It seemed almost destined that our interview with Gal Tamir, the lead singer, songwriter and founding member of the heritage-driven and forward-looking quartet Al’Fado, took place in Setúbal. Located just 50 kilometres south of Lisbon, Setúbal is rich in Judeo-Sephardic heritage and renowned for its deep-rooted fado tradition. In October, this vibrant Portuguese coastal city hosted EXIB Música, a four-day expo that brought together artists and music professionals from the Ibero and Luso-American regions. Together with Gal, we chose an ideal spot for our conversation—a café overlooking Convento de Jesus Square, a notable 15th-century landmark that highlights Setúbal’s cultural legacy. It was indeed during King John III’s reign in the late 15th century that Setúbal became a significant crypto-Jewish centre.
The rich historical and cultural backdrop naturally introduces Al’Fado. This quartet is a unique Israeli-Portuguese ensemble based in Lisbon, skillfully blending the sounds of medieval Hebrew communities from the Iberian Peninsula with the soulful melodies of fado and the passionate rhythms of flamenco. Performing in Ladino, an ancient language that beautifully combines Spanish, Portuguese, and Hebrew, they breathe new life into centuries-old musical traditions for modern audiences. The group showcases diverse talents: Gal captivates with his vocals and clarinet, Avishay Back anchors the sound with his bass guitar, João Roque adds depth with his guitars, and Diogo Melo de Carvalho brings energy and texture through percussion. Their harmonious collaboration weaves a rich and varied musical tapestry that defines Al’Fado’s distinctive sound.
On the final day of the EXIB Música long weekend, just before the morning showcases at the Monastery, Gal shared Al’Fado’s story with us. He explained that the ensemble was formed to revive the musical connections between Israeli and Portuguese cultures by blending historical melodies with new sounds. Gal emphasised the strong bonds and mutual respect among the members, which enhance the group’s cohesion and vision. He highlighted the similarities between fado and Ladino in conveying deep emotions and complex histories. Addressing the challenge of introducing new sounds to traditional music scenes, Gal stressed the importance of staying true to their roots while innovating. Looking ahead, Al’Fado aims to reach broader audiences and continue evolving their sound, ensuring their music remains authentic and forward-thinking.
We initiated our dialogue with Gal introducing the ensemble, ‘Al’Fado, based in Portugal, consists of Portuguese and Israeli members. Active since 2019, we have performed throughout Europe and Israel, with aspirations to broaden our reach. Our debut album, ‘Birth, Nascimento,’ released in late 2022, blends elements from Ladino Sephardi cultures with the world of fado, infused with a variety of musical influences that enable us to uniquely interpret these genres.’
Gal then shared the origins of Al’Fado: “The idea for Al’Fado began to take shape around 2016. Our goal was to introduce Sephardic music to Portugal, where it was underrepresented, yet linguistically akin to Portuguese, resonating well with local audiences.”
“Being Portuguese natives deeply connected to our musical heritage, incorporating fado was a natural step,” Gal continued. “Once the idea emerged, considering our base in Portugal and our Portuguese roots, we decided to integrate fado, which is perhaps the most internationally recognised Portuguese music. We anticipated that our project would extend beyond local borders, so including this quintessential Portuguese element in our music as we toured seemed fitting.”
The formation of Al’Fado emerged organically, starting with a conversation between Gal and Avishai, the bass player, and quickly growing to include a percussionist and a guitarist from Lisbon. “The concept originated between myself and Avishai, our bassist. Soon after, we welcomed a percussionist and a guitarist into the fold. Our guitarist, hailing from Lisbon, typically blends jazz, rock, and folk, with a touch of flamenco due to Spain’s proximity. However, he was relatively unfamiliar with Sephardic traditions, music, or the language, much like our percussionist, who is also from Lisbon or its vicinity. Our percussionist has a profound engagement with music from the Far East, having studied tablas extensively and spent his academic years in the UK, thus merging Far Eastern and modern pop rock music in his current projects,” Gal detailed, highlighting the eclectic musical backgrounds of the band members.
