Show Review: The Last Crate Session @ Walimat Wardeh (December 29, 2009)

Visual by Youmna Saba

It all started on August the 25th with Zeid Hamdan, bringing with him his latest collaborative partner, vocalist Hiba el Mansouri, and Arabic rapper RGB. It was the first concept of its kind in Beirut. It went on for about 4 months. It had a variety of artists spanning numerous genres from rock to classical to hip hop to free-improvisation. It had one single 12 watt amplifier that everyone, no exceptions, used for their performance, no matter what instrument, from guitar to laptop to microphone capturing the sound of a trumpet being blown into with a hookah hose, no matter what genre. Yes, it must be: The Crate Sessions.

 The Crate Sessions is the brainchild of Serge Yared, Incompetents frontman and DJ at the restaurant Walimat Wardeh. It is basically a more productive (not to mention culturally enriching and entertaining) way of passing the time until the restaurant is scheduled to be demolished and move to a new location. Quite simply, there is this amp, the Crate, a CA15. It has certain specifications (12 watts power, 2 inputs, etc…). So the catch is: Each week, a local artist will be invited to play a set, but he/she can only use the amp at hand, which as you may have deduced has its limitations (two inputs allow for a limited number of individuals for example). They can bring their own instruments though. I attended the first three, then came a long absence due to school (some I was really tearing myself up to see mind you), but I managed to make a comeback for the second-to-last one and of course, this one, the very last one.

 They had really gone all-out for this one. First of all, the lineup looked very promising. They had familiar faces making comebacks (Zeid Hamdan, Youmna Saba, The Incompetents, etc…), as well as newcomers to the Crate Sessions (Abdallah el Mashnouk & Rayya Badran, Fareeq el Atrash, White Trees, etc…). But wait, there’s a catch tonight too. No, they weren’t forced to abide by the usual rules of the Crate. It would be electric, though acoustic was still an option. The catch is: they have to play covers. Fadi Tabbal had brought instruments from his studio, Tunefork, and set up the sound system and everything. In conclusion, it would be a three to four hour non-stop ear-orgy… Well actually, there’s supposed to be a break, so it’s not exactly non-stop… wait no, there would be DJ’ing by The Playmobiles (Basile Ghosn and Margot Hivernel). Shit, guess it was non-stop then… Oh and, all proceeds would go to “Oumnia”, an association that aims to provide children suffering from serious illnesses with psychological and medical care.

 -Before the Show: They said they would start at 7:30 sharp; They SO did not start 7:30 sharp. I paid the ticket price of 20,000 L.L which was quite reasonable, since you’d get to see more than 10 artists perform in one night, plus it’s for charity.

 Most of the artists from the first half were there already. I was glad to find Zeid Hamdan there, who had been abroad in Europe for a long time now, as well as the Fareeq el Atrash crew (sans FZ) who were one of the acts I was really looking forward to seeing, and of course Serge Yared, the man behind it all.

 I noticed something I wasn’t happy with. On Halloween, the restaurant played host to a big costume party, and one of the things that I didn’t like was the “performance-area”. It was this room where tables and chairs would usually be found, but those were cleared out and replaced with a drum set, amplifiers, and other musical equipment. But the thing is, the room is open and everything, but only through a door and a huge gaping window thing. This: http://photos-h.ak.fbcdn.net/hphotos-ak-snc3/hs197.snc3/20435_371095310004_614085004_10181244_2442568_n.jpg. The point is, as I’ve personally experienced it on October 31st, you can either see what’s going on from the doorway, or the big opening. The pillar in the middle obstructs the perfect viewpoint, the literal middle, where you could switch from left to right by rotating your head. But I see they had nothing else they could do, since it’s the only sectioned off room in the place. If they did it where the previous performances took place, you’d have the crowd blocking entry to diners to that particular room that they used. But you have to keep in mind that the place wasn’t built with live music in mind, however, the new location will be. I came up with a practical solution later on, but it depended on that beam not serving any particular purpose apart from an aesthetic one. Since the place is going to be torn down in a couple of days, why not just start early… with that pillar as the first casualty. But if it wasn’t just a decorative pillar, let’s just say there would have been more than one casualty…

 There was a fairly large crowd. Not THAT large, but it was good nonetheless. Ziad Nawfal would be the announcer for this night. He introduced the head of Oumnia who gave a speech before the performances began. She basically talked about the organization and its goals. She finished off by thanking Walimat Wardeh, Ziad Nawfal, Serge Yared, and all the musicians involved.

