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
Latlit
Mashrou' Leila Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
إذا كنت مشي عمبتكزدر عل الكورنيش
بدي لتلت
إذا كنتي مشيه لبسه شي فستان قصير
بدي لتلت
إذا كنتو تنين اه أهلين شي فلتان
بدي لتلت
وإذا رح تنهان أفضلان عندي لسان
بدو يلتليت
إذا كنت وئف بدي لطش على الكوع
بدا تلتليت
و إذا كنت مصروع يا دلوع
مش ممنوع
بس حلتلت
و إذا كنت مقهور
راح بتفور كيف ما تدور
بادي لتلت
المهم منك مستور
و يي شرشور أم ندور
حتى نلتلت
بدي لتلت
إذا كنتي مشيه لبسه شي فستان قصير
بدي لتلت
إذا كنتو تنين اه أهلين شي فلتان
بدي لتلت
وإذا رح تنهان أفضلان عندي لسان
بدو يلتليت
إذا كنت وئف بدي لطش على الكوع
بدا تلتليت
و إذا كنت مصروع يا دلوع
مش ممنوع
بس حلتلت
و إذا كنت مقهور
راح بتفور كيف ما تدور
بادي لتلت
المهم منك مستور
و يي شرشور أم ندور
حتى نلتلت
The lyrics of Mashrou' Leila's song Latlit reflect the experiences of individuals in society who feel constrained by societal expectations and norms. The song addresses the desire to break free from the societal constraints and explore one's individuality, regardless of the consequences. The lyrics suggest that these individuals, when faced with such societal norms, feel lost and suffocated, leading them to seek an escape from their mundane lives.
The first verse of the song speaks of a person who goes for a walk on the promenade and wishes to "latlit," or dance. This desire to dance demonstrates the person's yearning for self-expression, despite the disapproving looks of others on the promenade. The second verse is directed towards women who are judged for wearing short dresses, encouraging them to "latlit" and embrace their individuality. The third verse addresses LGBTQ individuals who must hide their sexuality out of fear of judgment and persecution, calling for them to "latlit" and be true to themselves. The chorus, "biddu yaltlitit," is a call to action for all individuals to break free from societal constraints and live their lives without fear of judgment from others.
Overall, the song is a message to people who feel trapped by societal norms to embrace their individuality and seek authentic living, despite the consequences they may face.
Line by Line Meaning
إذا كنت مشي عمبتكزدر عل الكورنيش
If you're walking and stumbling on the corniche
بدي لتلت
I want Latlit
إذا كنتي مشيه لبسه شي فستان قصير
If you're walking while wearing a short dress
بدي لتلت
I want Latlit
إذا كنتو تنين اه أهلين شي فلتان
If there are two of you, greeting each other in a Falta
بدي لتلت
I want Latlit
وإذا رح تنهان أفضلان عندي لسان
If things start to crumble, my tongue is my best asset
بدو يلتليت
It wants to Latlit
إذا كنت وئف بدي لطش على الكوع
If you're standing still, I want to grab your elbow
بدا تلتليت
It begins to Latlit
و إذا كنت مصروع يا دلوع
And if you're dizzy, my love
مش ممنوع
It's not forbidden
بس حلتلت
I just feel like Latlit
و إذا كنت مقهور
And if you're feeling down
راح بتفور كيف ما تدور
You'll explode no matter how you turn
بادي لتلت
I'm ready for Latlit
المهم منك مستور
The important thing is that you're hidden
و يي شرشور أم ندور
And what's the difference? Shall we dance?
حتى نلتلت
Until we Latlit
Contributed by Nicholas G. Suggest a correction in the comments below.
