Ibrahim Maalouf and The Trumpets of Michel-Ange
The Roundhouse, London
12 June 2026

Ibrahim Maalouf: Lead Trumpet
Mihai Pîrvan: Saxophone
François Delporte: Electric guitar
Mohamed Derouich: Bass Guitar
Julien Tekeyan: Drums
Hafsatou Saindou: Dancer
Yanis Belaïd: Trumpet
Yvan Djaouti: Trumpet
Nizar Ali: Trumpet
Manel Girard: Trumpet
Diwan Fortecoëf: Trumpet

Ibrahim Maalouf and his chorus of five more four-valve Michel-Ange trumpets (T.O.M.A trumpets), plus a sax, two guitars and drums hit an exuberant groove immediately setting the tone for the whole concert. Even in the evening’s more introspective moments it felt that this energy was never far away.

The first numbers, ‘The Marriage ‘Proposal’ and ‘Love Anthem’ had instant melodic and rhythmic appeal. Maalouf urged the audience seated in the balcony to stand up and party along with the majority in the standing area below with they did, and instantly you had a winning combination of appealing music and a febrile atmosphere that was easy to become immersed in.

Creating a communal experience is intrinsic to a Maalouf show. He got the audience to collectively dance, to vigorously jump up and down ( “ Are you ready to do a bit of cardio..”) and sing the harmony line on some of the numbers. This was all part of him wanting the audience to embrace him and the band , “ Tonight I want you to marry us…..say “ Yeh” to us.” ( Yeh being yes in a Lebanese marriage ceremony).

After having attempts to release his music rejected for ten years because, he said, his music did not fit neatly into a genre, the French domiciled Lebanese composer- arranger, trumpeter and entrepreneur has now released twenty-one albums, the last two with the ‘Trumpets of Michel-Ange’, with Volume 2 being released the same day as this concert.

These ‘Trumpets of Michel-Ange’ albums are part of his mission to fulfil his father’s dream of the four valve trumpet his father invented and until recently only Maalouf played, becoming widely used. With that in mind Maalouf the entrepreneur has gone into partnership with an instrument manufacturer to produce T.O.M.A trumpets, set up an academy where purchasers can learn to play what they’ve bought, and sought out trumpeters who are able and willing to play the T.O.M.A trumpet to record and tour with him.

The extra valve available to Maalouf and his five T.O.M.A trumpeters means they can play the quarter tones characteristic of maqaam scales allowing them to infuse their music with the nuances of traditional Middle eastern music should they choose, and as they do in that celebratory opener, ‘The Proposal.’

The big exuberant brassy sound of the T.O.M.A trumpeters is occasionally given the lead role but largely acts as a chorus to Maalouf’s lead including in call and response exchanges. Each of them though does get a brief solo.

As well as the strong the Middle Eastern influence, the musical influences extended to Africa and to Latin America, with New Orleans also a point of reference. While there were jazz rock moments, particularly Arminian Julien Tekeyan’s stadium sized drum solo, for me Maalouf’s current music is not fusion. The set was more an interweaving of different traditions, for example the moment when Tekeyan got the sound of a West African djembe from his drum kit. The only time I felt the quality dipped was with a Latin number which though as joyful as any of the others played was a little too
predictable.

The jazz primarily was in the soloing. It was in the nuanced touch of long-time Maalouf collaborator lead guitarist François Delporte, and in the frequent dazzling contributions of fiery saxophonist Mihai Pirvan. It was indicative of how good he was that Maalouf gave him about as many solos as he took himself.

Maalouf was in outstanding form too. The very warm full sound of his playing invited you in and he used the full range of his instrument very expressively. His virtuosic ability and fluid runs were probably rooted in his classical training. He hit those difficult high trumpet notes perfectly, slowed and stretched his sound, used momentary pauses, played just using his breath, gave us unusual harmonies and quicksilver changes of rhythm.

He was impressive throughout, but especially in the more introspective poignant passages which he played most beautifully. He seemed to be channelling an elegy for his Lebanese homeland and mix of the Miles Davis of ‘Kind of Blue’ and the Miles of ‘In A Silent Way’.

There were showtime moments with the musicians making choreographed moves and three times they were joined by long-limbed dancer Hafsatou Saindou who was at her most effective when swirling in a long red dress that billowed around her. A well thought out light show in synch with the music added to the party vibe.

Eventually though parties come to an end , and this one did after about two hours with the sweetly melancholic and anthemic ‘Au Revoir’, the audience providing the vocal harmony and responding to Maalouf’s request to shine their phone torches. Yes it was a cliché but it was a rather beautiful one.

It was an evening that confirmed once more that Ibrahim Maalouf is a fine composer- arranger, a wonderful trumpeter and a dynamic live performer and band leader. Ever since I have had the rumbustious riff from ‘The Proposal’ as company in the form of an earworm, but I suspect it will be Maalouf’s beautiful playing of the quieter more poignant moments that will stay longest in the memory.

For more about Ibrahim Maalouf please see https://www.ibrahimmaalouf.com/en/

COLIN MAY

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