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Time Business News
5 days ago
- Time Business News
Epic Desert Days: Tours & Quad Treks in Morocco
Morocco's desert is not only sand and sun; it's a whole big adventure waiting. Long dunes, ride camels slowly in silence, or go fast with a quad bike across a desert like in a movie. Every day in the Moroccan desert feels like a story. Sunset on a dune, Berber tea in a tent, stars like a sky full of lights. From Merzouga to the Sahara, a big part of the journey gives a feeling of old times and wild freedom. This is not only a tour; it's a life memory. Morocco desert tours and Merzouga quad treks show the real side of this land. For the first time or more, these desert days always feel epic. The desert in Morocco means adventure with calm. Tours begin from cities like Marrakech or Fes and take you profoundly into the holiday. Ride camels through the Erg Chebbi hills, observe the sun go down behind brilliant slopes, and rest in a camp beneath the stars. A few visits are as it were for 2-3 days; others go long, like 5 to 7 days. You meet nearby migrants and eat Moroccan nourishment like tagine and couscous. Jeeps ride across rocky plains, visit oases, and explore old kasbahs. Guides on these tours are mostly Berber people; they know the desert like the back of their hand. They tell stories, play music at night, and show true Morocco. The tour also goes to Dades Valley, Todra Gorge, and the Atlas Mountains. Most time travelers want a mix of driving, camel riding, and culture:these tours give it all. The Sahara Desert is the biggest hot desert in the world. The Morocco Sahara Desert Tours are magical. Sahara Desert tours go deep inside Erg Chebbi and Erg Chigaga dunes:both very tall and wide. These Sahara Desert tours start from cities, but the main magic happens near Merzouga or M'Hamid. The tours have a mix:camel trek, 4×4 jeep, and quad biking. A few days are full of hush and peace, others with speed and wind. Sahara visits too incorporate evenings in camp with fire, music, nourishment, and a sky full of stars. It's the best way to experience the ancient caravan course and learn about wanderer life. Visit Khamlia town, where Gnawa artists play ancient African beats, meet forsake metal forgers, and drink mint tea in a conventional tent. The Sahara Leave visit is not fair approximately sand; it is around feeling time moderate down. The Merzouga quad tour is high-speed fun in the desert. These quad bike tours start in Merzouga village, take you across dunes fast, make you feel the wind, and make you bounce on sand like waves. You go to Erg Chebbi dunes, the Black Desert (Hamada), fossil areas, and sometimes oases. You do not need a license to drive a quad in the desert. The guide goes with you, gives you a helmet and goggles, and shows you how to drive. Most tours last 1 to 3 hours. But a full day is also possible. The sunset quad tour is the most famous golden sky and the fast ride makes dream memories. The best thing is you stop at the top of the dune, take a photo, and see all the sand around you. The Merzouga quad tour mixes thrill and nature. nice for families, couples or friends who want adrenaline in the desert. Erg Chebbi Dunes :.Giant orange dunes up to 150 meters tall, sunset here is magical. :.Giant orange dunes up to 150 meters tall, sunset here is magical. Todra Gorge :Huge rock walls with a river inside a great place to stop before the desert. :Huge rock walls with a river inside a great place to stop before the desert. Dades Valley :Winding roads and red rock, also called Valley of 1000 Kasbahs. :Winding roads and red rock, also called Valley of 1000 Kasbahs. Khamlia Village :Gnawa music and warm Berber hospitality. :Gnawa music and warm Berber hospitality. Nomad Camp :Sleep in a tent under the stars, enjoy a fire, and dance. :Sleep in a tent under the stars, enjoy a fire, and dance. Black Desert & Fossils :Dark rocky area with ancient sea fossils, a good quad stop. :Dark rocky area with ancient sea fossils, a good quad stop. Oasis of Hassi Labied :Palm trees in the middle of sand, cool and green. :Palm trees in the middle of sand, cool and green. Merzouga Sunset & Sunrise:The whole sky changes color, the best photo time. These scenes are not only beautiful but also show the soul of the desert. Every place speaks its own story. The best time to go to the desert in Morocco is Spring (March to May), Warm days, cool evenings, blooms in desert spring, idealized weather. Autumn (September to November):Same as spring, less visitor