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Tamino: triumphant sadness

7dee1269a29bbfee83f26e9ddc04f62e - Tamino: triumphant sadness

During the first of his three sold-out concerts at the Ancienne Belgique moved, transported and spoiled Tamino his Belgian fans. Exactly as we wanted him to do, but no less punishment.

‘Speak English?’ asked a fan next to us when Tamino the hall, greeted with a shy ‘good evening’. It does the pleasure that the man from antwerp after his unlikely …

‘Speak English?’ asked a fan next to us when Tamino the hall, greeted with a shy ‘good evening’. It does the pleasure that the man from antwerp after his unlikely victory along national (festival)stages for some Belgians are still secrets. And at the same time, he has so much international appeal that it is indeed almost impossible to believe is that he is from this tricolore ball was born.

Tamino-Amir Moharam Fouad indeed, all: that fabulous voice that so smoothly between deep and dark to high and heavenly to and fro sways, that of the melancholy dripping, but not sappy songs from his beautiful debut Amir, that mysterious appearance. And he is still just 22.

That he your heart in two, wanted to break, sang the black-cloaked prince with the heavy mood in the first minute of his concert. Beams of white light to put him in a soft backlight, as if an angel had descended. His voice and sparse gitaargetokkel did what he sang: heart to pieces save. In those sparse ballads is Tamino is unbeatable. Even though he sings the shopping list for the grocery store, it still moves him.

More margin there was in the more dynamic songs that Tamino musical tries to practice with his two bandmates, keyboardist Vik Hardy and drummer Bruno Vanhoutte. Sometimes it appeared that an unstable equilibrium. In ‘Reverse’ washed ashore thick electronic beats, the fragility away and ‘Chambers’ felt too much like a song from another group, to Balthazar not to mention.


Well happened to the ‘Sun may shine’. A dark guitar with a metalverleden was married to electronic beats, while Tamino in his high falset his Egyptian roots hinted.

That vibe was thicker turned on when Tamino in ‘Each time’ the resonatorgitaar of his grandfather bovenhaalde. In the fifties and sixties grew from the Egyptian Frank Sinatra. Tamino showed the number first which is simmering in a desolate woestijnklanken while a red-orange light bathing the background in the right setting put. Beautiful. The Arab curls were totally clear when he the vowels stretched in ‘Let me fee-eeel the thrill of it’ and ‘Each ti-i-iime again’. That game with quarter notes, the bridge between eastern and western pop art to sadness with pride, it makes him unique.


‘So it goes’ came to us toegewaaid as Radiohead after a sabbath in the Middle East, with buzzing bass, eastern percussion and synthstrijkers in the role of a firqa, jaunty Arabic orchestra.

And look, his beloved Radiohead came there for a piece of really, when Tamino actually Colin Greenwood when pulled out. The bassist of Oxford’s finest gave ‘Indigo night’ the glow of a smoky bar, in worlds where they do exist. Tamino beamed and hugged his famous friend.

A sultry ‘Woth’ danced on that ruffle further, with solid drumslagen of Vanhoutte and additional percussion from Hardy. Then Tamino are – many – female-fans screaming, ‘Habibi’, a song that more and more beauty continues to uncover. Only now we noticed how beautiful that rolling, Satie-like piano Tamino’s alien falset guided.

After a frenzied round of applause came Tamino back to his fallen hero Chris Cornell of Soundgarden in his own honor with a subdued version of his ‘Seasons’ that the hall silently. ‘Coliiiiiiiiiiin!!!’ shouted a fan when the Radiohead bassist to re-present signed for ‘Smile’. It was a smile from ear to ear at the sight of Tamino after the last note was played. .

Still on 30 november and 1 december at the Ancienne Belgique in Brussels, and on november 16, 2019 in the Lotto Arena in Antwerp. Seen on 29 november at the Ancienne Belgique, Brussels.

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