Kevin D. Carignan 
In 2017, the Washington Post published an article titled “The Death of the Electric Guitar”. But you wouldn’t know it from the sold-out crowd that packed Colony Woodstock last Monday night, March 21, for a six-string wizardry masterclass by famed Nigerian guitarist/singer Mdou Moctar.
For those unaware, Moctar has been turning heads with his unique brand of African blues/psych rock since his 2008 debut record, anar. This astonishing collection became popular not through a shrewd marketing blitz by a record company, but when it went viral on African cellphone music-swapping networks and when two of its tracks were included in the compilation distributed worldwide, Music from Saharan Cell Phones: Volume 1 (Sahel Sounds). Moctar is the last 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 including Mali, Libya , Algeria, Burkina Faso and Niger. He continues a sound that first gained worldwide popularity through the critically acclaimed works of Ali Farka Toure and Tinariwen.
Moctar wraps up a 25-concert North American tour in support of his sixth album, 2021’s Africa Victim (Matador Files). This fiery collection has garnered rave reviews from NPR Music, Rolling Stone, Paste, Pitchfork and more. Matador has just released an extended edition with nine additional tracks, including a variety of demos and live offerings, the setting where Moctar really shines.
Moctar’s set at Colony Woodstock was heavily weighted with tracks from his new album. The show started with the album opener and its most-streamed song, “Chismiten”. Like many songs performed, it started with unaccompanied guitar, before the band joined in propelling Moctar’s vocals and long solos with throbbing and very hypnotic rhythms.
Signature to Moctar’s style is the switchblade bite emanating from his white Fender Stratocaster. Although he throws it left like Hendrix to whom he is often compared, his high pitch is perhaps even more reminiscent of Telecaster blues legend Albert “The Ice Man” Collins or Lebanese surf guitar pioneer. , with a modal spirit. Dick Dale – Jimi’s two inspirations. Mdou Moctar also reminds me of the great associate guitarist of the Black Rock Coalition, Jean-Paul Bourelly (for more guitar thrills, discover his incredible album, rock the cathartic spirit). Moctar’s sound is heavily phased and overdriven via a modest range of pedals and his retro Roland Jazz Chorus amp, something not seen much since Andy Summers’ days in The Police.
Moctar’s melodic style blends oriental-sounding modal scales with blues embellished with psych/rock screams. There are plenty of slurs, trills, hammers and pull-offs, single-string climbs and even tapping, in a more percussive than melodic Van Halen style. Perhaps the most unique visual aspect of her style is her picking. This seems to be accomplished only with his index finger, which plucks the strings like a mad chicken for a moment, then becomes an indecipherable blur as he unleashes fast passages.
The hour-long set at Colony Woodstock was a festival of Saharan shred. Many tracks again began with Moctar’s solo and featured him improvising extensively and repeatedly, greatly expanding on the songs featured on his new album to the delight of audiences. His music wouldn’t be as powerful without the support of his band. Drummer Souleyman Ibrahim and guitarist Ahmoudou Madassane provided a powerful, steady and unwavering rhythmic platform on which Moctar soared. Bassist Michael “Mikey” Coltun, who has also been Moctar’s producer since 2017, laid down a rich background with his Fender bass, as did Billy Cox in Hendrix’s Band of Gypsies. Kudos to Max Siegel of Colony for delivering 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 his group closed the evening with a long version of the title song of their new album, “Afrique Victime”. The track featured the band’s tight unison playing over melodic, stop-time passages and its hypnotic impact, as the melody stretched towards the 10-minute mark, with the rhythm section underpinning the most frantic solo, loud and adventurous from Moctar of the night.
Photo gallery by Rob Yasinsac
