Musicians Blur Cultural Boundaries

Originally scheduled for September 2001, the “Desert Roses and African Rhythms” tour was canceled in the wake of the Sept. 11 attacks--in part because of travel complications, in part because of fears of backlash against Middle Eastern performers.

But the audience enthusiasm that has greeted Middle Eastern superstars Khaled and Hakim on the rescheduled tour in cities such as New York, Boston and Washington was amply present on Saturday at the Orpheum in downtown Los Angeles as well.

Hakim, opening the program, is a master of Egypt’s shaabi genre, a style that blends traditional melodies and rap-like lyrics with urban dance rhythms. Accompanied by a 13-piece ensemble (including four drummers and two backup singers), he was in high gear before he had completed his first number, dramatically illustrating his songs with a full catalog of physical movements.

Swiveling his hips, shaking his shoulders, using his hands for theatrical emphasis, Hakim offered a colorful visual connection with the often irreverent qualities of the shaabi lyrics for the non-Arabic speaking members of his audience. He topped off his set with a number designed to break through musical and cultural boundaries--an energetic duet with Puerto Rican merengue singer Olga Tanon on “Ah Ya Albi.”

Khaled, known as the King of Rai--an Algerian melange of traditional sounds, social and personal commentary and contemporary rhythms--approached his performance with a charisma considerably different from that of Hakim. Emphasizing the far-ranging versatility of his voice, which moved easily from dark, basso sounds to a soaring tenor, Khaled roved the stage in relaxed and easygoing fashion, interacting in amiable fashion with his musicians and the crowd.

Except for the language, Khaled’s set owed far more to rock and jazz than it did to traditional Arabic music. His horn section knocked out jazz riffs reminiscent of Blood, Sweat & Tears, and he occasionally did some vigorous air guitar playing. Khaled’s performance vividly affirmed the fact the pop music has now become a global phenomenon without boundaries.