 Now onwards to the performances…

 -The Show: Sima Itayim was to start. She had been featured before as part of the Crate Sessions and is now making her comeback. She covered “Everybody Wants to Be a Cat” from the Disney movie “The Aristocats” as covered by the band Psapp (This would be the first appearance of a song from a Disney movie). Good that it wasn’t just the same old songs we’re used to hear covered. It was just her on acoustic guitar. The piece was quite jazzy and she performed it quite well though if I remember right it was here where the cracks in the sound setup began to appear. The noisy diners and crowd members didn’t help either. I was briefly one of them… (My apologies, Mr. Nawfal).

 Between each act, a couple of minutes of DJing while the artists got ready.

 Following her was Elyas, who first made his debut on the 96.2 FM “Modern Music Contest” CD and appeared as part of the Crate Sessions as well. He sings in French, and I’m not biased against the French language or anything, but it rarely does it for me. He was on acoustic guitar and was joined by Phillipe (I think) from Intensive Care on keyboard. They covered a French song (which didn’t surprise me) and there were some technical difficulties that didn’t help it appeal to me. Then he covered another French song on his own. I don’t know how much I have to keep saying that I’m not prejudiced against French, but I really don’t find pleasure in listening to it, because I have a mediocre grasp on it, yes, I openly admit it; Sue me, but do it in English please. In some cases, no matter what language the song is in, the music would make up for the unfamiliarity of the tongue. For example, I can’t tolerate Rayess Bek for a while when he raps in French. Now back to Elyas, his style isn’t really my cup of tea. It’s too… soft? I dunno.

 After that was a new act, the duo of Eva Madsen, which consisted of Basile Ghosn and Tad Catranis, joined by Vladimir Kurumilian and Serge Yared. Eva Madsen covered a song by the Violent Femmes. Basile was on vocals and Tad on acoustic guitar and backing vocals. They were quite confident, and though Basile didn’t have that spectacular a voice, it was good enough. Afterwards, they were joined by Vladimir and Serge, with Vladimir on keyboard and Serge providing vocals. I don’t know what they covered honestly, but I was glad to hear Serge take the mic for a while. He has the voice for it.

 Ramzi Hibri cancelled…

 I had heard cristobal’s music before and met him many times but never actually saw the man perform. Now I would get my chance. The people had gotten quite noisy again. Chyno of Fareeq el Atrash did his part by unleashing some epic “shush”s on the crowd, leading a “shush” revolution that was to an extent quite effective. Cristobal, not one to ignore such favors, showed his gratitude with a “shhhhukran”. He had some special guests too. He was on acoustic guitar and vocals, Sima made a comeback on backing vocals, Fareeq’s own Goo and Edd, Goo on guitar, and Edd making his musical debut playing keyboard (“playin’ da keys!”  *grins*).  John Imad Nasr joined in too on bass for this one if I remember right. They performed a cover I am not familiar with. The more obscure the better I say. Following that was another cover, this one without Sima. It was a slower more soulful acoustic rendition of Fareeq el Atrash’s “Shou Kamish?. Is it still a cover if the original artist partakes in it? Eh who cares, this is one fine collaboration right here, cheating or not.

 Following that, the new-to-me (and to others as well I believe), Abdallah el Machnouk and Rayya Badran. I had no prior expectations and was surprised with Abdallah’s instrument of choice: The underrated, underestimated, undersized… ukulele! They covered a song, with Abdallah on ukulele as previously mentioned, and Rayya providing vocals. She was quite good. I didn’t mention this for the previous artists, but it still applies to them: I’m not a big fan of covers, because I see no original input in them. However, when you cover something with an instrument that it was not originally meant for, or with any kind of twist or alteration, that is where the creativity is showcased. There were definitely some twists present in what had been presented. For their second cover, they covered The Incompetents’ own “Bullets Gently Flying Over My Head”. Yared was quite pleased. They did pull it off very well. Bravo on your peculiar instrumentation, vocal delivery, and song choice you two.

