural landscape, Moroccan artists integrated its rhythmic elements into the already eclectic sounds of traditional Gnawa music. With its trance-like grooves and spiritually themed call-and-response vocals, Gnawa music found a natural synergy with reggae's offbeat rhythms and socially conscious themes. This fusion gave rise to several distinctive Moroccan groups, each uniquely blending the two styles. Hoba Hoba Spirit, whose name is partly inspired by Bob Marley's vocal phrasing in No Woman, No Cry, is a prime example of reggae-Gnawa fusion. Their music merges reggae's grooving basslines and percolating rhythms with the traditional use of Moroccan castanets (qarqab), creating a sound both rooted in heritage and globally resonant. Through songs such as Blad Schizo and Fhamator, the band address pressing social issues, including youth empowerment, economic challenges and cultural identity. Meanwhile, Bob Maghrib, formed in 2011 to commemorate the 30th anniversary of Marley's death — and whose name means "Bob Morocco" — used their music to pay direct tribute to Marley's legacy with their own twist. This includes some ear-catching interpretations of Marley classics such as Could You Be Loved and Get Up Stand Up, featuring traditional North African influences like the sintir (a traditional Moroccan lute) and ghaita (a type of oboe). To also experience reggae's continuing influence in Morocco, the coastal city of Essaouira is a historical melting pot of musical traditions. This is exemplified by its annual Gnaoua and World Music Festival, which has welcomed reggae stars such as Marley's son Ky-Mani Marley and the Third World, who often performed with local musicians. Marley's influence on Egyptian musicians is notably evident among Nubian artists, owing to shared musical characteristics with local folk traditions. Meshwar, a band formed in 2011, built a following with a sound that blends reggae rhythms and a vigorous brass section with Egyptian popular melodies and conversational lyrics. Similarly, the Egyptian band Black Theama, founded in 2004, draw inspiration from Marley's themes of identity, resilience and social justice. Their songs, such as Fi Belad Al-Ayy Haga and Aini Ya Aini, vividly portray the experiences of Nubian communities in Egypt. By incorporating reggae riffs into their music, they create a vibrant fusion that blends traditional Nubian folk sounds with contemporary influences, including hip-hop, resulting in a dynamic and socially potent sound. Afronubians, a veteran group formed in Toronto in 1992 by the late Sudanese musician Tarig Abubakar, have taken their reggae-and-Nubian folk fusion further by incorporating Latin rhythms and rock elements. This fusion has not only led to stellar cult albums like Tour to Africa (1994) and The Great Africans (1995) but also cemented the band's status as a favourite on the world music festival circuit.