crowd. Winter (December to February): Great sun amid the day, but at night it is exceptionally cold, so bring warm clothes. Summer (June to August):Very hot, not simple for long camel or quad rides. But early morning or nightfall visits are affirmed. Try to avoid Ramadan time if you want a full food and music experience. Clothes :Light in the day, warm for the night. Scarf for wind and sun. :Light in the day, warm for the night. Scarf for wind and sun. Shoes :Closed, strong shoes for sand walks or quad rides. :Closed, strong shoes for sand walks or quad rides. Sunscreen :.The desert sun is very strong. :.The desert sun is very strong. Sunglasses & Hat :.Protect from sun and sand. :.Protect from sun and sand. Camera or Phone :So many photo spots; keep battery charged. :So many photo spots; keep battery charged. Water Bottle :.Stay hydrated all the time. :.Stay hydrated all the time. Backpack :Small bag for your things. :Small bag for your things. Cash :Small markets or tips need cash; no cards in the desert. :Small markets or tips need cash; no cards in the desert. Power Bank :No electricity in camp sometimes. :No electricity in camp sometimes. Toilet Paper & Wet Wipes:For personal clean use. Also bring a smile and open heart:the desert is more beautiful when you feel it inside. Go with a Trusted Guide:Don't try solo; the desert is tricky. Local guides always help. Start the tour early:morning light and cool air are better for riding and camels. Ride Camel Slowly:Hold tight, lean back a little. Not like horses, it's different. Quad Biking Safety First:Always wear a helmet and follow the guide. Drink Water Often:Desert dry, body needs water even if it is not felt. Watch Your Step on Dune:Sand shifts; walk slow and steady. Ask Questions:Local guides are happy to explain culture and history. Respect Nomad Life:Be polite in the tent; ask before taking a photo. Don't Rush:Desert needs time to feel. Enjoy silence. Pack Light:You do not need a suitcase. One bag is enough. These tips help make desert trips smooth and happy. The desert of Morocco is not as it were sand and heat:it is domestic to peace, experience, and excellence. From Morocco leave visits to profound Sahara trips and quick quad rides in Merzouga, each visit brings something extraordinary. Ride camels like ancient wanderers, eat beneath stars, move around fire, and tune in to stories of biking gives a rush, a camel ride gives peace, and a camp night gives dreams. Even first-time travelers feel welcome in the desert. Local guides, Berber people, warm food, and hot tea:all make the journey unforgettable. The best time is spring and autumn, but the desert is always open with heart. Just pack well, follow the guide, and let the desert show you magic. Epic desert days in Morocco are not only travel:they are a memory forever. TIME BUSINESS NEWS
Ya Biladi
10-07-2025
- Entertainment
- Ya Biladi
Jazzablanca 2025 : Maalem Bekkas and Waaju bridge Morocco and the UK through Gnaoua-Jazz
مدة القراءة: 3' After a long collaboration with the London jazz ensemble Waaju, Majid Bekkas proudly marked his return home with the collective album Alouane, surrounded by his musical companions. During the 18th edition of the Jazzablanca Festival (July 3 to 12, 2025), the pioneer of African-Gnawa blues presented this vibrant musical project for the first time in Morocco. Co-created with the British group known for blending Latin polyrhythms, Malian psychedelic blues, and European arrangements, the performance on Stage 21 was warmly welcomed by an audience that has long appreciated Bekkas's unique sonic explorations, a master of traditional, classical, local, and global musical languages. Each of Bekkas's collaborations carries the spirit of discovery. In addition to being a multi-instrumentalist, the Gnawa maestro has consistently forged musical connections with artists from around the world, crafting unforgettable creations. Over the years, these artistic friendships have brought together musicians from Morocco and abroad. This particular project with Waaju holds a special place in his heart, he told Yabiladi before going on stage. «With Waaju, we first met during a festival in Poland. While talking with the members, I discovered that they already knew my repertoire, had listened to my albums, and even worked on some of my compositions!» he said. The British ensemble, whose name means «to encourage, inspire, or influence to act» in Bambara, a West African lingua franca, later proposed a collaboration with Bekkas. «Eventually, they invited me to London. We performed