 The space-visibility problem was still a factor by the way, and the sound wasn’t holding up too well.

 Next up were one of the acts I was particularly looking forward to seeing, Fareeq el Atrash. They have not appeared before for a Crate Session, so this was their Walimat debut. The lineup this night consisted of Edd and Chyno MC’ing, John Imad Nasr on bass and Goo on guitar. Their beatboxer, FZ, was abroad, so they recruited a drummer, right there on the spot. It just happened that Nadim M of Intensive Care was there for them to lay down some beats on the drums. I’ve learned this long ago, but it was demonstrated once again this night. Rappers are demanding. They thrive off crowd interaction. You don’t a rapper rapping at a café, you see a jazz band or something, because jazz you can just get lost in, but rap is different, rap requires intellectual commitment, an open mind, concentration, attention, etc… So Edd had to get the crowd fired up. He wanted them to cheer. Some cheered. He wanted them to cheer again. Some more cheered, the rest were chatting, eating, or doing nothing at all. Yalla, good enough. They started with “Beat It” I think (the first Micheal Jackson tribute of the night), but it was that song musically, but lyrically, Chyno took it in a completely different direction, substituting his own English raps in the place of the original lyrics. The bass riff was the same, and the impromptu drumming was effective. Following that was a more obscure reworked classic: “Brothers on the Slide” by Cymande. The bass riff was the same also kept intact and the drums were improvised, while the lyrics were altered, but I was familiar with them still. Before they started, Edd asked the crowd to shout “Walimat!” when he asks “Wen ittijehak?” (Where you going?). The lyrics in question were the lyrics of Fareeq’s own song “Lawen”. How do you cover in hip hop? You sample! They sampled… live. They’re as clever as their lyrics… There was an on/off response to that “Wen ittijehak?” thing. Sometimes people went along with it, other times, nada, zip, zilch. They concluded with their song “Bti2wa Ma3 L’Zikra”, which already samples Sugarhill Gang’s “Rapper’s Delight”. Technical difficulties did not hesitate to announce their presence. Edd and Chyno had to swap mics every now and then.

 After them was Zeid Hamdan, who was joined by RGB, but not Hiba (who just got a big record deal from MTV (the local channel, not “Music Television”. If you’re gonna rip off another TV channel, at least steal the name of a less recognizable one…) He had a drum machine with him, and he programmed a drumbeat on-the-spot, grabbed the bass, and proceeded to cover a song by Portishead. I would like to announce that after that night, I became a big fan of Portishead, mostly because I love trip hop, and I hadn’t heard any in a while, so they kind of rekindled that flame, so yeah. The mic was capturing the sound all distorted which was kind of cool actually. Following that, Zeid altered the drumbeat on the drum machine and performed the second Micheal Jackson cover of the night: Billy Jean. Not a big MJ fan myself, but I was happy to see people still paying tribute to him, despite being dead for quite a long time now, his impact can still be felt. Same goes for the other artists, who I assume cover songs by artists that mean a lot to them or have greatly influenced them as musicians. Then, rapper RGB joined him. They performed RGB’s song “Awwast L’Sherif”. Well… it’s not exactly a cover, as Zeid always plays it with RGB, and I don’t think RGB performs it without Zeid, but it does reference Bob Marley’s “I Shot the Sheriff”, and translates it to Arabic. Does that count? Either way, nobody really cared whether or not they would be hearing covers that night or original music. Then another song with RGB: “Ma3na L’Rap”. You know, these are the only two songs they do together, and as I mentioned earlier, Zeid was abroad, so you can’t really expect something different on such short notice. The crowd was very dense now…

 A 20 minute break followed. I stayed a while then stepped out for 5 minutes.

 I came back, and succeeded in losing my spot. I was pretty tired too.

 Part 2 of the night started, with me occupying a slightly worse spot. But is there really a perfect spot? Not with this set-up.

