Ibrahim Maalouf defied all expectations during his concert at Dubai Opera on Sunday.
When the French-Lebanese trumpeter announced he would be performing in Dubai, many expected him to take the venue by the festive storm of a large ensemble. Maalouf is, after all, known for the sprawling troupes that accompany him, both live and in the studio, featuring percussions, keys, drums, guitars, an orchestra with a robust brass and string section, and even a choir.
The composer had also just released his newest album, Trumpets of Michel-Ange, which is arguably one of his most collaborative projects yet, and so it seemed only natural that his performance would be informed by that same big-band vein.
Walking into the performance hall at Dubai Opera, it became immediately clear that the show would be different. The stage seemed barren, save for a grand piano, two stools, and a pair of guitar amps. Nonetheless, the excitement in the sold-out hall was palpable as Maalouf took to the stage to a feverish greeting, accompanied by French guitarist Francois Delporte. After playing a brisk and upbeat piece, Maalouf addressed the elephant, or lack of, in the hall.
“I've been touring for years now with a huge band, great musicians and orchestras,” Maalouf said. “And when they said, you want to play in Dubai? You know, Dubai, they like big things. I said that’s why we have to come in a duet version. I really want us to share something unique tonight.”
Maalouf warned that this approach may lead to some “empty” pockets in the performance, moments of awkward improvisation and uncertainty. However, Maalouf would prove that with a duet, the bandleader could deliver a concert that was not only epic and riveting, but one of the most memorable performances to take place at Dubai Opera.
The restrained presentation also gave the audience the chance to see Maalouf in a more personable light, hear the stories behind his music, and even witness the artist pepper the performance with a charm that would have been impossible to communicate in a big band setting.
Maalouf kicked off the performance on the piano, signing a soulful rendition of Ana Fi Entezarak by Umm Kulthum. He then immediately took to the trumpet, and a few long-drawn notes later, played the pensive theme tune to True Sorry, a classic in Maalouf’s oeuvre. But this version was unlike any of his renditions live or in the recording of the 2013 album Illusions. Every note in the motif bloomed in the vast space. Even the subtle inhales between the notes were apparent – an advantage of Maalouf playing with only Delporte’s measured accompaniment on the guitar.
Before performing Lily Will Soon Be a Woman, Maalouf shared how he had composed the song during a sound check on stage 16 years ago, when he had received a text message that simply read “call me”, but to which he knew he was going to be a father.
“I knew that it was about this. I knew it. But I had a weird reaction,” Maalouf said, pantomiming himself playing the piano, eyes locked to the screen of his phone, mind racing. “I knew that the name of this song was going to be Lily Will Soon Be a Woman. I didn't even know that I was going to be a father, you know? I already composed something to honour my daughter's life. I didn't even know it was going to be a girl.”
As the song unfolded, Maalouf would merrily interject the performance to point out what stage of life the Lily of the song was undergoing, from her taking her first steps, to her sneaking out of the house as a teenager, and falling in love. The musician’s commentary came with a standup-comedian’s charm.
In Red and Black Light, it became clear that the performance was no longer going to be a duet, as Maalouf coached the audience to sing along the central melody, an impromptu choir was formed that would merrily join in for the rest of the concert.
Two guest musicians also came in during various parts of the performance. German pianist Frank Woeste joined for Esse Emme, a capering track off Maalouf’s 2009 album Diachronism. Saxophonist Mihai Pirvan joined as Maalouf performed tracks from his latest album.
A rousing and emotive dialogue between trumpet and saxophonist ensued during The Smile of Rita, a song also based on one of his children and driven with the lilting quartertonal melodies that Maalouf has become renowned for.
But it was the concluding song, Au Revoir, that perhaps left the most lasting impression. Maalouf asked for the hall’s lights to be switched off, and for audiences to light the space with their phones as they sang along. The performance, Maalouf said, was as a symbolic gesture of people’s capacity to bring hope and light to the darkest of spaces.
Maalouf touched upon the unignorable tragedies currently unfolding in Gaza, saying he flew over the war-torn city on his way to Dubai. He concluded his speech and the night with a clear message: “Stop the killing of children.”
