Mdou Moctar
Guthrie Green
September 19, 2025
The world is collectively burning, but Tulsa once again shone as a blue oasis in a blood-red desert on Friday, as Africa’s Sultan of Shred, Mdou Moctar, conjured six-string dust devils at Guthrie Green.
Born Mahamadou Souleymane, Moctar and his band operate in the Tuareg tradition of Tishoumaren, or “desert blues,” filtered through Parliament’s psychedelic freakouts and Van Halen’s guitar acrobatics. The desert blues tradition is steeped in resourceful ingenuity: fellow members of the genre, Tinariwen, famously traveled to early shows by camel, and Moctar built his first guitar from reclaimed wood and bicycle parts. Political unrest in Niger has historically led regimes to persecute musicians, and on Friday, Moctar played with the urgency of a man who has always known that real power flows from a distorted amp.
That urgency isn’t abstract. After a coup in Niger last year, Moctar and his band were stranded abroad, unable to return home and suddenly living as political exiles. When he sings about the colonization of Niger, the theft of its resources, and the survival of its language, it’s personal.
This was my first time hearing Moctar, and it seemed I was the last in the know. The Green was absolutely packed with fans of all ages, and ethnicities as diverse as the blankets dotting the lawn. The group tore into their first song of the night, a soul funk groove that rode an accelerando to dizzying heights before a bass drop heralded a groove so nasty the entire park went stank faced. The traditional African rhythms pulsed and serpentined beneath Moctar’s frenetic fretwork, dotted with highly precise vocal harmonies from all the musicians. That beginning accelerando was more feature than bug, as the band routinely took a flux capacitor to the evening’s tempos.
Mdou Moctar at Guthrie Green | video by Mitch Gilliam
Moctar’s guitar work is otherworldly—think Les Paul’s warmth, Hendrix’s feedback sorcery, and Van Halen’s tapping technique, all running on Saharan solar power. Where 1980s hair and glam metal had an “arms race” to see who could shred the fastest (be it Yngwie, Eddie, or Michaelangelo), Moctar isn’t racing anyone. He’s reinventing the instrument in real time. Comparisons to Van Halen are as warranted as they are lazy, as Moctar’s playing is kaleidoscopic, with a twisting and turning nature that builds on the traditional sounds of his continent and the luthier luminaries he draws from.
The crowd were beyond receptive to this, repeatedly backing up the steps to the Guthrie stage in hopes of catching a selfie with Moctar mid-shred.
It was a privilege to witness this global feedback loop of culture. The seeds of the blues were ripped from Africa, carried across the Middle Passage, and took root in the cotton fields of America’s South, only to bloom into rock ’n’ roll that’s now being reinterpreted and electrified by the Tuareg people of Niger. This African rock-n’-roll-ouboros eating its tail on historical Greenwood ground was a poem in itself.
After a blistering encore that saw a huge swath of the crowd trying to snap photos and vids with the man over their shoulder, the group graciously exited stage to Van Halen’s “Jump” blasting over the PA: a knowing wink to the past, present, and future Moctar and his band had just conjured.