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Yousra KESSAM
+Stella Anton
If you're strolling by the coast
I will gossip
If you're walking around wearing a short dress
I will gossip
If the two of you are walking together, oh hello, not holding back
I will gossip
And if you'll be offended, that's even better, I've got a tongue
He will gossip
If I was standing on the corner flirting
She will gossip
And if you're deafened, you wimp
There's nothing against it
I'll just gossip
And if you're pissed
About to boil, wherever you turn
I will gossip
As long as you're not a prude
Come on friend, let's take a walk
So we can gossip
S M
Hamed's rant:
The most important thing that we're gonna give thanks for, and I think it was the main thing that pushed us to work on the new songs this time,
is criticism,
Sometimes it's so sweet, sometimes it criticize the ugly things in you and it teaches you, and sometimes it's just gossip....(applause)
Sometimes in criticism there is lying, bullshit, there's things that you've never done in your life, but they want to decide that you wrote a song when in reality the one who did was Mr. Omar Za'ny "عمر الزعني" who should be looked upon as a GOD among people if there is one. right?
and this critique who is SO deep and has a deep criticism and he has done his research, tells you that the band wrote the song not Mr. Omar za'ny, and he tells you that the song is superficial.
So you tell him to eat SHIT...(applause)
"beat starts"
and you go in and you spread your shoulders and who likes it dose and who doesn't let them "build a flooring on the sea" (Arabic expression means let them do whatever they can do)
Cause you have 200 000 thing to do in your life, and you're not gonna stop because of a shitty blog or a stupid retarded woman that got to where she is now just by her money (talking about Nidal Alahmadieh) and she brings people just to show their breasts on the stage and tells you that is art,
and this bitch coming to tell you what is art.
How you gonna tell me what is art? you bitch, you don't know better than me, understand? two slaps on your jaw you ugly.
(song starts)....
I tried to make it as literal as possible.
laloo hy
NİKA MEKKE latlit it's mean saying bullshit or gossip
if you're strolling by the coast
I will gossip
If you're walking around wearing a short dress
I will gossip
If the two of you are walking together, oh hello, not holding back
I will gossip
And if you'll be offended, that's even better, I've got a tongue
He will gossip
If I was standing on the corner flirting
She will gossip
And if you're deafened, you wimp
There's nothing against it
I'll just gossip
And if you're pissed
About to boil, wherever you turn
I will gossip
As long as you're not a prude
Come on friend, let's take a walk
So we can gossip
Ayman Daraghme
Mashrou' Leila, you rock! أفضل تحية من فلسطين..صرتو عقاري المدمن عليه بلحظات انفعالاتي او انزعاجي...كل الاحترام...ولتلت
Anna Anon
When he said "لان احنا مجتمع متزمت" Hamed is a fucking legend!!!!
Stella Anton
Please guys, put English subtitles on this video!! Please!! Please!! It's immensely enjoyable even as it is, but enlighten us non-Arabic speakers as to Hamed's charming rant and rave!
Romero J.
+Stella Anton Hi Stella were you able to find subtitles for this song? I came across his music and he's very talented but can't find subtitles for any of his work.
Romero J.
+Stella Anton Hi Stella were you able to find subtitles for this song? I came across his music and he's very talented but can't find subtitles for any of his work.
Yousra KESSAM
+Stella Anton
If you're strolling by the coast
I will gossip
If you're walking around wearing a short dress
I will gossip
If the two of you are walking together, oh hello, not holding back
I will gossip
And if you'll be offended, that's even better, I've got a tongue
He will gossip
If I was standing on the corner flirting
She will gossip
And if you're deafened, you wimp
There's nothing against it
I'll just gossip
And if you're pissed
About to boil, wherever you turn
I will gossip
As long as you're not a prude
Come on friend, let's take a walk
So we can gossip
Stella Anton
I wasn't referring to the lyrics, I have the translation to the lyrics, I think I was rather clear about referring to Hamed Sino's rant before the song. Thanks anyway.
Nour El Hmedi
أليس لنا حصة من هذا الجمال يا مشروع ليلى؟
هوا ڤيينا الصيفي مع " ما تتركني هيك " ، عيون مغمضين، حواس مفتوحة.. 🌌 هي هيي النشوة 🖤
يا ريت ما تنسوا الفانز تبعكن بڤيينا
بالتوفيق
chanan ben shabat
How they make the Arabic language possible in this music style is equally amazing, a pioneering band in the Arab world like the
Beatles in Europe and great hope for the next generation
F H
it's called lebanon babe mix bet west and east that's known