Mashrou’ Leila (Arabic: مشروع ليلى) were a four piece indie rock band base… Read Full Bio ↴Mashrou’ Leila (Arabic: مشروع ليلى) were a four piece indie rock band based in Beirut. Their rousing, sensual electro- pop anthems about political freedoms, LGBT rights, race, religion and modern Arabic identity have challenged the status quo of the Middle-Eastern music industry. The loose collective of students who began jamming together in 2008 at the American University of Beirut has gradually focused into a an ambitious, fiercely articulate quartet: vocalist/lyricist Hamed Sinno, guitarist/multi-instrumentalist Firas Abou Fakher, violinist Haig Papazian, and drummer Carl Gerges. And the music they make has focused, too, into a charged, atmospheric version of pop that is geographically impossible to place. The lyrics draw on their collective experiences, which the band shares with the youth of the Middle East, and addresses the need for self-expression and a judgment free culture— a notion often stifled in a conservative society. Through their relevant and charged lyrics, their music has resonated with fans all over the globe, gaining international recognition for the band. They have been described as ‘The voice of their generation’ (CNN), ’the most successful Arabic-language band internationally’ (The Guardian) and “the new face of Middle Eastern pop music” (Dazed).
You can hear Leila, cascading melts of masculine vocals only suspended with thrusts of violin, beats and bass – attacked by neurotic melody that means no harm – sometimes tender, even sometimes on pause. Through the music, you can smell where Leila has been, in bed sheets, on sidewalks, jasmines in rifles and spilled coffee on dresses as she made you play with aubergines, dancing her dance. Music has constantly been their place to play with things, to match and mis-match, a project.
In the various performances, Mashrouʼ Leila is a constant attempt to taste and produce, more than happy to harvest anyone from the audience as a guest in their encores. They have performed around Lebanon since 2008, playing in various venues in Beirut, taking over supposed public piazzas as well as clubs, pubs, hybrids and the such – they also played in Zahle, Sour, Jounieh, Saida and Deir el Qamar, each of which pushed forward their thinking about how to go about their music, lyrics and performance. It is only when Mashrouʼ Leila goes live, that you can actually catch a glimpse of Leila. As it talks to you of Beirut, the city that tastes of the absurd, the product of its day-to-day experiences, its stubborn security and lack of the latter, its musical bombshells, incoherent sexuality and thrusting pleasure…narcotic pain – as it brings forward hints of Arabic Tarab, rock, to folk pop, electro, you can see Leila in every man and woman in the silent- come-raving audience. In this trajectory, they participated in music workshops and concerts in Amman and Cairo to maneuver their way into a pan-Arab music scene, to know and to announce, more importantly to grow, musically.
In March 2009, Mashrouʼ Leila won the Lebanese Modern Music Contest jury prize and public vote organized by Radio Liban in partnership with CCF, Incognito and the Basement. They released their debut album in December 2009 at what turned out to be Beirut’s biggest alternative (read non-mainstream) event in recent years.
The months leading up to the Arab Spring proved fruitful for Leila as well. In July 2010, Mashrou’ Leila headlined Byblos International Music festival alongside the Gorillaz and Caetano Veloso; this was the first time a Lebanese band was given a headlining post in the festival and proved to be Mashrou’ Leila’s biggest concert yet. Fall of 2010-11 saw Leila pack up her suitcases with shows in Qatar at the Doha Tribeca International Film Festival and at the Vodafone Big Day Out, headlining alongside Hoobastank and Toploader, in the United Arab Emirates at the Du World Music Festival and the Music Room – Dubai’s leading live music venue and in Egypt where the live at the Genaina Theater show saw a sold out crowd with people gathering outside the venue premises for a peek.
In the summer of 2011, Mashrou’ Leila released "el Hal Romancy" E.P., five songs of new material recorded in mountain retreats with cousins and turkish coffee, in the abandoned concrete dome in the Tripoli world Fair and with a quintet of strings on cold winter nights. The release was held at the Hippodrome of Beirut. Mashrou’ Leila also added Serbia and Jordan to the map, with a spot in the 4 day prestigious Exit Festival in Serbia and a 2 night show at the Citadel in Jordan.
After two years, one spent writing the other spent producing, one crowd funding campaign, touring and gigging all around, Mashrou’ Leila released their 3rd Album “Raasük” on 27 August, 2013, recorded at the mighty Hotel 2 Tango in Montreal.