 Youmna Saba covered two Arabic songs. Covering is nothing new to her, as she covered a Sabah song in her own Crate Session. She played acoustic guitar and derbakkeh and was joined by violinist Layale Chaker, who has appeared during a past Crate Session, and her frequent collaborator Fadi Tabbal. The variety in instruments was nice.

 Following her, Mazen and Maher Mardini, formerly of the band Roswell I believe. They covered a song by Porcupine Tree, Archive, and David Gilmour. I believe one was on acoustic guitar and the other on keyboard.

 Afterwards came Nadim M and Phillipe M from the band Intensive Care who operate in Canada. Phillipe was on keyboard, and Nadim, who played drums for Fareeq el Utrush earlier, was on electric guitar. They first covered a song I was not familiar with, but after that, another Disney movie song. That song was “Under The Sea” from “The Little Mermaid”. The people ate it up, and they were very energetic, Nadim was at least, as I couldn’t quite see Phillipe that well, you know, the whole location issue mentioned in the beginning.

 Now it was The Incompetents’ turn. Tonight they consisted of the main duo, Serge Yared and Fadi Tabbal. Serge was handling the vocals and Fadi was playing acoustic guitar and harmonica at one point. They covered a song by the name of “After Hours”, but I am not familiar with its original performer. Following that, their recorded covers, Daniel Johnston’s “Bloody Rainbow” and Tom Waits’ “God’s Away On Business”. Both were presented very well, but I must address this now: Tom Waits’ original version sucks. The rescued that song, trust me on this one. As usual, very energetic. Though they only presented one completely original cover, out of the blue that is, I had never heard them play “Bloody Rainbow” live, and it was acoustic too, and though I had heard them play “God’s Away On Business” live prior to that, this time it was acoustic, so I guess it wasn’t all the same.

 They had performed earlier that Sunday at The Basement accompanying Scrambled Eggs and Canadian producer and musician Radwan Moumneh’s band, Jerusalem In My Heart. Radwan was there.

 Now this was the show-stealer. I know White Trees as the duo of PT and Carl Gerges, who play mellow acoustic melodies that comprise of acoustic guitar and minimalistic drums. They were supposed to play at the second-to-last Crate Session, but were not able to for one reason or another. Their soundcheck would obliterate almost all notions I had of them. Carl Gerges was drumming pretty energetically… P T was testing out his… trumpet… Ibrahim Badr was playing bass… They announced that they would be covering a Radiohead song. Carl drummed energetically indeed, PT played trumpet and delivered the lyrics, while Ibrahim added the bass. Magically, the sound was crystal clear. I don’t know where the song ended exactly, but at one point Ibrahim and Carl were left playing on their own while PT enthusiastically grabbed some drumsticks and lent Carl a helping hand by tapping along to the beat on a cymbal. He grabbed an electric guitar later on and played some very blues-rock-ish tunes. Ibrahim began fiddling with a touchpad-device (not a Mini KP) where he would scratch a vocal sample. They played that cover, but 3/4of what I just described was them randomly jamming. I COULD be all snarky now… but what the hell, it was utterly brilliant! After wrapping up, they distributed one of the two CDs they’ve released (you can find them at La CD-Theque). Unfortunately, they don’t know whether or not to record this sound of theirs. Guys, if you’re reading: DO. IT.

 Finally, concluding the evening, Scrambled Eggs. They played their Abba cover, “Lay All Your Love” from their CD “Dedicated to Foes Celebrating Friends”. Not really new… Then they admitted that they don’t know that many covers, so they just played “Russian Roulette” and had it segue into another song of theirs. They were good, but nothing was different from the last time I saw them. I mean, all the artists that I’ve seen at least once before had something fresh about their performances tonight. Could have been different guys…

 -After the Show: It was very late into the night, something I was not at all happy about. The lack of a solid schedule pisses me off, not just here, everywhere, every single time.

  It was indeed a crate, errr, great farewell to this beloved weekly tradition. They definitely delivered the quantity, and the quality was ok. Not spectacular, as some were just ok, others were great, and a few were awesome. My top three would be: 1- White Trees, 2- Fareeq el Atrash, and 3- I have no number three…

 Hopefully Walimat Wardeh’s new incarnation will play host to future live musical concepts and will be built with musical performances in mind.

