Roundhouse
Camden, London
Friday 12th June

The Lebanese born trumpet player Ibrahim Maalouf knows how to work a crowd – especially one that has come with high expectations of being readily consumed by the intoxicating energised groove that underpins his concert performances.

It’s worth remembering though that whilst the Maalouf ‘sound’  is currently riding a crest of popularity, it’s taken over 20 albums to get here. He’s worked hard for his deserved recognition as an artist. 

Wedding party

Understandably then with his new album released on the day, he was a little late, although the ground floor arena of the Roundhouse soon becoming a sweaty, personal-space respecting mosh-pit of dancing, singing, mobile phone wielding fans. 

He quickly made up for lost time though by expertly directing a set built on his 2024 ‘Trumpets of Michel-Ange’  release – one that invites his audience to a wedding party - Maalouf the master of ceremonies rather than the bridegroom.

Maalouf though is the star; a sophisticated cross-cultural composer as well as a player who can dazzle as well as provide poignancy with his playing – his classical training obvious in a technique of wonderful malleability.  

As a result he knows how to pad things out with anecdotes and audience interaction, (including a few onstage invites), although he remains generous in letting others lead.

Maalouf though is the star; a sophisticated cross-cultural composer as well as a player who can dazzle as well as provide poignancy with his playing – his classical training (he grew up in France and studied at the Conservatoire de Paris) obvious in a technique of wonderful malleability.  

Dynamism

Right from the opening ‘The Proposal’,  the on-stage dynamism was choreographed alongside a band that boasted a line-up of five trumpet players, rhythm and bass guitar, sax, drums and dancer.  

the quarter tone TOMA trumpets that at the right times infused the music with their maqam scales and modes to collectively sound like a cross between a team of vuvuzelas and renaissance shawms.

They never let the pace drop. Julien Tekeyan on kit (and assorted drums) and guitarists Mohamed Derouich and Francois Delporte were an inexhaustible conduit of throbbing power.

The superb sax of Mihai Pirvan added texture and liquidity to the quarter tone TOMA trumpets (invented by Maalouf’s father) that coloured the music with their maqam scales and modes to collectively sound like a cross between a team of vuvuzelas and renaissance shawms.

Fusion weave

The repertoire from ‘Love Anthem’  through to the extended ‘Au Revoir’  also came with the eye-catching dancing of Hafsatou Saindou – at times a rhythmic mix between Stevie Nicks and Oti Mabuse.

Around her, the fusion-weave of middle eastern and Levantine influences was clear, although detours take in African, Latin American and even a touch of New Orleans jazz to trigger the synapses.  

By the close you were left with plenty of ear-worm melodies riding in your head. It was some wedding night. 

Iwan Fox