Gal stressed that the essence of Al’Fado’s success is the personal bonds among its members. “Before music, our fundamental connection is human. We experimented with various group configurations, and some potential members didn’t share our vibe, so we moved on. It’s akin to forming a relationship. When you connect with someone personally, it fosters trust and opens your mind,” he elaborated. This philosophy guides their approach to assembling the band, promoting not just musical harmony but a unified spirit.
Interestingly, Gal revealed that even the band’s Israeli members were initially unfamiliar with Sephardi music. “Sephardi music was almost completely unknown to Avishai and me, the Israeli, Jewish part of the group, because we are both Ashkenazi Jews. It wasn’t part of our personal heritage or family traditions. Although familiar as a concept in Israel and to Jewish people in general, we had barely explored it, if at all,” Gal disclosed.
Their exploration into this genre was motivated by the potential for cultural fusion in Portugal and the inherent connections between fado and Ladino, the traditional language of Sephardi music. “The connection points between fado and Ladino are numerous, resonating with themes of both styles,” he added.
Gal perceives fado as a form of music that emerges directly from the common folk, akin to the folk traditions of Sephardi music. “No artist was exploring this in Portugal, and here we were, right in the heart of it. The languages are very similar, and they share a lot even without deep exploration. There are many thematic connections between fado music and Ladino that link back to the Sephardi culture. Given the geographical origins of both styles, this overlap makes sense. I think of fado, which is celebrated as a national cultural heritage, not as music developed in concert halls or academic circles, but as one that originated among the common people, in bars and on the streets, truly folk in the classic sense. Sephardi music shares this grassroots origin,” he stated with pride.
Gal further detailed the fusion of Ladino and fado music that characterises their band’s unique sound, describing how the evolution of Ladino among Andalusian Jews acted as a linguistic bridge, mixing ancient Castilian with Hebrew elements that reflect their cultural practices and significant life events. “Ladino was developed to circumvent the fact that Hebrew wasn’t used as a vernacular; it was reserved like Latin for prayers and synagogue use. In Andalusia, the Jews created a local language based on ancient Castilian to facilitate everyday communication, yet it included many Hebrew terms related to their unique traditions and mirrored much of their daily life,” Gal explained, his dedication to and research into the subject apparent.
He also drew parallels between the themes found in both Ladino and fado, particularly their shared motifs involving the sea, which serve as poignant metaphors within both traditions. “There are common elements related to holidays, rituals, and significant life events such as deaths, births, and marriages. A particularly strong motif in both Ladino and fado is the sea. It acts as an allegory and a creator of drama, symbolising travel and nomadism. These are themes that recur, showing that despite the apparent differences, these cultures converge on very specific elements that make sense when you delve into them,” Gal explained.
During performances, Gal delights in revealing the cultural connections woven into Al’Fado’s music. “In our concerts, I often juxtapose songs like ‘Barco Negro,’ famously popularised in Portugal by Mário Rodrigues, with a Ladino song called ‘La Serena,’” he shared. He enjoys discussing these parallels during shows: “While ‘Barco Negro’ tells of a young woman watching the sea for her lost love, ‘La Serena’ explores a similar theme of unattainable love but through a different cultural lens. ‘Barco Negro,’ though not a traditional fado, originated from Brazil and tells the tale of a young girl gazing out to sea, pining for her lover who has sailed away. As she wonders about their future, older women on the beach scoff, telling her he’s gone for good. She dismisses them, feeling his presence all around her.”
Gal elaborated on the intercultural dialogue present in their music: “This song has become a significant piece in the fado world. We pair it with ‘La Serena,’ which may have originated from the Greek or Turkish Jewish Sephardic community. ‘La Serena’ depicts Serena as a muse for sailors, a distant, almost mythical figure of beauty and tragedy, reminiscent of Romeo and Juliet. These narratives, rich with longing and saudade, underscore the profound connections between the cultures we explore.”