 

For more information on the Crate Sessions: http://www.facebook.com/home.php?ref=home#/group.php?gid=118734329783&ref=ts

Read Jackson Allers’ article on the Crate Sessions (featuring an interview with Yared): http://jacksonallers.wordpress.com/2010/01/02/bye-bye-crate-sessions-a-talk-with-serge-yared/

 

-Photos:

*Personal: http://www.facebook.com/home.php?ref=home#/album.php?aid=368356&id=842365214

 *by Tanya Traboulsi:

http://photos-d.ak.fbcdn.net/hphotos-ak-snc3/hs141.snc3/16835_389045595004_614085004_10359277_3688297_n.jpg

http://photos-e.ak.fbcdn.net/hphotos-ak-snc3/hs121.snc3/16835_389045535004_614085004_10359272_1031439_n.jpg

http://photos-h.ak.fbcdn.net/hphotos-ak-snc3/hs141.snc3/16835_389045575004_614085004_10359275_7440048_n.jpg

http://photos-f.ak.fbcdn.net/hphotos-ak-snc3/hs141.snc3/16835_390176925004_614085004_10374763_2702424_n.jpg

http://photos-g.ak.fbcdn.net/hphotos-ak-snc3/hs121.snc3/16835_390176935004_614085004_10374764_5145676_n.jpg

http://photos-d.ak.fbcdn.net/hphotos-ak-snc3/hs141.snc3/16835_390176905004_614085004_10374762_8368118_n.jpg

http://photos-b.ak.fbcdn.net/hphotos-ak-snc3/hs141.snc3/16835_390176895004_614085004_10374761_3091658_n.jpg

http://photos-h.ak.fbcdn.net/hphotos-ak-snc3/hs141.snc3/16835_390176860004_614085004_10374760_1855209_n.jpg

http://photos-f.ak.fbcdn.net/hphotos-ak-snc3/hs141.snc3/16835_389045500004_614085004_10359269_4440213_n.jpg

Advertisements

Show Review: Halloween Horror Disco Extravaganza @ Walimat Wardeh

I know I know, I’m breaking the chronological order, but this show is still fresh and sizzling!

 This was a Halloween party where there would be DJing by DJ Basile and DJ Margot and live music by The Incompetents and Scrambled Eggs. There would also be some VJ’ing done during the musical performances by Rachel Tabet and Ramzi Hibri.

 -Before the Show: At first I took the event’s proclamation of “DISGUISE IS A MUST” lightheartedly, but I later discovered that indeed it is quite mandatory. So the Wednesday of that week I got to work on my costume. Since I knew the type of crowd that was supposed to be at this thing, I chose something a bit topical and witty. I would go as the cover of “More Songs from the Victorious City” by The Incompetents. Black cardboard and chalk were all I needed, then with some cutting and scotch taping, there you had it, a costume based on the piece Alfred Tarazi made for the cover and the concept that the band had created where you get to choose between 8 variable covers.

 A friend wanted to come, but she was tired. Early on, there was not that many people there. Sound-check was being conducted by The Incompetents. The costume got their approval. I greeted some people, one of whom was Abdallah Ko, the main character of the collaborative story “Beirut Police”, leader of a double life as a prophet, and member of the improvisational-noise group XEFM. The prophet, whose face was scratched and scarred, predicted that I should do a photo series with the costume. Read on and see if the prophecy was to be fulfilled… Serge Yared and Fadi Tabbal of The Incompetents had gotten into costume by that point. Serge was an 80’s hair metal rockstar, and Fadi was something in that same domain.

 The place had started to fill up, though it was still spacious. I was greeted by a gypsy, a detective, and girl from the future; a friend of a friend, and her friends. Some time passed, and indeed, the prophet’s prediction came true, a skeleton lady wanted to have her picture taken in the costume. She would be the first of many who would do such a thing, including Alfrec Tarazi himself, designer of the original piece, who was dressed as a mish mash of oddities (stripey stockings, tissue paper strips, white face-paint…), or as he said, he was simply dressed as “someone who doesn’t know what he’s dressed as”.

