How did the idea for this tribute to Umm Kulthum come about?
This concert was born out of an initiative by the Printemps de Bourges Festival for its 2025 edition. Originally, they approached composer Khalil Hentati, who was already working on a project and suggested my name. A large part of my work is dedicated to reimagining major classical pieces from the Arab repertoire. Through various groups, including SoapKills and Bedouin Burger, I have had the opportunity to modernise songs such as those by the Syrian singer Asmahan, the Egyptian Mohammed Abdel Wahab, as well as ancient songs known as muwashahat. When Printemps de Bourges contacted me, they asked me to revisit Umm Kulthum’s iconic songs, to highlight her repertoire and offer a more contemporary version while respecting its original form. This was a collaborative effort: with the team from Printemps de Bourges, with the artists we brought together, and with the Lebanese oud player and performer Oussama Abdelfattah, who will be with us on stage and who made this adaptation project possible.
You immersed yourself in the world of Umm Kulthum for the occasion…
It was the first time I explored her repertoire, and I approached it as a challenge. I put myself into a state of intense listening for three months. On public transport, in parks, at home, Umm Kulthum’s voice was constantly in my ears. I entered a kind of trance. Her music inhabited me. I worked in the studio to figure out how to play her repertoire on electric guitar or keyboard, how to programme beats onto her works. I asked the artists to choose the songs they wanted to perform. Thanks to them, I discovered a myriad of pieces, even some rare songs that are very rarely played. Based on their selections, I worked hand in hand with the orchestra to ensure their arrangements blended with my electronic sounds. People told me: “You can’t add electronics to Umm Kulthum, she’s out of tempo.” So I followed her voice on my computer, measure by measure. I wanted to understand how she breathes, how she speeds up, how she slows down. To my amazement, I realised that she sings perfectly in rhythm. But within a given rhythm, she can accelerate or decelerate. That was, in fact, her unique way of grooving…
How do the performers and instruments on stage help build a bridge between tradition and modernity?
On stage, you’ll find the instruments that form the foundation of the traditional orchestra. There is a qanûn, which is a kind of horizontal oriental harp, along with lutes, violin, and percussion. I’m also on stage with my bass and synths, accompanied by a drummer. We brought together seven artists with eclectic backgrounds and influences. First Maryam Saleh, with whom I’ve been working for over ten years. She’s one of the people who introduced me to Egyptian music. Then there’s Natacha Atlas. When I started my work of updating Arabic music, Natacha was already doing it: we all remember “I Put a Spell on You” or “Mon Amie la Rose”. Abdullah Miniawy is part of a generation of Egyptian artists who are highly appreciated on the independent scene. Rappers Danyl and Rouhnaa will also be present. It’s a fascinating exercise to see how they incorporate Umm Kulthum into their own compositions. I met Camelia Jordana at the Arab World Institute in 2020, during a tribute to Lebanon following the Beirut port explosion. I knew her English-language songs. With this concert, I discovered that she’s very familiar with Arabic music. Lastly, there is Souad Massi, a true icon of contemporary Arabic folk music. It was fascinating to hear her sing Umm Kulthum, as her repertoire is far from the classical Arabic form. Souad updates Arabic music in a folk style. Together, we came up with jazz-inspired arrangements. All of them form a joyful mix. They are not simply offering a series of covers. Each of them has made the songs their own. They bring out the soul and spirit of Umm Kulthum, her rebellious, courageous, and free nature.
Fifty years after her passing, what do you think Umm Kulthum represents for the Arab music scene?
She is one of the greatest ambassadors of classical Arabic music. Umm Kulthum was extremely proud of her roots, she was a feminist, and she had a deep love for her country. I truly want the audience to remember this concert forever. I really want to create something memorable while paying tribute worthy of this magnificent artist.
Tell us about the journey that has led you, for over twenty years, to update classical Arabic music through decidedly contemporary sounds.
I grew up in Lebanon in a multicultural environment. In the heart of the Middle East, this country is immersed in Arab culture while being exposed to Western influences. During my youth, I fell in love with European and American music. I discovered this Arab heritage much later, working with female singers. They would all hum pieces from the classical repertoire without me knowing their original arrangements: whether it was Yasmine Hamdan with Asmahan’s songs, Maryam Saleh with Cheikh Imam, each time I heard these works through their voices. It became a habit for me. This allowed me to understand the melodic power of this music and to find my own way to reinterpret it, blending so-called “modern” instruments with the quarter tones typical of classical Arabic orchestration.
Interview conducted by Vanessa Asse in May 2025