The first hint of new material arrived when the band started a campaign asking the members of their social media pages to submit lyrics and video ideas to be incorporated in the band's upcoming single. "3 Minutes" was released on March 17, 2015.
Contrary to their common method of writing and producing songs, the band decided not to test their new material in live concerts, opting instead for secrecy and mystery about their fourth album. The band recorded the 13 tracks in studio La Frette in France over the summer with French-Lebanese producer Samy Osta, and worked on orchestral and brass arrangements with the Macedonian Radio Orchestra in F.A.M.E's Studios in Macedonia. The band has said that this album is their most pop album to date, and deals with topics that range from the euphoric to the destructive and depressive, all taking place in the politically, socially, and sexually charged spaces of Beirut's night.
The band experimented with drum machines, loops, samples, and several synthesizers in a new method of composition, trying to accommodate for the departure of keyboard player Omaya Malaeb. "Maghawir" narrates a possible version of a club shooting in Beirut, drawing on references to real Lebanese case histories from two different shootings that took place within the same week, both of which resulted in the deaths of extremely young victims, each of who was out celebrating their birthday." During a show in Boston, the band explained that the song "Tayf (Ghost)" is about a shuttered gay club, and "Bint Elkhandaq" tells the story of a friend who learned, "as hard as it is to be a woman in Beirut, it’s just as hard to be brown in the West."
The album is heavily loaded with allusions and references, both to contemporary figures of pop, and to mythological figures of gods and demons.
On the November 28, the band released Ibn El Leil at the Barbican in London with live broadcasting on MTV Lebanon available to the entire world to positive reviews. "In the seven years since Mashrou’ Leila formed at the American University of Beirut, the quintet – whose name, in fact, means 'overnight project' – have won comparisons to everyone from Arctic Monkeys and Radiohead to Roxy Music and Wild Beasts."
On December 1, Ibn El Leil debuted at the number one spot on local iTunes channels, and charted as number 11 on the international world Billboard charts. "It’s such an impressive performance that stadiums seem not only possible but imminent."
The band released a music video for their single "Roman" on July 19, 2017. The single was included on the deluxe version of Ibn El Leil released July 21, 2017.
On February 8, 2019, Mashrou' Leila released a new single, "Cavalry", the first from their upcoming album The Beirut School. The Beirut School was released on March 1, 2019. The album includes some songs from the group's previous album. The group toured North America in 2019 in support of the album.
On Aug. 9, 2019, the band was set to perform at the Byblos International Festival. The concert was banned against the backdrop of widespread rejection and accusation that the lyrics of one of the group’s songs offend the Christian faith.
In September 2022, Sinno announced that the band would be disbanding. Sinno cited harassment and hate campaigns as a reason for the band breaking up, especially because of Mashrou’ Leila’s hardships with bans in Lebanon, Jordan and Egypt. The real reason for restrictions on the band is his declared gender identity, as he defines himself as being queer — something that he believes was behind the attacks on the musical group and their work over the past years.
Many of the group’s songs touch on the issue of homosexuality, namely the 2009 song “Sham El Yasmine,” which speaks of a forbidden relationship and love between two men, and their struggle to lead normal lives together. The band also produced several songs addressing social and political topics in unconventional ways. The group members also touched on love, marriage, sex, religion, emancipation, the reality of Arab cities and revolutions, political assassinations and other thorny issues in the Arab world.
www.mashrou3leila.com
You can hear Leila, cascading melts of masculine vocals only suspended with thrusts of violin, beats and bass – attacked by neurotic melody that means no harm – sometimes tender, even sometimes on pause. Through the music, you can smell where Leila has been, in bed sheets, on sidewalks, jasmines in rifles and spilled coffee on dresses as she made you play with aubergines, dancing her dance. Music has constantly been their place to play with things, to match and mis-match, a project.
