‘Tidjani Barhama’: Akhlou Brick blends musical traditions in tribute to Baye Niass

The group Akhlou Brick pays tribute to Baye Niass in ‘Tidjani Barhama’, a track released in the context of the Gamou and Gamou-waat celebrations in Médina Baye. Held one week after Mawlid, Gamou-waat is associated with the stronghold of Niassene disciples.

The track is built around several voices and musical repertoires. Alongside the group’s rap writing are the ‘Faydou Saani’ rhythm, a Hausa melody performed by Kalimou Sy and Abou Ndao, choral vocals and a zikr sequence led by Zeyda Fatou Bitèye.

A reference to the Fayda in rhythm and voices

The ‘Faydou Saani’ rhythm forms one of the track’s foundations. Le Soleil links it to a musical tradition associated with the ‘Fayda’. This rhythmic presence accompanies Akhlou Brick’s lyrics and roots the track in this musical universe.

The contribution by Kalimou Sy and Abou Ndao introduces a Hausa melody, distinct from the rap passages and other vocal sequences. According to the daily newspaper, this choice also refers to the linguistic spaces in which the Fayda developed, beyond Senegal alone.

From zikr to collective harmonies

The choral vocals add another texture to the track. At times, their harmonies evoke a Christian choir, creating a contrast with the vocal forms associated with zikr and Senegalese religious rap.

Zeyda Fatou Bitèye, for her part, performs in the zikr register. Her way of extending, repeating or linking certain syllables recalls ‘ngoyaan’, according to Le Soleil. The coexistence of this solo voice and collective harmonies thus structures the musical tribute to Baye Niass.

Tributes as part of Gamou

In Médina Baye, tributes to Cheikh Al Islam El Hadji Ibrahim Baay Niass take place, according to the source, in religious, cultural and artistic spheres in the lead-up to these celebrations. With ‘Tidjani Barhama’, Akhlou Brick places its contribution within this plural musical expression.