together at a festival, recorded a live album, and later played at the legendary Jazz Café. We've built a rich history of artistic work, and we're very happy to present it in Morocco for the first time», he recalled. Composer and drummer Ben Brown, who founded Waaju, also spoke to Yabiladi about his musical inspirations and admiration for Bekkas. «I've always loved Gnawa music. Its mix of deep spirituality and joy fascinates me as an artist. I particularly appreciate Majid's unique approach, it's more delicate and dynamic. I really admire his incredible collaborations, which have opened so many new paths for the genre», he shared before their concert. Waaju, Enchanted by Gnawa-Jazz Bekkas began studying traditional Gnawa music in the 1970s, while also receiving classical training at the conservatory. He has performed abroad since the late 1990s, collaborating with major figures such as Randy Weston, Omar Sosa, Wessell Anderson, the late Stephen McCraven, Ramon Lopez, and African greats like Aly Keïta and Bassi Kouyaté. Over the decades, he has often invited these peers to perform in Morocco, celebrating the limitless possibilities of Gnawa-jazz fusion. This universal approach, Bekkas explained, is especially meaningful when it resonates in his home country: «I've always enjoyed playing with different musicians, learning from others, and opening up to diverse cultures. This process defines who I am, it's what I'll keep doing for the rest of my life. I will always collaborate with artists from here and abroad because we all speak the same language: music. It's the most powerful way to understand each other and stay united across the world». Ben Brown, inspired by his collaboration with Bekkas, expressed his appreciation to Yabiladi: «Working with Majid has been one of the most fulfilling projects of my life. Everything came together so perfectly, beyond what I had imagined, both creatively and logistically». «We allowed ourselves to be inspired by familiar Gnawa tones, playing with different rhythmic shades to bring out new colors. In a word, Alouane was an amazing shared experience», said Brown. Despite the challenges of working across continents, he added, each moment spent on this project felt special. «It's a real honor to play with Majid Bekkas. I'm truly proud of the sound we've found together—it's something authentic and deeply personal». During this remarkable concert, the two musical worlds merged seamlessly. The audience responded to the artists' joy and generosity with matching enthusiasm. The festive magic of the music cast its spell, and Alouane came to life, bright and borderless.
Ya Biladi
09-07-2025
- Entertainment
- Ya Biladi
Jazzablanca 2025 : Maalem Bekkas and Waaju bridge Morocco and the UK through Gnaoua-Jazz
After a long collaboration with the London jazz ensemble Waaju, Majid Bekkas proudly marked his return home with the collective album Alouane, surrounded by his musical companions. During the 18th edition of the Jazzablanca Festival (July 3 to 12, 2025), the pioneer of African-Gnawa blues presented this vibrant musical project for the first time in Morocco. Co-created with the British group known for blending Latin polyrhythms, Malian psychedelic blues, and European arrangements, the performance on Stage 21 was warmly welcomed by an audience that has long appreciated Bekkas's unique sonic explorations, a master of traditional, classical, local, and global musical languages. Each of Bekkas's collaborations carries the spirit of discovery. In addition to being a multi-instrumentalist, the Gnawa maestro has consistently forged musical connections with artists from around the world, crafting unforgettable creations. Over the years, these artistic friendships have brought together musicians from Morocco and abroad. This particular project with Waaju holds a special place in his heart, he told Yabiladi before going on stage. «With Waaju, we first met during a festival in Poland. While talking with the members, I discovered that they already knew my repertoire, had listened to my albums, and even worked on some of my compositions!» he said. The British ensemble, whose name means «to encourage, inspire, or influence to act» in Bambara, a West African lingua franca, later proposed a collaboration with Bekkas. «Eventually, they invited me to London. We performed together at a festival, recorded a live album, and later played at the legendary Jazz Café. We've built a rich history of artistic work, and we're very happy to present it in Morocco for the first time», he