Mashrou' Leila: The voice of Middle East youth

As a music enthusiast, I'm  always trying to find new music, and follow new bands, one such discovery recently is a  Lebanese four piece indie band based in Beirut, by the name of Mashrou leila. Their songs  provide an alternative soundtrack to the watered-down ‘habibi’ pop that dominates the mainstream music industry in the Middle East and their socially conscious lyrics have addressed the concerns of their generation. They are, arguably,one of  the most potent force in Arabic music today.
 Described as ‘The voice of their generation’ and ‘The Arab world’s most influential independent band’ by CNN and The Financial Times respectively, this year marks their 10th anniversary, and have recently released their fifth record  ‘The Beirut School’- a compilation of their classic tracks and new material.
The album brings together key songs from their first four albums, and also features three new songs ‘Cavalry,  which is about the cruelty and machismo of militarized oppression:,‘Salam’ and ‘Radio Romance’ that were produced by Joe Goddard of Hot Chip from sessions in the band’s studio in Beirut and at the legendary La Frette Studios in Paris.
‘Salam’ features Roisin Murphy on vocals. The original version was first released as part of ‘Block9’s Creative Retreat’, created at Banksy’s Walled Off Hotel, Palestine.
Jessy Moussallem, the acclaimed Lebanese director,  directed  the video for lead single ‘Cavalry’. Her first collaboration with Mashrou’ Leila since the video ‘Roman’ (2017) which won numerous awards and international attention, including a Gold Award at the Cannes Lions.

 Mashrou leila - Cavalry

“Best stop brandishing that sword of yours
Lest you fall right off of your throne
If I fail, if I die
I’ll come back every time
Till I’ve seen you through
Every head you cut turns into three
I burst into armies of me”

Their rousing, sensual electro- pop anthems about political freedoms, LGBT rights, race, religion and modern Arabic identity have challenged the status quo of the Middle-Eastern pop industry.Through their relevant and politically charged electro-pop anthems about LGBT rights, race, religion and modern Arabic identity, addressing  the need for self-expression and a judgment free culture. Mashrou’ Leila music has resonated with fans all over the globe, gaining worldwide acclaim. They’ve undertaken four US tours to date and played headline shows at London’s Barbican and Somerset House receiving plaudits from the likes of the NY Times -“sexy, soulful definitely joyful music’, The New Yorker, and 4 star reviews from The Guardian, while the. Financial Times called them "The Arab world’s most influential independent band, " 
Their popularity across the Arab world has seen audiences grow from 400 capacity venues to audiences in excess of 35k in their ten years to date.They were also the first Middle Eastern artists to grace the cover of Rolling Stone.
They brilliantly  reimagine the vibrant sound of contemporary Beirut with guitars, drum machines, samples, razor-sharp violin and magnetic frontman Hamed Sinnos mercurial voice.Riding on the wave Arab Spring uprisings that swept the Middle East, the band was embraced by Arab youth who see its music as part of a cultural and social revolution.
Mashrou’ Leila began attracting the attention of Western media outlets in 2009 and 2010, as their witty wordplay and rambunctious sound began saturating the airwaves in Lebanon and neighboring countries. Immediately, they were typecast as a politically renegade music group. “Just because you’re brown means you can’t make indie pop,” says Sinno. “It's ‘Arab indie pop.’ Which I think can be a really, really dangerous discourse to entertain. A blues musician from Lebanon is just a blues musician.”
Mashrou’ Leila initially emerged as the hobby project of a group of architecture and graphic design students at the American University in Beirut in 2008. There, academic instruction provided them with progressive, leftist frames of reference for the world. These ideological discourses saturate their music in both form and substance. So it is true that Mashrou’ Leila’s music is, in fact, political, sometimes provocatively so if not in intent, then in effect. Mashrou’ Leila's themes and satirical Lebanese lyrics reflect the many faces and flaws of Lebanese society which are not addressed by mainstream Arabic music. The band is critical of the problems associated with life in Beirut and they are known for their liberal use of swear-words in some of their songs. Their debut album's nine songs discussed subject matters such as lost love, war, politics, security and political assassination, materialism, immigration and homosexuality. Their oft-cited hit song “Shim El Yasmine,” from their debut album, narrates a queer relationship between two men, hinting at a still-present taboo in Lebanese society. But it’s a love song too, and one that is rhythmically engaging.

 
 With the advent of the 2011 Arab upisings, Mashrou Leila’s fans conceived new explications for the music.  Songs that previously gestured at discontent were reappropriated as calls to revolution. They were played at political rallies in Cairo, Tunis, and Amman, where the band has massive audiences. “Inni Mnih,” a song on their 2011 album El Hal Romancy—in which Sinno sings, “let’s burn this city down and build a more honorable one”—was misread as an anthem for the Egyptian revolution.

