A Rare New York Appearance By Western Sahara’s Wild, Psychedelic Group Doueh
One of the most highly anticipated twinbills of the year is happening on Sept 29 at 7:30 PM at the Poisson Rouge, where one of New York’s hottest buzz bands, intoxicating Moroccan trance-dance group Innov Gnawa open for a very rare appearance by the similarly innovative Western Saharan Group Doueh, who’ve been brought here across the desert and then the ocean by the World Music Institute. Advance tix are expensive – $30 – but this could easily be your last chance to see them in the US until after 1/19/2021.
Their 2012 album Zayna Jumma – streaming at Bandcamp – is a feral, careening live performance from Dakhla in Western Sahara from a couple of years before. It sounds like it was recorded on somebody’s phone, too close to the lead guitar amp, which it probably was – Americans aren’t the only ones who go to a concert and then share files. The celebratory title track sets the stage: bandleader and patriarch Doueh playing frenetically spiraling variations on a catchy central riff, his wife Halima just as ecstatic on the mic with her trio of backup singers over son Hamdan’s boomy drumbeat. It’s a wild update on the region’s saharoui trance-dance music, something akin to a higher-register gnawa.
Doueh’s guitar blasts through a wah pedal over his son El Waar’s lo-fi organ as Ishadlak Ya Khey pounces along: – it sounds like the Stooges playing a Grateful Dead song with a woman out front. Zaya Koum is just as catchy but with a harder-hitting funk beat. Doueh leaves his wah wide open, the drums keeping perfect time as the sound oscillates around.
He takes over lead vocals on Met-Ha – without the guitar, the swooping, smartly terse bass comes into focus alongside the organ, percussion and chorus of voices, both onstage and off. His axe back on, he fires off volley after volley of machinegunning hammer-ons as the organ shadows him throughout Jagwar Doueh.
The band brings it down to a slow, loping duskcore ttriplet groove for Aziza: Doueh throws off a tantalizingly short, lightning-fast solo, his distortion pedal off so the notes ring out, Vieux Farka Toure-style. They stay in that same vein but pick up the pace with Ana Lakweri and bring the show full circle with the catchiest number in the set, Wazan Doueh, a clanking, circling mostly acoustic saharoui folk theme. A band couldn’t want better advertising for their live show than this. And if the Poisson Rouge is wiling to pay for a competent sound engineer – which at the prices they’re charging, they really ought to – you’ll be able to hear everything this album alludes to.