Natacha Atlas – The Queen of Arab-Pop

What follows is the interview Natacha Atlas gave us in Palinuro (Salerno), after her only Italian performance of the 2001 tour.

“I never stay still. I hate stereotypes and the barriers between genres. That's why my music is so eclectic”. Natacha Atlas, the Egyptian-Belgian chanteuse who has risen to worldwide fame as the new queen of Arab pop, knows exactly what she wants. With big green eyes and the curves of a born belly-dancer, the former Transglobal Underground singer captivated the audience of the “Dialoghi Mediterranei” festival in Palinuro with her only Italian performance. The credit goes to her sinuous voice, capable of covering the full timbral richness of the Arab tradition, and to her borderless repertoire. A mix of sounds and suggestions rooted in Middle Eastern folk, but beating to the dub and trip-hop rhythms of European dancefloors. Natacha is also building a fruitful relationship with Italy. With culinary implications – “I love the pasta all'amatriciana you get in certain Roman trattorias!”, she confides – but also professional ones: her collaboration with Franco Battiato and her decision to record her next album right in Rome.

What kind of record will it be?

It's called “Foretold In The Language Of Dreams” and should come out in early 2002. It's a new age album, albeit in an Eastern style. A more classic, less pop record than the previous ones. Most of the songs are mine, and on one my husband Abdallah, who's an Arab musician, also takes part. There are influences from India, sounds of nature, but also more “philosophical” lyrics. And a touch of psychedelia.

By the way, is it true you started your career with a kind of psychedelic rock?

Yes, I'd made a couple of songs in that style, but it wasn't anything serious. Someone must have then exaggerated and distorted the story a bit.

In “Ayeshteni”, on the other hand, there's a return to Arab roots. Maybe that has to do with the fact that you moved from Brussels and London to Cairo?

Yes, maybe. I was happy in Cairo, although now I'll be going back to London for a while. I've tried to delve deeper into my folk roots, also thanks to “traditional” musicians: an Egyptian on Arabic keyboards, plus a Tunisian violinist and a Moroccan percussionist. But there are also three European musicians in my band now, and I think we've reached a good balance.

The album features a new French cover, “Ne Me Quitte Pas” by Jacques Brel, following “Mon Amie La Rose” on “Gelida”. Do you have a soft spot for French chansonniers?

I love that kind of song a lot, but generally it's the lyrics and melodies that make me choose which tracks to reinterpret. And I always try to translate Western songs into my own language. Just as I tried to do with “I Put A Spell On You” by Screamin' Jay Hawkins.

Do you like any European pop singers or bands?

I like the Cardigans, British trip-hop, Bjork. I'm also a big fan of Puccini and opera.

How did you find working with Franco Battiato, on his album “Ferro Battuto”?

It was easy working with him, he's a wonderful person. I like the way he uses philosophy in his songs.

Do you have any other collaborations planned?

I've already started one with Jocelyn Pook, an English classical composer.

Besides being a singer and composer, you're also a belly dancer. What does this dance represent in your culture?

To me it represents a form of freedom and female emancipation. Unfortunately, in my country it still isn't respected as an art form. People see it as being on the same level as striptease: something connected to prostitution. Of course, in my country there are also rich, famous dancers. But they've had to work hard to earn even a minimum of respect. In the end, they're only accepted because they're rich and famous. There's a lot of hypocrisy in all this.

You're considered “the queen of Arabic pop”. Do you feel the weight of that role?

I think a label like that ends up putting a bit of pressure on you. And I'm not sure it makes me feel comfortable.

And your own self-description as a “human Gaza Strip”?

I was young. You do all sorts of things when you're young. I was confused about a lot of things...

Aside from that description, could you be considered living proof that Arab and Israeli culture can coexist in harmony (Natacha is the daughter of a Sephardic Jew of Egyptian origin and an Englishwoman, ed.)? How do you experience what's happening in the Middle East?

I don't think peace is close. There's still a lot of work to be done. I hope we can get there soon, but for now I don't see much chance of it. I don't think it's a problem of different races or cultures. It's a social issue, a conflict between rich and poor.

What kind of message do you try to convey when you sing?

I try to convey emotions. That's what interests me most.

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