In the various performances, Mashrouʼ Leila is a constant attempt to taste and produce, more than happy to harvest anyone from the audience as a guest in their encores. They have performed around Lebanon since 2008, playing in various venues in Beirut, taking over supposed public piazzas as well as clubs, pubs, hybrids and the such – they also played in Zahle, Sour, Jounieh, Saida and Deir el Qamar, each of which pushed forward their thinking about how to go about their music, lyrics and performance. It is only when Mashrouʼ Leila goes live, that you can actually catch a glimpse of Leila. As it talks to you of Beirut, the city that tastes of the absurd, the product of its day-to-day experiences, its stubborn security and lack of the latter, its musical bombshells, incoherent sexuality and thrusting pleasure…narcotic pain – as it brings forward hints of Arabic Tarab, rock, to folk pop, electro, you can see Leila in every man and woman in the silent- come-raving audience. In this trajectory, they participated in music workshops and concerts in Amman and Cairo to maneuver their way into a pan-Arab music scene, to know and to announce, more importantly to grow, musically.
In March 2009, Mashrouʼ Leila won the Lebanese Modern Music Contest jury prize and public vote organized by Radio Liban in partnership with CCF, Incognito and the Basement. They released their debut album in December 2009 at what turned out to be Beirut’s biggest alternative (read non-mainstream) event in recent years.
The months leading up to the Arab Spring proved fruitful for Leila as well. In July 2010, Mashrou’ Leila headlined Byblos International Music festival alongside the Gorillaz and Caetano Veloso; this was the first time a Lebanese band was given a headlining post in the festival and proved to be Mashrou’ Leila’s biggest concert yet. Fall of 2010-11 saw Leila pack up her suitcases with shows in Qatar at the Doha Tribeca International Film Festival and at the Vodafone Big Day Out, headlining alongside Hoobastank and Toploader, in the United Arab Emirates at the Du World Music Festival and the Music Room – Dubai’s leading live music venue and in Egypt where the live at the Genaina Theater show saw a sold out crowd with people gathering outside the venue premises for a peek.
In the summer of 2011, Mashrou’ Leila released "el Hal Romancy" E.P., five songs of new material recorded in mountain retreats with cousins and turkish coffee, in the abandoned concrete dome in the Tripoli world Fair and with a quintet of strings on cold winter nights. The release was held at the Hippodrome of Beirut. Mashrou’ Leila also added Serbia and Jordan to the map, with a spot in the 4 day prestigious Exit Festival in Serbia and a 2 night show at the Citadel in Jordan.
After two years, one spent writing the other spent producing, one crowd funding campaign, touring and gigging all around, Mashrou’ Leila released their 3rd Album “Raasük” on 27 August, 2013, recorded at the mighty Hotel 2 Tango in Montreal.
The first hint of new material arrived when the band started a campaign asking the members of their social media pages to submit lyrics and video ideas to be incorporated in the band's upcoming single. "3 Minutes" was released on March 17, 2015.
Contrary to their common method of writing and producing songs, the band decided not to test their new material in live concerts, opting instead for secrecy and mystery about their fourth album. The band recorded the 13 tracks in studio La Frette in France over the summer with French-Lebanese producer Samy Osta, and worked on orchestral and brass arrangements with the Macedonian Radio Orchestra in F.A.M.E's Studios in Macedonia. The band has said that this album is their most pop album to date, and deals with topics that range from the euphoric to the destructive and depressive, all taking place in the politically, socially, and sexually charged spaces of Beirut's night.
The band experimented with drum machines, loops, samples, and several synthesizers in a new method of composition, trying to accommodate for the departure of keyboard player Omaya Malaeb. "Maghawir" narrates a possible version of a club shooting in Beirut, drawing on references to real Lebanese case histories from two different shootings that took place within the same week, both of which resulted in the deaths of extremely young victims, each of who was out celebrating their birthday." During a show in Boston, the band explained that the song "Tayf (Ghost)" is about a shuttered gay club, and "Bint Elkhandaq" tells the story of a friend who learned, "as hard as it is to be a woman in Beirut, it’s just as hard to be brown in the West."
The album is heavily loaded with allusions and references, both to contemporary figures of pop, and to mythological figures of gods and demons.
On the November 28, the band released Ibn El Leil at the Barbican in London with live broadcasting on MTV Lebanon available to the entire world to positive reviews. "In the seven years since Mashrou’ Leila formed at the American University of Beirut, the quintet – whose name, in fact, means 'overnight project' – have won comparisons to everyone from Arctic Monkeys and Radiohead to Roxy Music and Wild Beasts."
On December 1, Ibn El Leil debuted at the number one spot on local iTunes channels, and charted as number 11 on the international world Billboard charts. "It’s such an impressive performance that stadiums seem not only possible but imminent."
