Sahra Halgan – ‘Hiddo Dhawr’ album review: a defiantly beautiful celebration of Somaliland
THE SKINNY: Every now and again, you will hear a song or an album that stops you in your tracks; something so groundbreakingly brilliant that it’s hard to imagine a time before you heard it. Oftentimes, these records will come from the most unlikely of places. After all, you cannot always rely on the sales charts to pick out a record that will change your life. In this case, the groundbreaking LP comes in the form of Sahra Halgan’s Hiddo Dhawr, and it comes from the unlikely setting of Somaliland in the horn of Africa.
Blending the traditional African stylings of her Somaliland home with fuzzy guitar riffs and a vintage keyboard evoking the sounds of the 1960s garage rock boom, Halgan’s third album is truly something to behold. Never before has such a disparate collection of influences and instruments worked together in such a seamless manner. It is something of a sonic menagerie, yet it never feels too uncomfortable to bear.
Indeed, the abrasive guitar tones which open the record soon give way to beautiful, melodic performances by Halgan, who reaffirms her innate and distinctive vocal talents throughout the album as she takes listeners on a journey through the tumultuous landscape of her nation. There is often a lot of debate surrounding the authenticity of artists, especially with politically charged records like Hiddo Dhawr. However, Halgan began her singing career as a front-line nurse during a bloody civil war in Somalia. She is the real deal.
You would be forgiven for being unaware of the historic strife of Somaliland, but Dhawr’s album cannot be fully appreciated without first gauging the context behind it. Somaliland was only awarded sovereignty for a total of five days following the departure of British colonial forces in 1960 before being absorbed into the Republic of Somalia.
Thus followed a period of civil unrest and violent conflict. Although the nation has been independent since 1991, with its own infrastructure and government, it is still not recognised as a sovereign state. With Hiddo Dhawr, Halgan aims to bring attention to the cultural significance of Somaliland – the album’s title translates to ‘Promote culture’. In fact, the title shares its name with a music venue in the heart of Hargeisa, set up by Halga upon her return to Somaliland in 2015 after years spent as a political refugee in Europe.
Africa has, historically, produced some of the finest, funkiest music known to mankind, but, in the case of Halgan, it feels different. It is a perfect bridge between the funk of East African music and the abrasive defiance of European rock. Halgan’s efforts feel much more important than those of her contemporaries. Hiddo Dhawr is not merely a collection of catchy guitar-driven tracks. It is a defiant stance against political alienation and conflict. Aside from being an inarguably incredible album, it is a vitally important cultural artefact for the people of Somaliland.
For fans of: Those tents at festivals that are open the latest, playing songs that you’ve never heard and populated by sweaty people in those weird hippie patchwork trousers.
A concluding comment from Ben’s dad: “It sounds as though Simon Reeve has uncovered some remote tribe in the darkest depths of Africa, whose only Western cultural influence is inexplicably Suzi Quatro (in a good way).”
Hiddo Dhawr track-by-track:
Release Date: March 29th | Producer: Guillaume Dussably | Label: DANAYA
‘Sharaf’: Perhaps the greatest album opener in recent memory. It throws you right into the deep end of heavy guitar riffs, realtor-inspired keys and, of course, Halgan’s unique vocals. [5/5]
‘Laga’: Although this track slows down the pace somewhat, it retains the inherently danceable beat that permeates throughout the record. The added bonus of backing vocalists culminates in an infectious piece which improves with every listen. [4.5/5]
‘Som Hanyari’: The guitar riffs and infectious percussion take a backseat on this song, with Halgan’s tender vocals providing the key focal point. It may not have the same oomph as some of the other tracks, but it is by no means a dud. [3.5/5]
‘Somaliland Ani Adi’: A defiant anthem for the vibrant cultural landscape of Somaliland, this is among the finest tracks on the record. Evoking the art rock stylings of groups like Pom Poko, the piece is a complete subversion of Western expectations for ‘African music’. [4.5/5]
‘Hiddo Dhawr’: The album’s titular track features the sounds of traditional Somaliland folk, interspersed with blaring guitar riffs. It is a perfect encapsulation of Halgan’s blending of modern and traditional musical styles, as well as being a good signifier of her innate ability to change the mood of a song on a sixpence. [5/5]
‘Liilalaw’: No two tracks on this record sound the same; each instalment is its own unique creation, yet they somehow flow together incredibly well – a testament to the album’s production. The brief moments of spoken word, along with the rising intensity, are both very endearing. [4.5/5]
‘Diiyoohidii’: Featuring an ominous, driving beat, there is a definite sense of excitement within this song – the feeling that something unexpected could happen at any moment. As the track progresses, it elevates itself into an out-and-out celebration, backed by a fantastic synth track that would make even Onyeabor blush. [4/5]
‘Qaram Qalafe’: As the album enters its latter half, the album moves from defiant political anthems and patriotic celebrations into euphoric love songs and dance anthems. While still very enjoyable, this piece tends to lack the captivating nature inherent on the rest of the record. [3/5]
‘Magool’: Never has a track about love and heartbreak been so jolly. Mopey indie writers like Morrissey could certainly learn a lot from Sahra Halgan. [3.5/5]
‘Lamahuran’: When this song begins, it feels like business as usual. We know the score by now. Yet, halfway through, Halgan completely switches the script, moving from gentle guitar tones to abrasive, jagged instrumentation and confrontational vocals. It’s fantastic. [4.5/5]
‘Hooyalay’: By this point in the album, most artists would begin winding down, but Halgan is not like most artists. This piece features perhaps the most impressive single vocal performance across the album, accompanied predominantly by a repetitive guitar track and various organic sounds from life in Somaliland. [5/5]
‘Dareen’: A beautiful, heartfelt end to a masterpiece of an album. Hiddo Dhawr is a fairly lengthy record but as we come to the final track, it feels as though it is over far too soon. Halgan has rattled through the subjects of love, conflict and political strife expertly, the only thing left to do is flip the record and start again. [4/5]
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