recalled. Composer and drummer Ben Brown, who founded Waaju, also spoke to Yabiladi about his musical inspirations and admiration for Bekkas. «I've always loved Gnawa music. Its mix of deep spirituality and joy fascinates me as an artist. I particularly appreciate Majid's unique approach, it's more delicate and dynamic. I really admire his incredible collaborations, which have opened so many new paths for the genre», he shared before their concert. Waaju, Enchanted by Gnawa-Jazz Bekkas began studying traditional Gnawa music in the 1970s, while also receiving classical training at the conservatory. He has performed abroad since the late 1990s, collaborating with major figures such as Randy Weston, Omar Sosa, Wessell Anderson, the late Stephen McCraven, Ramon Lopez, and African greats like Aly Keïta and Bassi Kouyaté. Over the decades, he has often invited these peers to perform in Morocco, celebrating the limitless possibilities of Gnawa-jazz fusion. This universal approach, Bekkas explained, is especially meaningful when it resonates in his home country: «I've always enjoyed playing with different musicians, learning from others, and opening up to diverse cultures. This process defines who I am, it's what I'll keep doing for the rest of my life. I will always collaborate with artists from here and abroad because we all speak the same language: music. It's the most powerful way to understand each other and stay united across the world». Ben Brown, inspired by his collaboration with Bekkas, expressed his appreciation to Yabiladi: «Working with Majid has been one of the most fulfilling projects of my life. Everything came together so perfectly, beyond what I had imagined, both creatively and logistically». «We allowed ourselves to be inspired by familiar Gnawa tones, playing with different rhythmic shades to bring out new colors. In a word, Alouane was an amazing shared experience», said Brown. Despite the challenges of working across continents, he added, each moment spent on this project felt special. «It's a real honor to play with Majid Bekkas. I'm truly proud of the sound we've found together—it's something authentic and deeply personal». During this remarkable concert, the two musical worlds merged seamlessly. The audience responded to the artists' joy and generosity with matching enthusiasm. The festive magic of the music cast its spell, and Alouane came to life, bright and borderless.
Morocco World
21-06-2025
- Entertainment
- Morocco World
Essaouira Comes Alive on Day 3 of Gnaoua Festival
Marrakech – The third day of the Gnaoua and World Music Festival in Essaouira brought a wave of unfiltered energy to the city's medina, beaches, and stages. From traditional trance to experimental fusion, the lineup delivered an immersive experience that had the audience dancing late into the night. Saturday's program featured an impressive selection of artists: Maâlem Mohamed Boumezzough, Aly Keïta, Anas Chlih, Tao Ehrlich, Martin Guerpin, Quentin Ghomari, Hajar Alaoui, Cimafunk, Khalid Sansi, Hind Ennaira, and Omar Hayat. Each brought their own flair to the stage, mixing Gnawa rhythms with funk, jazz, and global soul. The atmosphere was electric as artists from different continents came together in celebration of music, rhythm, and resistance. Among the many acts that stood out were The Leila and the Nishtiman Project, two artists who captivated both hearts and headlines this year. The Leila is a bold Moroccan performer known for fusing reggada and rock with poetry, feminism, and social commentary. Her performance was as raw as it was refined, evoking both nostalgia and rebellion. Tattoos inspired by Amazigh symbols, unapologetic lyrics, and a commanding presence made her one of the most talked-about performers of the day. The Nishtiman Project, a Kurdish musical collective, transported the crowd through time and across borders. Founded by Saïd Assadi, the group blends traditional Kurdish instruments like the daf, duduk, and tanbur with innovative arrangements that speak to themes of homeland, displacement, and unity. Their music isn't just performance — it's a political and emotional journey. Tags: Gnaoua Festival 2025
Forbes
19-04-2025
- Entertainment
- Forbes
Tremor 2025: The Ultimate Insider Music Festival
