Waaberi
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Waaberi – Kafiyo Kaladeri
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Waaberi is the Somali word
for morning.
After years of exile
some of these artists
have finally found
each other again,
hoping to create a new dawn
for Somali music.
A circle of singers sit on decorated pillows, drinking sweet tea. The atmosphere is intense but relaxed as they slowly warm up, singing their way through songs of love and death, of the beautiful lover with the long neck, of desire and of the sensible advice of the wise old men.
This is the good life. Lots of talk and music among friends, witty and sharp comments back and forth between performers and audience - this is no passive crowd. People sing and play along gently, always respecting the direction and authority of the master singers. When the song culminates, or when the singer ad-libs the double entendre lyric variation, they explode in laughter and shouting. There is no amplification. To hear the singer, musicians keep the volume down while maintaining the high energy. Traditionally, the nomads could not afford to carry instruments on the camels, so they learned to beat on the nearest thing that sounded good; today teacups and bottles are perfect percussion instruments - clear but not loud. The musicians follow every little sign and wink as they support the lead singer, interpreting the sorrow and joy of the people.
for morning.
After years of exile
some of these artists
have finally found
each other again,
hoping to create a new dawn
for Somali music.
A circle of singers sit on decorated pillows, drinking sweet tea. The atmosphere is intense but relaxed as they slowly warm up, singing their way through songs of love and death, of the beautiful lover with the long neck, of desire and of the sensible advice of the wise old men.
This is the good life. Lots of talk and music among friends, witty and sharp comments back and forth between performers and audience - this is no passive crowd. People sing and play along gently, always respecting the direction and authority of the master singers. When the song culminates, or when the singer ad-libs the double entendre lyric variation, they explode in laughter and shouting. There is no amplification. To hear the singer, musicians keep the volume down while maintaining the high energy. Traditionally, the nomads could not afford to carry instruments on the camels, so they learned to beat on the nearest thing that sounded good; today teacups and bottles are perfect percussion instruments - clear but not loud. The musicians follow every little sign and wink as they support the lead singer, interpreting the sorrow and joy of the people.
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