Four Days in Morocco: Exploring Marrakesh and the Guitar’s History

Day 1: Arrival in Marrakesh and the Guitar’s Roots

On Thursday, March 14th, I touched down in Marrakesh and headed straight to the Marrakesh Parc Hotel. It’s a comfortable spot, close enough to the city center to make exploring easy, and I was eager to dive into the local culture. As someone with a deep passion for guitars, I was particularly interested in uncovering the instrument’s connections to Morocco—a place that, despite its distance from Spain, has played a surprisingly important role in the guitar’s history.

The story goes back centuries, with the oud—a predecessor to the guitar—making its way to Spain with the Moors. That instrument influenced what we now know as the Spanish guitar, and Morocco was a key player in this cultural exchange. With this in mind, I was excited to see how these deep musical roots might still resonate in modern Marrakesh.

That evening, I ventured into the Medina for dinner. If you’ve never been, the Medina is a bit like stepping into another world: narrow, winding streets, stalls crammed with everything from spices to handmade crafts, and the constant buzz of people going about their lives. I found a small restaurant tucked away in one of these alleys and settled in for a meal of tagine and couscous. The sound of street musicians filled the air, adding an authentic soundtrack to the night. Their music—an intriguing mix of traditional Moroccan rhythms—was the perfect backdrop for the evening.

Day 2: Immersed in the Medina and a Nighttime Performance

On Friday, I spent the day getting lost in the Medina, this time with a more focused goal: finding out more about Moroccan musical instruments. The souks are a maze, each turn revealing a new treasure. I found several shops that specialized in traditional instruments like the guembri and the oud. The guembri, a three-stringed bass instrument made from camel skin, is at the heart of Gnawa music—a genre that’s as much a spiritual practice as it is a musical one.

That night, I performed at a small venue called Café des Artistes within the Medina. It’s a cozy spot, perfect for an intimate set. The audience was a mix of locals and tourists, all curious to hear how a modern guitar could mesh with traditional Moroccan sounds. I played a mix of original pieces and a few improvisations inspired by what I’d heard around the city. There was a particularly strong response when I blended some Gnawa rhythms into my set—something I’d been experimenting with since arriving. Afterward, I chatted with a local musician, Youssef, who had been in the audience. We talked about how the guitar has been adapted into Moroccan music, and he shared some fascinating insights into the crossover between our musical worlds.

Day 3: Art, Music, and an Intimate Riad Performance

Saturday was all about soaking up the artistic vibe of Marrakesh. I spent the day visiting galleries and workshops, where local artists showcased their work. One standout was Fatima, a calligrapher whose pieces were mesmerizing—a blend of ancient techniques and modern design, all through the lens of traditional Arabic script. Her work reminded me of the intricate patterns and rhythms I’d been exploring in music.

In the evening, I was invited to perform at a private gathering in a riad—a traditional Moroccan house centered around a courtyard. The setting was perfect for a more acoustic, stripped-down performance. The audience, a mix of local artists and musicians, created a relaxed, intimate atmosphere. I played a set that focused on the interplay between Spanish and Moroccan musical traditions, drawing on the shared history between the oud and the guitar.

After my set, a group of Gnawa musicians, led by a master named Hassan, took over. Their performance was something else—deeply spiritual, with hypnotic rhythms and chanting that seemed to transport everyone in the room. Hassan’s skill on the guembri was particularly impressive, and it was a privilege to witness such an authentic expression of Moroccan culture.

Day 4: Final Reflections and a Farewell Performance

Sunday was my last day in Marrakesh, and I took it easy, reflecting on everything I’d experienced. A stroll through the Jardin Majorelle provided a peaceful break from the intensity of the city. The garden, with its vibrant blues and lush greenery, was the perfect place to unwind and think about how much I’d learned.

Before heading to the airport, I played one final set in the lobby of the Marrakesh Parc Hotel. It was an impromptu performance, just a few fellow travelers and hotel staff gathered around. I played a mix of the pieces that had resonated most during my trip, including some improvisations inspired by Moroccan scales and rhythms. It was a fitting way to close out the journey.

Looking back, my time in Morocco was eye-opening—not just as a traveler, but as a musician. The connections between Moroccan music and the guitar’s history are deeper than I’d realised, and experiencing it firsthand has given me a whole new appreciation for the instrument I love. Marrakesh, with its unique blend of influences from Africa, Arabia, and Europe, has left a lasting impression on my musical journey.