Bombino

Bombino, the talented Nigerien guitarist, brought the magical atmosphere of the desert to the heart of Rome, performing on a warm summer evening in the enchanting setting of Villa Ada. Fresh off a short tour of Canada, he said he felt at home in Italy, not only because of the temperatures similar to those of his home country, but also because of the deep bond he has built with Italy over the years (helped along by collaborations with leading Italian artists such as Jovanotti).

Last autumn, shortly after the release of his latest album of new material, "Sahel", he had the honor of closing out the 2023 edition of the Roma Europa Festival alongside the charismatic Fatoumata Diawara, who performed that same day on another stage. On that occasion, aided by the intimate, close-knit atmosphere of the Sala Sinopoli at the Auditorium Parco della Musica, he had given plenty of room to dense, deeply felt ballads. At least in its opening stretch, last night's show seemed to pick up those same threads. Not just through the performance of songs with mellow rhythms ("Imajghane", "Itisahid"), but also in the band's setup, which was almost entirely acoustic, built around traditional percussion instruments.

After about twenty minutes, however, the show undergoes a radical transformation: Bombino picks up the electric guitar and the band, dressed in traditional Berber clothing, turns into a classic rock quartet: lead and rhythm guitar, bass and drums. Corey Wilhelm starts pounding away at the percussion like a man possessed, and the rhythm section pulses with extraordinary power, pushing his virtuosity to new heights. From this point on, focusing on individual songs becomes a purely journalistic exercise: in a live setting his songs are completely transformed, merging and stretching out into long jam sessions that showcase his remarkable gift for improvisation.

It isn't always easy to grasp the meaning of the words sung in Tamashek, but when Bombino launches into his best-known songs, you're instantly transported beneath the starry desert sky, wrapped in his intricate melodies. Along with him, you find yourself celebrating friendship and deep bonds ("Amidine"), romantic love ("Tar Hani"), or social and political issues ("Azamane Tiliade"). In this last case, although his political stance isn't as pronounced as that of other artists like Tinariwen or Mdou Moctar, his lyrics often carry an undercurrent of longing for freedom and for safeguarding Tuareg culture, which today faces no shortage of challenges.

All of this, however, remains hidden from casual listeners, who, unaware of the meaning of the words being sung, are captivated by the rapid, hypnotic movement of his fingers on the guitar. At times, Bombino attempts some dance moves that aren't especially compelling, but his skill and humility speak for themselves. He often bows gratefully to the audience and, during the finale, gives plenty of space to solos from the other band members as well. Right after the show, he makes himself available for photos, autographs and genuine reflections on the evening just gone by. In his presence, you feel almost at home, welcomed like an honored guest. After all, for the Tamashek people the sacredness of hospitality is no small matter, and Bombino is a true ambassador of it.

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