Very few singers in the New York or world-music scene are as effusive or charming as Syrian songstress Gaida. We’ve had a crush on her since seeing her Black Cab Session, and are taken by her filigreed voice—at once soaring and grounded—and even more so with the recent release of her debut album, Levantine Indulgence, which she celebrated (along with Arabic Mother’s Day) on Sunday night. Given the outpouring of love from the (Le) Poisson Rouge audience, we suspect we’re not alone in our opinion.
Gaida’s music is as diverse as the German-born, Damascus-bred singer (who has also planted roots in Kuwait, Paris and Detroit) herself. As she pointed out after one song that blended both hip-popping belly dance idioms and habanera influences, the Middle East is a “crossroads of culture,” a fact made clear in the music. Nowhere was this notion more evident and potent than in “Indulgence,” an entrancing and luscious ten minutes that showcased the improvisational talents of several band members (most notably Cinan Yusuf on the stringed buzuq). Written for the film The First Saturday in May, “Dream” was equally alluring, setting Gulf rhythms at a full gallop.
And if the first few bluesy numbers set to Syrian and Lebanese poetry (and making excellent use of pianist George Dulin) weren’t enough to make this reviewer homesick for some sfiha and kibbee, the traditional Syrian song “Almaya” had her speed-dialing her mother. Simple, familiar and comforting even on first listen, it reminded us of the effects of authentic, ecstatic music. You can hear what we mean in May when Gaida drops by BAMcafé.