 Haig Papazian, violinist of Mashrou3 Leila, was present. I asked about how recording for their album is going, and he said that it’s almost done, so you should all expect something to be finished for sure by December. I also discovered that those videos/ short movies you see on Youtube that use their song “Raksit Leila” use it without consulting the band. I always had this notion that the band is approached with a request to use any of their songs and they force the film makers to use “Raksit Leila” to endorse it. But that turned out to be incorrect. “Raksit Leila” is the only song available for purchase in stores, so that explains why nobody uses “Zotrine” for example, unless they get it from the band themselves. He too liked the costume. I was glad to see Sharif Sehnaoui was there as well.

 -The Show: After a while, The Incompetents came on, and they were Serge and Fadi accompanied by the pianist Vladimir Kurumilian. They started off with a new song that I like very much. It is a very interesting song, bitter in a way yet cheerful in another. Then some more songs which included “Bullets Gently Flying Over My Head” and “Monster Song”. Serge sang all of the songs, Fadi played guitar, and for some songs, such as “Monster Song”, Vlagimir would join in on keyboard. For some songs, Serge would at points play the guitar while singing, while Fadi would be playing the drums, and sometimes Serge would play the drums while singing. Each also utilized some pretty neat instruments like Serge playing kazoo and somekind of percussion instrument which consisted of a stick with bells on it, and Fadi playing a mini-xylophone. They were briefly joined by Youmna Saba on drums for the last two songs I think. The last was “Urinal Blues (Part 2)”. I liked this performance, because this time they had some more variety in their instruments than the first time I had seen them. For some reason, I did not notice the VJ’ing that much.

 Scrambled Eggs hadn’t shown up yet, but did eventually. At this point there was less room than before. Tony Elieh was a pirate. Malek Rizkallah was a rabbi. Charbel Haber was Charbel Haber. They got the ball rolling with “X to Be”, then “Building A Nest” I think, which I have only heard performed acoustic by Charbel on Ziad Nawfal’s “Ruptured Sessions” CD, so that was nice, hearing it with drums and bass, all electrified like that. Then they played “Russian Roulette”, a crowd favorite and one of their most well-known. A song whose name I am not really familiar with followed, and the performance was wrapped up with “Girls On Fire”, as requested by a girl in the crowd. They were very good and very energetic, but too loud. It was the first time I saw them so I didn’t really know what to expect, how to prepare myself, but it did start getting painful at a certain point, physically painful. It was quite a contrast to The Incompetents’ mellow acoustic guitar-driven sound, but in the end, very raw and gritty. The VJ’ing this time was more noticeable to me. It included such visuals as women doing aerobics and scenes from horror movies, suiting the Halloween occasion.

 -After the Show: The performances did not disappoint, although they were conducted in this room that was cleared of the tables and chairs that would usually be there for the performance that was not fully open, but had a doorway, and a big opening in the wall, kinda like a huge window without glass. Thing is, for The Incompetents, Serge would sing in the doorway, and Fadi would stand behind him, somewhere in the rest of the room, with the drumset being in the back, and the keyboard in a corner, both easily visible from the big opening. This made keeping your focus on all musicians, or perhaps photographing them all in one shot, as it applied in my case, a bit difficult difficult. Same goes for Scrambled Eggs, except it was Tony who was out of view. But still, you have to take into consideration that Walimat Wardeh is more of a restaurant in the end than a place for musical performances and you can’t expect it to be perfectly suited for them, though don’t ask me under what conditions Ziad Sahhab and his band Shehdine Ya Baladna perform there every Thursday.

 By the end of the Scrambled Eggs performance, there was barely enough room left to move. The place was literally packed. I managed to squeeze out of there, bid farewell to whomever I could find in that sea of disguises, and be on my way…

-Photos:

*Personal:

http://www.facebook.com/album.php?aid=340688&id=842365214&saved

-Videos:

*Personal:

I have a video of The Incompetents playing “Bullets Gently Flying Over My Head” which I will edit it whenever I can upload it.