Al’Fado’s approach intentionally diverges from traditional styles, embracing a more eclectic sound. “I think we almost never perform to an audience that knows everything we are doing. Those familiar with Sephardic music might not know fado, and vice versa. Our goal is to blend these elements seamlessly,” Gal explained. Their interpretations integrate diverse influences, such as North African rhythms, enhancing the connection between the music and its listeners. “Our versions of Ladino and fado songs often incorporate similar musical elements, creating a cohesive experience for our audience and helping them bridge the gap to unfamiliar sounds. However, our treatments are far from traditional, often taking the music in entirely new directions,” he added, highlighting Al’Fado’s creative synthesis of global musical traditions.
Despite occasional critiques for deviating from traditional forms, Gal views these as minor. “People sometimes prefer the traditional versions, which we fully understand and respect. Our goal isn’t to replicate traditional music but to reinterpret it, to offer something uniquely Al’Fado that might open new avenues of musical appreciation.”
This creative philosophy often sparks debate about what constitutes ‘authentic’ music. “Discussions around authenticity in music can be quite complex, but our focus is on exploration and reinterpretation, not mere reproduction,” Gal clarified, capturing the innovative spirit of Al’Fado.
For Gal and the rest of Al’Fado, the true measure of their music’s success lies in the audience’s reactions, especially during live performances. “We make it a point to engage with our audience after concerts; their feedback is invaluable. It tells us whether our music has truly touched them, whether it has made a meaningful impact,” Gal emphasised earnestly. “For me, the real value of our music lies in its ability to connect. If it doesn’t reach people, if it doesn’t evoke something significant in them, then all our efforts are in vain.”
Gal shared insights into how their music is received beyond the concert halls, particularly on social media, where listeners tend to be more candid. “People feel much more comfortable sharing their thoughts online, even if they’re blunt. It’s rare, but I’ve occasionally heard comments preferring traditional versions, which I completely accept. We aren’t trying to replicate traditional styles; we aim to innovate them. Sometimes, this can challenge listeners who are accustomed to conventional renditions, like a Ladino song we performed that received mixed reactions.”
Discussing authenticity, Gal noted, “When we get feedback about preferring ‘authentic’ versions, it opens up a broader conversation about what authenticity means in music that spans centuries. An ethnomusicologist colleague of mine gets quite upset about rigid views on what’s considered ‘authentic.’ But for us, it’s not about sticking to tradition; it’s about evolving it. Ladino, for example, isn’t just a music genre—it’s a rich language, much like Italian, that spans a variety of styles and regions. Our approach is to use these rich traditions as foundations to create something new, with our unique aesthetic.”
Gal stressed the importance of audience connection and reception: “The reactions we receive are crucial. They tell us if we’re on the right path, making a difference in people’s lives. After every show, we make sure to be available for anyone who wants to talk; these interactions are incredibly important. If our music doesn’t resonate, then it’s as if it has no value at all. It needs to reach out and touch people, not just sound out into the void.”
He concluded, reflecting on the personal impact of their music: “If the music I make doesn’t resonate with others, then it’s as if it exists only for me, defeating its purpose. Making music that connects and resonates—that’s what drives us forward.”
Gal recalled his early experiences with fado music. “When I first started working with fado, the prospect of arranging it was daunting. Fado is revered here in Portugal, and as a newcomer, I felt almost unqualified.”
He approached fado with great reverence, conscious of its cultural depth. “At the beginning, I was very cautious about engaging with fado material. Even years later, I still feel there’s much to learn about its language, culture, heritage, and interpretations.”
Initially, Gal deferred to his Portuguese bandmates for musical direction. “At first, I let the Portuguese guys handle the arrangements while I followed their lead, not wanting to overstep.”
His relationship with fado evolved through interactions with local musicians and venues, providing him with an informal entry into the traditional music scene. “I’ve been fortunate to find welcoming spaces in small tascas where fado is lived, not just performed. These places allowed someone like me, an outsider, to engage directly with fado.”
He appreciated the inclusive nature of the fado community. “The openness of fado musicians, who embrace those of us not born into this tradition, was enlightening,” Gal shared. “This contrasts with the wider music industry, which often seems more judgmental and resistant to new ideas.”