The band released a music video for their single "Roman" on July 19, 2017. The single was included on the deluxe version of Ibn El Leil released July 21, 2017.
On February 8, 2019, Mashrou' Leila released a new single, "Cavalry", the first from their upcoming album The Beirut School. The Beirut School was released on March 1, 2019. The album includes some songs from the group's previous album. The group toured North America in 2019 in support of the album.
On Aug. 9, 2019, the band was set to perform at the Byblos International Festival. The concert was banned against the backdrop of widespread rejection and accusation that the lyrics of one of the group’s songs offend the Christian faith.
In September 2022, Sinno announced that the band would be disbanding. Sinno cited harassment and hate campaigns as a reason for the band breaking up, especially because of Mashrou’ Leila’s hardships with bans in Lebanon, Jordan and Egypt. The real reason for restrictions on the band is his declared gender identity, as he defines himself as being queer — something that he believes was behind the attacks on the musical group and their work over the past years.
Many of the group’s songs touch on the issue of homosexuality, namely the 2009 song “Sham El Yasmine,” which speaks of a forbidden relationship and love between two men, and their struggle to lead normal lives together. The band also produced several songs addressing social and political topics in unconventional ways. The group members also touched on love, marriage, sex, religion, emancipation, the reality of Arab cities and revolutions, political assassinations and other thorny issues in the Arab world.
www.mashrou3leila.com
Aoede
Mashrou' Leila Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
خذ العباب عني
انا اسير مرايتي
ايودي
ايودي
عم برجع ناديلك
اعتقني شياطيني
بسقي بدمها ترابك
لعله ينمي لحني
ايودي
جازيني
سيطر علي فمي
جازي العباد
الكلمات تنفس
بس الحياه تنفس
كلمني
كلمني
طيفك بيرعبني
شفته عطول عمري
لو بس يسامرني
عسي الكلام يرعاني
ايودي
واسيني
در الكلام مني
جازي العباد
انا اسير مرايتي
ايودي
ايودي
عم برجع ناديلك
اعتقني شياطيني
بسقي بدمها ترابك
ايودي
جازيني
سيطر علي فمي
جازي العباد
الكلمات تنفس
بس الحياه تنفس
كلمني
كلمني
طيفك بيرعبني
شفته عطول عمري
لو بس يسامرني
عسي الكلام يرعاني
ايودي
واسيني
در الكلام مني
جازي العباد
The lyrics of Mashrou' Leila's song "Aoede" follow a theme of struggle and redemption, with the singer figuratively fighting off their own demons and seeking solace in the words and presence of another. The opening lines, "Take the veil off me, I am a captive of my own reflection," speak to the idea of being trapped in one's own thoughts and self-image. The repeated use of "Aoede" throughout the song is a reference to the Greek mythological muse of song, who was said to help inspire artists.
The next lines, "I am returning to call out to you, release me from my demons," continue the theme of struggle, as the singer seeks to overcome their personal demons and find freedom. The following line, "I will water your soil with my blood, perhaps it will inspire my melody," equates the growth of a creative melody to physical, often painful, growth. The chorus, "Aoede, reward me, conquer my mouth, reward the worshippers," can be seen as a plea to the muse, as the singer attempts to overcome their struggles and be rewarded for their hard work and dedication.
The following verse shifts the focus to the power of words and communication, as the singer yearns for the communication and presence of another person. The line, "Your ghost terrifies me, I've seen it my entire life," speaks to the idea of being haunted by the memory of someone who is no longer present. The singer hopes that simply talking to this person, even if only briefly, will heal them ("may the words heal me"). The final chorus reiterates the idea of being rewarded for one's hard work and dedication, asking for the worshippers to be rewarded.