Asmâa Hamzaoui and Bnat Timbouktou, Tremor Festival 2025 Paul Allen/Andfotography2 Taking place every April on the Azores island of São Miguel, Tremor, a five-day experimental music festival, is an extraordinary, magical event, full of surprises. Situated in the heart of the Atlantic Ocean, the Azores are an autonomous Portuguese archipelago located about 1,400 kilometers from Lisbon and nearly 1,900 kilometers from North America. These isolated, volcanic islands, spread across the ocean, provide a breathtaking and secluded backdrop for an unforgettable musical experience. Why the Eye, Tremor Festival 2025 Paul Allen/Andfotography2 April 2025 was the eleventh year of a festival that features a range of music by Portuguese and international artists, in wonderful indoor settings and spectacular outdoor venues. Each gig is around 45 minutes long and some overlap in different locations so choices have to be made. But that's part of the fun and adds to the sense of discovery and adventure. And another feature of the clever programming that makes this festival really special are hikes in gorgeous natural settings that involve performances en route and daily 'secret gigs' in surprising locations. Audiences don't know where the gigs are until two hours beforehand and the actual gigs are a complete surprise as well. These mysterious gigs are just one reason this festival always sells out months in advance. Fulu Miziki at Tremor 2025 Paul Allen/Andfotography2 Tickets for Tremor 2026 have just been released (booking details below). While the festival has expanded considerably since the first one-day event with 300 tickets sold, current festival ticket sales remain capped at 2,000 attendees. This is a deliberate choice of the four festival directors as they are keen to keep the festival intimate and also to not overwhelm the island's infrastructure and local population. Joseph Keckler at Tremor 2025 Paul Allen/Andfotography2 Among the many highlights this year were gigs featuring women musicians, including a Moroccan band in a botanical garden with hot springs, a Portuguese female guitar virtuoso and a flute solo by a very young member of a youth orchestra, mentored by a famous French jazz saxophonist. There were many more wonderful moments in a festival that fuses sounds and artistic expressions from across the globe, coming together in one of the most stunning and secluded places on Earth. Perhaps the most magical moment of Tremor 2025 was during a walk through a beautiful wood when we encountered Asmâa Hamzaoui and her group Bnat Timbouktou seated beside a tree, performing Gnawa spiritual songs. The group brings a refreshing energy to this ancient art form originating from Morocco. Though women are essential to Gnawa rituals, there have been very few female Gnawa musicians, something Asmâa Hamzaoui aims to change. The guembri, a lute played in a percussive style, the rhythmic percussion of qraqeb (iron castanets) and Asmâa Hamzaoui's expressive voice created a mesmerising soundscape that floated around the idyllic outdoor setting. The Zenmenn, Tremor Festival 2025 Paul Allen/Andfotography2 Held in the mountainous, serene surroundings of the Reserva Florestal, a protected forest area in the hills of the Azores, this intimate show's unconventional location added an air of mystique and exclusivity to the event. A forest trail opened up to a large field with a small stage in the center. Using a synthesizer and blending the old with the new, the organic with the electric, and the harmonic with the rhythmic, the trio created a chilled mix of both traditional Western and Eastern sounds. The Swedish experimental supergroup Fire came together in 2009, led by a core trio of saxophonist Mats Gustafsson, bassist Johan Berthling and drummer Andreas Werliin. Merging elements of free jazz, psychedelic rock, and noise, the group creates a distinctive and adventurous sound. Known for their fearless improvisation and genre-defying performances, the trio's performance in a hall, on the grounds of a former convent, was a 45-minute, intense, non-stop wall of sound. Gustafsson's explosive saxophone lines, Berthling's deep, rhythmic bass and Werliin's commanding percussion blew the crowd away. One of the most fantastical (and entertaining) concerts of the festival was from Why the Eye, a Belgian experimental masked quartet playing on DIY instruments at a remote lakeside location. The group describes their music as "Prehistoric Techno" probably because they perform with homemade instruments and laptops while wearing bizarre furry masks. Their noisy and experimental sound ecouraged listeners to join the lead singer in a wild, energetic dance. Another thrilling surprise for festival goers was Joseph Keckler who, using a laptop, piano and a projector, gave one of the most electrifying performances at Tremor. Celebrated