Despite industry challenges, audience and artist responses have been affirming. “Ultimately, what matters most to me is the audience’s reception. We’ve faced some resistance from the media and industry, but we’ve also received considerable support and recognition,” he acknowledged.
He also noted a significant endorsement their music received, marking broader acceptance. “Our debut album was endorsed by Antena One, a major national network. This wasn’t just a minor win; it was a significant affirmation that our persistence and quality can resonate broadly,” he concluded, underscoring Al’Fado’s unique niche within the musical landscape.
Living in Lisbon, Al’Fado draws immense inspiration from the capital’s vibrant music scene, which Gal describes as both enriching and challenging. “Lisbon’s music scene is immensely rich and incredibly versatile,” he remarked, reflecting on how the city’s diversity has shaped their musical expressions. “It mirrors what I and the rest of Al’Fado believe in—embracing a vast array of musical influences, languages, and daring interpretations.”
The city’s diversity has enriched Gal’s musical landscape, with its blend of cultural influences. “Lisbon is a soup of cultures—Brazilian, South American, African. These influences actively shape our music,” he shared enthusiastically. This cultural blend encourages him to experiment boldly, mixing a fado song with a Brazilian choro rhythm or infusing a Ladino piyyut with North African and Caribbean elements.
“These adaptations are about making the music aesthetically pleasing while staying true to the song’s essence. If it enhances the song, if it feels right, we embrace it fully,” he explained. This open and innovative approach reflects the welcoming spirit he discovered within the fado community.
Reflecting on his integration into these musical circles, Gal noted the importance of embracing new influences. “Just as the fado community has occasionally adopted me, allowing me to sing in a fado house, we also want to adopt and adapt musical styles that enrich our sound and resonate with our audience,” he said with a warm smile.
As the conversation shifted towards Al’Fado’s future, Gal’s excitement became evident as he discussed their next project. “We have an exciting album planned for release in spring 2024, currently titled ‘Bridges’ or ‘Pontes’ in Portuguese and Ladino. Building bridges has been central to our work from the start, aiming to foster intercultural connections through our music, languages, and the diverse musical traditions we explore.”
Recent global events have only deepened their resolve. “The past few years, marked by the pandemic and political unrest, have reinforced our commitment to counter cultural and linguistic isolation. It’s not just about unity; it’s about creating more connections—something the world increasingly needs,” he emphasised.
Describing their artistic mission as a musical “crusade,” Gal highlighted the universal appeal of their music. “Our calling as artists is to bring a voice that isn’t just verbal. It’s an artistic, emotional, multi-sensory voice that calls for deeper ideas beyond the surface, like a beacon in the darkness. We aim to create those bridges, those connections. I think it’s almost our crusade to do that, this is almost our mission, our destiny, our calling. This guides everything we do, from the music we make to the personal connections we forge, the places we visit, the languages we speak, and the musical influences we embrace.”
When discussing Al’Fado’s repertoire, Gal introduced a deeply personal and seldom-performed piece titled “Durme Mi Angelico” or “Sleep My Angel.” He explained, “This lullaby, though soothing, carries a heavy message. It speaks to the darker, graver realities of life, trying to shield the listener from those truths,” revealing how moved he was by the depth of the song. “In challenging times, finding a comforting voice, whether external or within ourselves, becomes crucial. This song, very intimate and less suited to large concerts, beautifully illustrates that while lullabies sound comforting, they often carry burdens.”
Gal further elaborated on the poignant lyrics and their emotional impact: “The singer, often a parent, sounds reassuring yet conveys a dark, grave reality, protecting the child from it. The lyrics of this Sephardi, Jewish Sephardi, Ladino song speak of a mother or father singing to their child, wishing them peace and protection from the horrors of the world. The child asks, ‘Why can I not hear your voice anymore? Why do you not sing to me?’ The mother responds, ‘Because my wings have been cut, and my voice has been silenced.’ It’s very emotional, even talking about it now,” he concluded, emphasising the song’s profound resonance in these challenging times.
For more information about Al'Fado and their music, you can visit their official website as well as their Youtube, Instagram and Facebook profiles
Photo ©: Bart Vanoutrive