Ethiopia : Teddy Afro at the Millennium Hall


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Teddy Afro at the Millennium Hall

What a warm welcome and appreciation for Teddy Afro?! Concert-attendees of the Addis Concert 2, took place last week Saturday, 15 June 2017 at the Millennium Hall gone crazy while Teddy Afro’s presence at the VIP seat, along with his Wife Amlesete Muchie, Modelist, and Actress revealed by the organizers.

The crowd showed their respect to the singer by waving their hands like a flag, taking photos of the singer and songwriter. His song “Ethiopia” has played by the DJ on that great moment of the singer while he celebrated his 41st birthday.

Meanwhile, Teddy Afro has planned to hold a concert at the same venue for the coming 2010 Ethiopian New Year’s Eve.

The legendary Ali Birra, Ephraim Tamiru, Michael Belayneh, Mesfin Birhanu and Abby Lakew performed their music and entertained concert-goers as well as their fans.

Despite the colorful live music performance, the absence of the legendary Mahmoud Ahmed, often dubbed “The King of Tizita Lyrics”, due to a series illness as disclosed by himself on a video, disappointed the audience, pushed most of them to leave the Hall immediately, according to goers. A poor sound system on the event has also been severely criticized by audiences.

For over 40 years Mahmoud Ahmed has deftly combined the traditional Amharic music of Ethiopia (essentially a five-note scale that features jazz-style singing offset by complex circular rhythm patterns that give the music a distinct Indian feel) with pop and jazz, yielding some of the most adventurous, passionate, ear-opening, downright surrealistic sounds this side of the deepest, darkest dub or the most out-there free jazz. In fact, until you've heard Ahmed's sweeping multi-octave voice in full workout, words hardly do it justice.

Ethiopiques, Vol. 7: Erè Mèla Mèla Ahmed has been a star in Ethiopia almost since the day he began recording. His swooping vocals, complemented by the freewheeling jazziness of the Ibex Band (with whom he recorded his masterpiece, Ere Mela Mela), are very different from what normally is lumped into the broad expression Afro-pop. The rhythms are repetitive and intense, not too dissimilar from, say, Fela, just a little less hard. But it's Ahmed's voice -- swirling high notes that sound as if they're chasing one another, impeccable tone and phrasing -- that is the distinguishing element. By singing in this style Ahmed has attempted to fuse the past and present. He's not an elitist when it comes to singing older Ethiopian music, but rather he hears the similarities in Ethiopian pop that have thrived over time and is keen to bring them together.

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