for his operatic vocals and dark humor, the American artist took to the stage where he transformed mundane tales into surreal, poignant experiences. It's no surprise he's received rave reviews including from The New York Times who described him as a "major talent who shatters conventional boundaries." Mr Keckler's theatrical performance included haunting ballads, mesmerising storytelling, eerie grooves and comic autobiographical arias on sex with a ghost and buying too much vinyl clothing. Ranging from baritone to falsetto, Keckler captivated the audience with his powerful voice and unique artistry. The main concert venue at Tremor is on the seafront in a cavernous warehouse space, ideal for the exuberant Afrofuturist Congolese group, Fulu Miziki (music from garbage in Lingala). And in fact, the music ensemble make all their own instruments, costumes and masks from recycled materials. Their music combines raw, percussive energy with elements of traditional Congolese rhythms, noise and avant-garde experimentation. Each performance is a visual spectacle, with members wearing elaborate costumes inspired by African culture and futuristic visions. Their upcycled instruments — fashioned from items like PVC pipes, discarded metal, and plastic — created a distinct, infectious sound that had the entire crowd joyously dancing. In a fishing village once described as the poorest in Portugal traditional Azorean music met contemporary rap. Filmmaker Diogo Lima became DJ Gaivota for the evening. Also on stage was the crew that Resident Advisor dubbed the "Azorean DJ collective Convidados." And on the docks, Som Sim Zero, a group made up of deaf performers and art collective Ondamarela, regaled the crowd with choral singing, psychedelica, traditional songs and spoken word. Their energy was contagious and you didn't have to understand Portuguese to revel in the joyful experience. Eugénia, Auditório Luís de Camões, Tremor Festival 2025 Vera Marmelo Eugénia Contente, a guitarist from Ponta Delgada, wove her Azorean roots with jazz-fusion in a dynamic performance. Born in 1992 in Ponta Delgada, Ms Contente discovered her passion for the guitar at the age of nine and honed her skills at the famous Lisbon jazz venue, Hot Clube de Portugal. Her trio played from her debut album, Duckontente. to an adoring crowd. Fidju Kitxora, Portas do Ma Vera Marmelo The main Tremor dockside hub hosted an artist who divides his time between Lisbon and Cape Verde. Blending field recordings, atmospheric synthesisers, and vocal samples, Fidju Kitxora created a distinctive, memorable soundscape. In a lively collaboration with French saxophonist, Guillaume Perret, the Rabo de Peixe Music School performed a winning combination of jazz, electronic music, rock and funk to an appreciative crowd. A surprise was a beautiful solo by young flautist, Maia. And treating the audience to his own solo at the end, Guillaume Perret showed off his creative use of pedals and effects to expand the saxophone's sonic capabilities. Oko Ebombo at Tremor Festival 2025 Paul Allen/Andfotography2 Parisian multidisciplinary artist Oko Ebombo mixes poetry, hip hop, soul and dance, inspired by his own life and urban experiences. His charismatic movements, combined with hip hop and soul, greatly appealed to an admiring audience at the dockside main venue. Portuguese-born, Cape Verde based Ari experiments with beatbox and percussion. He was accompanied by dynamic French dancer Débora N'Jiokou who specialises in hip hop and house. Tremor was the first time they'd performed together and what a gorgeous, captivating debut it was. Azores Sao Miguel, Miradouro da Vista do Rei, Sete Cidades,, aerial drone view getty São Miguel is a two-hour flight from Lisbon and Oporto and a six-hour flight from Boston or New York. TAP Air Portugal offers daily flights from London Heathrow and London Gatwick to Ponta Delgada, via Lisbon. An optional free stopover in Lisbon on the way there or back is a great way to extend your trip and see more of Portugal. If traveling from North America, TAP flies from Boston, Chicago, Miami, Montreal, New York, San Francisco, Toronto and Washington to the Azores, via Lisbon and offers the same free stopovers. Tremor 2026 will run 24–28 March. Ticket sales, are to be released in tiers at different prices as follows: From Friday, 18 April 2025, the first 400 tickets were released at the €80 early bird rate. Once those are gone, the next 400 tickets will be priced at €90. All remaining tickets will be available at the standard price of €100.