Show Review: The Crate Sessions: Zeid Hamdan – Live @ Walimat Wardeh (August 25, 2009)

-Before the Show:  This was the first of a still ongoing series of performances referred to as “The Crate Sessions”. The Crate Sessions is the brainchild of Serge Yared of The Incompetents, who also DJs at the restaurant/ pub, Walimat Wardeh, located on Makdessi Street (next to the Marble Tower building), Hamra. The idea is that, every Tuesday at Walimat, an artist will come and perform, but he/she must use an amp provided to him/her. That amp is a Crate CA15. The point of all of this is to see what happens when different artists are forced to perform under the same conditions, with the same method of amplification. Zeid Hamdan (Shift Z) of SoapKills and The New Government fame kicked off the series.

 This was the second musical event I ever attend, so I brought some friends along, who also accompanied me on my first ever expedition into the underground, The Incompetents at Daraj El Fann. We got there early. I like getting to these kinds of things early. You get to soak up the atmosphere of the venue before the show, as opposed to just arriving and diving head first into the situation. It was my first time ever there and I knew that it was somewhat of a hotspot for musicians and artists and such; A very “alternative” place. So, I brought some CDs along with a marker, just in case. ( :3 )

 We were greeted by Serge, behind the bar/ DJ workplace located near the door. I had made reservations, so we got a table and ordered some food (to my friends’ dismay). While sitting at the table, I spied a familiar face. It was Hamed Sinno of Mashrou3 Leila. I’m a big fan of Leila. I had taken this into account, and as luck would have it, I had brought along the “96.2 FM Modern Music Contest” CD, which is the only CD that features their material available for purchase (for now). I greeted him, and learned that Ibrahim Badr, bassist of Mashrou3 Leila was with him also. A quick chat about how recording is going, the Leka@Eka3 tour (who the rest of the band were on abroad), and the amusing fact that the most prestigious Deir El Qamar Festival people uploaded a video of Mashrou3 Leila performing “3al 7ajeez” on their Youtube account with the title “3akrout song”, followed by a signature and friendly handshake, and with that, we parted ways.

 More waiting followed, but then Zeid had finally arrived. I greeted him, got “Party Animals” signed, and he proceeded to start his performance.

 -The Show: Serge had told me that Zeid would not be performing alone, but with Hiba El Mansouri and RGB. Prior to that night I had never heard of Hiba, and had only known RGB by name. Zeid kicked off his performance, using Serge’s acoustic guitar, playing some of his own personal material and some New Government material, which included “The New Government” and “Murder In Slow Motion”. Hiba El Mansouri then joined him in performing some of her own songs, “Lola” was among those, and some SoapKills material, “Aranis” was played. Finally, the crowd was in for some acoustic hip hop, as Zeid was joined by RGB. They performed some of RGB’s songs such as “Ma3na L’Rap” and “Awwast El Sherif”.

 -After the Show: It was a good performance overall, very informative as well, because between some songs Zeid would give a little note, a tidbit, a piece of history behind that song. He said how Aranis was inspired by the activity of a certain street. How Zeid first discovered RGB  and his fomer group, Kita3 Beirut, beatboxing in a tree.

 I went back to the table. Oh, did I mention that my friends didn’t even bother getting up? They were too preoccupied with Bullshit. Yes, that’s right, they had been playing a card game called Bullshit, claiming that they could see and hear just fine from where they were. Brief personal remark here, but a live performance is all about seeing. If you’re not eager to get a good spot, or focus on the performer, just pop a CD into the stereo at home…

 So I got up to do some socialization. I spoke to Zeid again, and met RGB for the first time. I spotted Ziad Nawfal as well, but he had to leave. I went back to the table and joined in the card game my friends were playing (I learned it on the spot and sucked at it, like I do with many other games).

 And so, we departed. I had seen Zeid Hamdan, one of Beirut’s most well known alternative musicians perform, and was introduced for the first time to Hiba El Mansouri, and RGB. Walimat is alright in my book.

For information on past and future performances as part of The Crate Sessions, check this group: http://www.facebook.com/home.php#/group.php?gid=118734329783&ref=ts

For information on the restaurant Walimat Wardeh, birthplace and host of The Crate Sessions, check this group: http://www.facebook.com/home.php#/group.php?gid=2458771491&ref=ts