Line by Line Meaning
خذ العباب عني
Take the veil off me, I'm a prisoner of my own reflection
انا اسير مرايتي
I am a captive of my own mirror
ايودي
I'm calling out to you
عم برجع ناديلك
I'm coming back to you
اعتقني شياطيني
Free me from my demons
بسقي بدمها ترابك
I'll water your soil with my blood
لعله ينمي لحني
Maybe it will grow my melody
ايودي
I'm calling out to you
جازيني
Pay me back
سيطر علي فمي
Take control over my mouth
جازي العباد
Pay the servants
الكلمات تنفس
Words breathe
بس الحياه تنفس
But life also breathes
كلمني
Talk to me
طيفك بيرعبني
Your ghost scares me
شفته عطول عمري
I've seen it my whole life
لو بس يسامرني
If only it would talk to me
عسي الكلام يرعاني
Maybe it will calm me down
ايودي
I'm calling out to you
واسيني
Comfort me
در الكلام مني
The words come from within me
جازي العباد
Pay the servants
Lyrics © Sentric Music
Written by: Haig Papazian, Hamed Sinno, Ibrahim Badr, Firas Abou Fakhar, Carl Gerges
Lyrics Licensed & Provided by LyricFind
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@MrCopierre
It was amazing in live. Berlin show was a diamond.
The lights, the solos of the instrument player guys, then Hamed appeared and sang his part.
This track is incredibly touching, so much emotions it has and the string parts somehow awake a feeling of hope in me.
As a choreographer I started to see a whole stage performance made on this track by just standing there, listening as part of the audience.
Incredible what this guys can do. This is what I call charisma, art, passion, mission and depth.
@kazetasjstahl6650
Aoede
Take the surges away from me
I am a prisoner of my mirror
Aoede, Aoede
I am calling you back again
Free me from my demons
I’ll water your soil with their blood
Perhaps my melody will grow
Aoede
Penalize me
Control my mouth
Penalize the worshipers
Words are (the act of) breathing;
But life is (the act of) breathing
Talk to me, Talk to me
Your ghost petrifies me
I saw it throughout my life
If only it humored me
Hoping words would take care of me
Aoede
Console me
Words poured from me
Penalize the worshipers
@Izma
+Alessandro Zurlo;
Take the [word I dont know] away from me
I’m a prisoner of my mirror
Aoede, Aoede
I’m calling you back again
Free me from my demons
I’ll water your soil with their blood
Then maybe my melody will grow
Aoede
Penalize me
Control my mouth
Penalize worshipers (?)
Words are (the act of) breathing;
But life is (the act of) breathing
Talk to me, Talk to me
Your ghost petrifies me
I saw it throughout my life
If only it humored me
Hoping words take care of me
Aoede
Comfort me
Words poured from me
Penalize worshipers (?)
It's a very very rough translation. I don't understand some words so this is just to give you an idea of the lyrics. I'm sure it has mistakes, so if anyone knows the right lyrics correct me.
@alsayyidhammod
خذ العباب عني
أنا أسيـر مرايتي
أيودي
أيودي
عم برجع ناديلك
إعتقني شياطيني
بسقي بدمّها ترابك
لعلّه ينمى لحني
أيودي
جازيني
سَيطر على فمي
جازي العباد
الكلمات تنفَّس
بس الحياة تنفُّس
كلّمني
كلّمني
طيفك بيِرعبْني
شفته عطول عمري
لو بس يسـامرني
عسى الكلام يرعاني
أيودي
واسيني
درِّ الكلام منّي
جازي العباد
@yeshayaamichai1512
You're listening to the beginning beat and it's good and funky and you're diggin' it; then suddenly the strings start and the hairs go up on the back of your neck and you get goosebumps and you're like.. Woah! What's this?! Wow!
@gkhanification
+Yeshaya Amichai damn right!
@GraceyHeart90210
+Yeshaya Amichai I love how at the beginning it has sort of an 80s vibe to it!
@miladbassil2730
Yeshaya Amichai this song and track 4 remind me of an artist called roosevelt
@gazzili
sim
@Iamhere829
Heck yeah 💯
@arturmuellerromanov4438
Alone the idea of putting an opening song to your album, that is a prayer to Aoede, the Goddess of Voice and Song is worth a buy.
@bytamador
For those who don't know Aoede:
In Greek mythology, Aoede was one of the three original muses, which later expanded to five, before the Nine Olympian Muses were named. Her sisters were Melete and Mneme. She was the muse of voice and song.
@thegorgon1865
I am Greek and thanks for this wonderful song, much love ❤️❤️
@BooLee01
I don't speak a word of Arabic but I absolutely love this band. I first heard you (Wajih) while watching the movie May in the Summer and was instantly struck by the pure sublimeness of the music, so I went out to Youtube to find out who you were. Now I can't stop watching (and listening) to you. Thank you for doing what you do.