 
Once, at a music festival in Beirut where the group Gorillaz was also playing, the band sang an Arabic rendition of Gorillaz’s “Clint Eastwood” as a tribute. The clip found its way online, where it was reinterpreted as a rallying call for protesters in Tunisia.  
Over the years, Mashrou’ Leila has released music that has continued to deepen the affinity between the band and its ever growing fan-base. They do so by mixing the stylings of pop and electronic music, and what they call a “punch of stadium rock.” They also sing in Arabic, in contrast to most Lebanese rock, which is often sung in English, even though Sinno’s voice does not resemble those of traditional Arab singers. Thick and not without some dissonance, his exceptional voice challenges the sound of traditional Arabic tarab by banking on the power of emotionality and the influence of the music. They also regularly use their voice as a tool for activism, all the while knowing full well what dangers that can cause to their physical safety. 
In August 2010, during a concert at the Byblos Festival Sinno unfurled a rainbow flag that was handed to him by a member of the audience. This was the first public display of a gay pride flag by an artist in Lebanon. During that same festival appearance, the band performed songs denouncing police brutality and corrupt politicians while then prime minister Saad el-Din Harim was in attendance.
Their unflinching, uncompromising attitude has seen them get into trouble from the Conservatve society they inhabit.Mashrou' Leila's satirical lyrics and controversial themes led to an unofficial ban on performing in Jordan on April 26, 2016. The band announced on its Facebook page that their planned concert was denied approval by the Amman Governate.The ban was reverted by the relevant authorities two days later^. On June 13, 2016, the band again posted a message on their official Facebook page https://www.facebook.com/mashrou3leila/  that claimed their upcoming concert in Amman had been cancelled by the Jordanian Minister of the Interior, "The inconsistency of the Jordanian authorities in this respect (inviting us, then banning, then cancelling the ban, then inviting us again, then banning us again - all within the course of 14 months - has culminated in a clear message, that the Jordanian authorities do not intend to separate Jordan from the fanatical conservatism that has contributed in making the region increasingly toxic over the last decade."
In September 2017, while the band was playing in Egypt, members of their audience were arrested for unfurling rainbow flags in support of LGBT rights. One man was sentenced to six years in jail for 'practicing debauchery' on his way home from the concert; seven other concert attendeed were arrestedThey were supposed to recently perform at the Byblos International Festival in Lebanon on August 9. https://www.byblosfestival.org/ However, the concert was halted by the organizers “to prevent bloodshed and maintain security and stability” after critics of the band on social media threatened to attack the concert, and following pressure from Christian groups,  led by the Maronite Catholic Eparchy of Byblos  accusing the band’s songs of undermining religious and human values’ and ‘directly opposing the Christian faith’. The office of the town’s archbishop also published a statement that said the group “undermine religious and human values and attack sacred symbols of Christianity”, while the country’s Catholic Information Centre called them a “danger to society”.
A social media storm ensued as internet users hurled insults and violent threats at the band, and .Lebanon  joining  the ranks of Saudi Arabia, Egypt, and Jordan in censoring a band that has put Lebanon on the global indie rock scene .On July 30, the band released a statement in response to the concert’s cancellation that described the series of summer happenings as “shocking events” and attempted to counter some of the lies and misrepresentations circulating around them. For example, some falsely claimed that their name, Leila, refers to the “the night of eternal oppression.” The band’s name, which for some brings to mind the name of Qays’ lover in old Arabic poetry, is said to date back to the night of the band’s first ever concert at the American University in Beirut in 2008. 
On their website, the band says they are born out of a nocturnal encounter. The band chose to spell their name as ‘Leila’ instead of ‘Leilah,’ the latter being the Arabic word for night, while the former, pronounced the same, is a female name. The name Leila is perhaps more romantic, but also more playful as it suggests different meanings. This playfulness will remain with the band and its growing sound. 
The recent  hostility specifically targeted two 2015 songs called ‘Asnam ‘ and ‘Djin’ from their 2015 album ibn al-leil (son of the night) which were removed in July from the band’s official Youtube channel and a 2015 social media post by lead singer Hamed Sinno, who is openly gay, portraying the pop star Madonna as the Virgin Mary and Jesus Christ as a ‘fanboy’.
In a statement, the band felt obligated to provide an explanation for the meaning of the  two songs.. While the band didn’t explicitly outline the meaning lyrics to their 50-song catalogue, they noted the difference between literal meanings of words and how they can be read in the context of art. 

 Mashrou’ Leila - Asnam

Mashrou’ Leila  - Djiin

“Suffice it to say, and remind everyone, that works of art carry multiple meanings, especially when taken out of context, and that the nature of metaphor is to divert from words’ literal linguistic meanings. This is the reason for this uproar,” the band said in the statement. The seriousness of the accusations was shocking as were the misinterpretation of our songs, the lies that were told, and the doctored pictures. The orchestrated campaign culminated in direct death threats,” the statement added. Concluding: “We are not on some sort of mission to arbitrarily blaspheme and disrespect people’s religious symbols”.

 In response to the cancellation, the band said that their songs had been misinterpreted, and a number of falsehoods about them had been spread online. 

