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Saudi Arabia on Friday gave Lebanon’s ambassador 48 hours to leave the country, recalled its envoy from Beirut and suspended all imports from Lebanon.īahrain and Kuwait quickly followed suit with similar measures, and the UAE on Saturday recalled its diplomats from Beirut in “solidarity” with Riyadh. against an external aggression.”Ī Saudi-led military coalition that has included the UAE and Bahrain intervened to prop up the Yemeni government in 2015, after Houthi rebels seized the capital Sanaa in 2014. Lebanese Information Minister George Kordahi triggered the row with an interview recorded in August and aired last week in which he said that Yemen’s Iran-backed Houthi rebels were “defending themselves. The call came a day after the United Arab Emirates also urged its citizens to leave Lebanon. The foreign ministry “urged all citizens in Lebanon to leave immediately, following the tense situation there, which calls for extra caution,” it said in a statement carried by the official Bahrain News Agency. “And it’s moving.MANAMA: Bahrain on Tuesday urged its citizens in Lebanon to immediately leave the country amid a row between Beirut and Arab Gulf states over a Lebanese minister’s remarks on the Yemen war. “In the current political climate, the fact that people could relate Arabic not to Islamic fundamentalism and terror, but to learning phonetics and going to a concert, it’s a kind of political victory,” says Sinno, smiling. At gigs abroad they see fans who don’t speak Arabic attempt to sing along with eyes closed and no idea what they’re saying. Still, the band won’t abandon their Arabic hits.
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“There’s something to be said for a band from the Arab world to make it, regardless of language,” he says. Now looking to a western audience, they have started writing lyrics in English, but Sinno rejects the idea that this makes him less authentic. “It was fucking traumatising.” They also incurred the financial loss of being blocked from performing for their two biggest fanbases. “Our inboxes were constantly littered with death threats and the most hateful remarks possible,” says Sinno, his eyes widening. The band watched this happen from abroad, powerless.
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When they were invited to be the first Lebanese band to headline the local Byblos festival, they had to hastily write six new songs to fill their set. Everything in Mashrou’ Leila’s early years was improvised: they won the opportunity to record their debut album in a radio competition and promoted concerts by spraying graffiti in the alleyways of Beirut. There was no national infrastructure to support them. Their surprise was partly down to the fact that few independent Lebanese musicians had made it big before. It can’t be absurd to the western imagination that many liberal Arabs are inclined towards gender and sexual diversity Hamed Sinno Yet their early songs, such as Shim El Yasmine (Smell the Jasmine), a tender ballad about abandoning a gay lover for a prescribed marriage, and the Balkan jazz-style hoedown of Raksit Leila, shot them to unexpected stardom. “The band wasn’t meant to last forever.” This was reflected in their name, which means “overnight project”. “We didn’t have expectations,” says drummer Carl Gerges in French-accented English. Mashrou’ Leila from left to right: Firas Abou Fakher, Carl Gerges, Haig Papazian and Hamed Sinno (front).