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
Im-bim-billilah
Mashrou' Leila Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
على إم بمبليلح إم بللح
على إم بمبليلح إم بللح
على إم بمبليلح إم بللح على بو
إم بمبليلح إم بللح على بو
إم بمبليلح إم بللح
على إم بمبليلح إم بللح
على إم بمبليلح إم بللح على بو
عمي بو مسعود عيونو كبار و سود
لا بياكل لا بيشبع عمي بو مسعود
بيتبهدل للنقود
ما معو حق وقود
بالاخر بيضرب مرتو
تيحس عندو نفوذ
قول لي كيف بدو يعيش
والوضع هيك تفحيش
أشرفلو بالخليج
بس الكوهول ما فيش
قام إشترى أوتبيص
بالدين و بالتفنيص
كل ما يضوي الراديو
ما بيسمع غير تشويش
Mashrou' Leila's song Im-bim-billilat is a wistful reflection on the struggles faced by working-class individuals in the Middle East. The title of the song is a play on words, combining "Im bimbillil" (a traditional Arabic folk song) with "bilil" (a colloquial term for poverty). The repeated refrain, "Im bimbillilat, im billil," serves as a reminder of the cyclical nature of poverty and the struggles of those who are trapped in it.
The song tells the story of a man named Abu Masoud, whose life is marred by poverty and desperation. Despite working hard every day, Masoud cannot afford to feed himself or his family. He is forced to resort to desperate measures to make ends meet, even if it means selling his soul to those in power. The lines "ma ma’o haq wuqud" and "bel akher bydrub marto/ tihis uindu nafud" illustrate this theme of powerlessness and oppression.
The singer of the song questions how a person like Masoud can survive in a society that seems to be stacked against him. The lines "goul li kif bado yish" and "ashraflo bi al khaleej/ bass al kohol ma fash" highlight the stark contrast between the rich and poor in the Middle East. The song ends with the haunting refrain once again, underscoring the inevitability of poverty and struggle for so many.
Line by Line Meaning
إم بمبليلح إم بللح
Repeating the phrase 'Im-bim-billilat' in a rhythmic manner, possibly as a way of creating a hypnotic effect or as a celebration chant.
على إم بمبليلح إم بللح
Continuing to chant the same phrase, implying a sense of urgency and excitement.
على إم بمبليلح إم بللح
Repeating the same phrase, possibly as a way of building up energy for the upcoming verse.
على إم بمبليلح إم بللح على بو
Adding an additional beat to the end of the phrase, creating a sense of anticipation for the upcoming verse or change in the song's rhythm.
إم بمبليلح إم بللح على بو
Repeating the phrase in the same manner as before, maintaining the high energy level of the song.
إم بمبليلح إم بللح
Chanting the same phrase once more, possibly as a way of further building up energy and hype for the next verse.
على إم بمبليلح إم بللح
Continuing to chant the same phrase, further maintaining the song's energy and anticipation for the next verse.
على إم بمبليلح إم بللح على بو
Repeating the phrase in the same rhythm with an added beat to the end, increasing the sense of anticipation for the upcoming verse.
عمي بو مسعود عيونو كبار و سود
Introducing a narrative about a character named 'Uncle Bu Massoud' who has large and dark eyes, possibly indicating a wise and experienced person.
لا بياكل لا بيشبع عمي بو مسعود
Describing Uncle Bu Massoud as someone who doesn't eat much and doesn't feel satiated, possibly symbolizing the idea that he has more important matters on his mind than just satisfying his hunger.
بيتبهدل للنقود
Implying that Uncle Bu Massoud is struggling financially, as he is being humiliated in order to earn money.
ما معو حق وقود
Stating that Uncle Bu Massoud doesn't have the right documents or permits, possibly indicating that he is operating in an unofficial or illegal capacity.
بالاخر بيضرب مرتو
Suggesting that Uncle Bu Massoud, out of desperation, might harm or mistreat his wife in some way.
تيحس عندو نفوذ
Implying that despite his financial struggles, Uncle Bu Massoud still has some influence or power.
قول لي كيف بدو يعيش
Addressing Uncle Bu Massoud and asking how he can continue living like this.
والوضع هيك تفحيش
Commenting on the difficult situation that Uncle Bu Massoud is facing, possibly referring to the economic or political climate of Lebanon or the region.
أشرفلو بالخليج
Suggesting that Uncle Bu Massoud should try to find work in the Gulf, where there might be more opportunities.
بس الكوهول ما فيش
However, it is not that easy to find work in the Gulf, as there is high competition and limited job openings.
قام إشترى أوتبيص
Describing how Uncle Bu Massoud tried to make some extra money by buying and selling goods.
بالدين و بالتفنيص
Implied that Uncle Bu Massoud may have resorted to questionable or unethical practices in his business dealings, possibly borrowing money or selling goods at a higher price than they are worth.
كل ما يضوي الراديو
Commenting on the importance of radio in Lebanese society, as it plays a significant role in shaping cultural and political discourse.
ما بيسمع غير تشويش
Suggesting that Uncle Bu Massoud is not able to listen to the radio anymore because of his financial struggles and/or other issues he is facing in his life.
Contributed by Eli N. Suggest a correction in the comments below.