Kamilya Jubran: Witnessing a transcendent moment on stage

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I became aware of Kamilya's music during my university studies while I was majoring in theater. I first learned about her through the Sabreen project, a band from Jerusalem. Later on, I followed her solo work, and the first album I came across was "Makan." One of my all-time favorite tracks from that album is "Yaday."

I was deeply impressed by her compositions, the lyrics, and how she combined them with her singing. It was a new and unique experience for me to hear this kind of music in the Arab world. I couldn't quite put my finger on what exactly drew me to it, but one thing I knew for sure was that listening to her music felt liberating. Witnessing an artist from our region, that boldly breaks away from classical singing and composition methods was incredibly motivating and refreshing for our cultural identity.

I remember attending a performance by Kamilya at the Beirut & Beyond festival in 2016. It felt as if I held my breath throughout the entire show.

I believe that Kamilya opened a door for me and many other musicians and singers to reconsider and expand our creativity in experimenting with composing and singing, a rising inspiration for the experimental artists and vocalists in the Arab World. She gave us new ways to use lyrics and texts without being confined to classical approaches, granting our creativity a fresh and new place within the realm of Arabic music.

I was curious to know if she had a ritual or a specific process for composing a new creation. She shared with me during an interview that all approaches were possible; it depended on the nature of the creation, its content, and her mood. Each creation had its own unique story. She draws close inspiration from spending time alone, and she emphasized the importance of this intimate time with her productions:

We talked and I was eager to hear her thoughts and responses to the following questions: Have you ever found it challenging to share publicly such vulnerability and intimacy on stage? Do you ever fear that you won't be heard? 

Honestly, these challenges had been a part of my own journey when I initially began my singing career, and they occasionally resurfaced. Therefore, I was keen to hear Kamilya's perspective on these emotions. She responded: "This is indeed a troubling point. I create music, I perform or present it, whether live or recorded and each time it feels like taking a risk. While I'm aware that I don't necessarily intend or expect to please the audience with my work, the risk is heightened, especially during live shows."

I wanted Kamilya to discuss her relationship with the Oud and the Contrabass, her opinion on processing the voice and applying effects to it, as well as to other instruments. Additionally, sometimes I enjoy asking random questions, almost like we're on a 90's TV show. So, I asked her what she preferred: singing or playing Oud.

“For quite some time now, the Oud has been my primary tool for music thinking, composing, and self-expression, especially since I moved to Europe. Essentially, my focus has been on developing a close connection between the Oud and my voice through my compositions and interpretations. As time has passed, I've also grown to appreciate playing the Oud without singing, particularly for certain music or theater projects.

I've discovered a natural and harmonious sonic link between the Contrabass and the Oud. However, it's not just about the instruments; it's also about the connection with the person behind the Contrabass or any other instrument and their musical genre."

Kamilya started her musical journey with a strong focus on acoustic music, which she still passionately pursues today. Her “physical” introduction to technology and electronic music occurred in her thirties, sparking both curiosity and caution. Electronic music presented a distinct challenge, demanding knowledge, time, and experience, much like any other form of musical practice. She embarked on a quest to connect with this new world, seeking logical and organic pathways to facilitate this communication. In essence, electronic music offered her a fresh perspective for expressing her acoustic compositions. She also collaborates with musicians well-versed in electronic music, creating acoustic counterparts. Her ongoing partnership with Werner Hasler serves as a noteworthy example.

Recently, she has explored experimental techniques on the Oud, including ‘Oud préparé’, avoiding the use of vocoders and other electronic devices for vocal manipulation, despite the numerous available options. Occasionally, some of her collaborators may apply some specific effects to her voice, depending on the musical ideas they are pursuing, a practice she appreciates.

Her primary focus lies in achieving pure acoustic vocal expression, with ample room for further exploration in that direction. She delves into word experimentation, mentioning: “It’s about time, life is short, it’s about choices, there are so many, about taste, and that’s delicate. :-)”

You are invited to experience Kamilya Jubran’s gripping music at Le Guess Who?. This is a chance for you to explore an imaginative and mesmerizing voice. I am quite sure you will be touched by her deep resonant music, which will inspire your imagination to play and experiment with her world of sounds and scales.

I would like to share with you a short playlist, a selection of my favorite tracks from Kamilya Jubran's music:

Yaday (Makan)
Wahdi (wanabni)
Suite nomade (habka)
Qawafel
Ghabat alena el shames Sabreen
and a cover for Sayed Darwish “Dayaeti Moustakbal Hayati “ ضيعت مستقبل حياتي

Enjoy!

Kamilya Jubran performs at Le Guess Who? 2023 on Saturday, 11 November at TivoliVredenburg. Here you can find the translations of the songs she will perform: English & French.