“We feel true and genuine regret towards anyone who felt their creed and beliefs were targeted in our songs. We assure them and everyone that these songs do not breach sacraments or faiths, and that the offence was due mainly to smear campaigns, defamation, and false accusations,” they said in a statement. 

“Our respect for others’ beliefs is as firm as our respect for the right to be different,” they added.

In the aftermath of the concert cancellation, a number of human rights organizations voiced concern, condemning the decision, and the wider campaign against the group.Human Rights Watch called the cancellation “the latest in an escalating campaign of repression against peaceful speech in Lebanon”.
“This incident demonstrates how criminal defamation, incitement, and insult laws in Lebanon are exploited by powerful groups and how they fail to protect marginalised voices and those who have divergent opinions,” said Lama Fakih, acting Middle East director at Human Rights Watch. “Lebanon is joining the ranks of abusive governments in the region that trample on free speech rights, pushing out the talent and debate that has made this country what it is.” 

 And writing on Human Rights Watch, Lebanon and Bahrain researcher Aya Majzoub urged the Lebanese government to reform laws that criminalize protected speech: ‘Lebanon should decide what kind of country it wants to be: one that controls and dictates public discourse, or a beacon of tolerance and a centre for art, music and culture.’
The rights group criticised the Lebanese government for its reaction the campaign of violent threats against the band. It said the Interior Ministry hauled two members of the band in for an interrogation that lasted for six hours, after which security officers forced them to pledge to censor content on their social media accounts.
An earlier statement from Amnesty read: “It is unconscionable that there continue to be such calls emanating from institutions that are meant to serve as role models to their constituencies, and can and should be upholding the right to freedom of expression and protection of vulnerable groups, instead of enabling hate speech, including homophobia.” 
In parallel, activists from different walks of life quickly launched a solidarity campaign in support of the band, and on August 4 2019,Dutch  metal band Within Temptation who was set to perform at Byblos on August 7 pulled out of the festival in solidarity with Mashrou Leila and "in support of tolerance, freedom of speech and expression". The cancellation of the Mashrou Leila concert triggered protests and a solidarity campaign on social media. Supporters described the cancellation as a shameful and dangerous precedent. On the date of the concert, independent activists gathered to put on a show in solidarity with the band and against censorship under the banner “The Sound of Music Is Louder.”  A hashtag for the concert read al-qamea mesh mashrou’ (oppression isn’t legitimate). Besides being part of the band’s name, mashrou’ is a versatile Arabic word that can mean ‘legitimate’, as well as ‘project.’ The event gathered dozens of sympathetic musicians, bands and comedians at 'The Palace' venue in Beirut's Hamra district. Over a thousand people attended the show while hundreds waited in droves at the venue's entrance in waiting. At 9pm, pubs and restaurants across the city played Mashrou Leila songs in solidarity with the band.
Mixing different musical styles and artistic expressions, the concert was also an opportunity to express support for LGBTQI+ rights. Many attendees waved the rainbow flag, a strong political gesture given the homophobic attacks on Mashrou’ Leila’s lead singer in the preceding weeks.
The cancelled concert also epitomizes three years of declining public freedoms. In recent months, several films have been banned, books censored and the Brazilian metal band Sepultura denied visas for being ‘devil worshippers’.
On 12 August, the radio station Voice of Lebanon reported that a satirical show due to be performed in the town of Bint Jbeil in southern Lebanon had been cancelled. Although the exact details of the cancellation remain unclear, it followed alleged political pressures resulting from concerns over the women performers’ lack of modesty and the nature of some of the jokes.
Coming just weeks after Mashrou’ Leila’s ban, this latest incident suggests that ‘the alarming crackdown on free speech in a country that officials have long boasted offers more freedom than the rest of the Arab world and was once proud to embrace diversity’ is far from over.
 In Greek mythology, Daedalus and his son Icarus try to escape from Crete, where they have been exiled. The father and son make wings made of feathers and wax so they can fly. However, Deadalus warns his son against flying too high and getting close to the sun, but Icarus objects, and flies higher anyway. Mashrou’ Leila sings for Icarus and his quest to fly high. This is their brand of boundary-pushing politics.

As the whole world seems to be regressing into illiberalism, the fact remains is that Mashrou' Leila  with their powerful  rebellious attitude and the perpetual debate their wonderful passionate music generates,and the stimulating questions they deliver gives them even more value as a band, and makes them the success they have become today. Long may they continue fearlessly doing what they do, releasing their potent mix of sweet sounds and heady lyrics and people generally, keep making a stand against hatred, homophobia and discrimination, and to all those that haven't  given up,  Love is Resistance.

Mashrou leila - Radio Romance

I will end with this music video Mashrou’ Leila made in cooperation with Greenpeace, filed on a raft in the middle of the Mediterranean Sea during the bands residency aboard the Rainbow Warrior.

Mashrou leila   x Greenpeace - Bahr 360