They Will Have to Kill Us First

In 2012, Islamic extremists took control of northern Mali, enforcing a strict interpretation of sharia law that shocked the local population. This regime introduced harsh measures, which included an outright ban on music, deeply affecting Mali's rich cultural landscape.

As the extremists consolidated their power, they targeted cultural symbols, including radio stations which were destroyed and musical instruments that were burned. This marked a grave attack on Mali’s musical heritage, leaving musicians in fear for their lives.

With the music ban in place, many of Mali's revered musicians were compelled to go into hiding or flee the country. The threat of torture and death loomed large over their heads, dramatically altering their lives and careers.

Despite the severe restrictions, Mali's musicians refused to surrender their cultural identity. They began organizing themselves, utilizing music as a weapon to fight back against the oppressive regime that was trying to erase their heritage.

As tensions escalated, the film explores the uprising of the Touareg separatists, who sought autonomy and were resistant against the militant groups. This uprising became intertwined with the musicians' fight for the freedom to express themselves.

The film sheds light on the dire living conditions in refugee camps where many artists found themselves displaced. Scarce resources and a lack of hope painted a bleak picture for the musicians trying to survive far from home.

Amidst the chaos, some musicians decided to take perilous journeys back to their war-ravaged cities. These journeys revealed deep personal stories of sacrifice and love for their homeland and music, amidst the backdrop of a torn country.

As plans began to materialize, musicians worked tirelessly to prepare for the first public concert in Timbuktu since the ban. Amidst the fear and uncertainty, the concert became a symbol of hope and resilience for the community.

In a poignant moment of defiance, the musicians succeeded in organizing and performing at the first public concert in Timbuktu since the music ban. This event marked a crucial point in their struggle to reclaim their cultural identity through music.

The impact of the concert went beyond mere entertainment; it revitalized a sense of community and unity among the people of Mali. Music emerged once again as a powerful force capable of healing and galvanizing the spirits of those oppressed.

The musicians’ journey illustrates not only their personal stories but also the broader legacy of resistance against tyranny. Their efforts to revive music in Mali serve as an inspiration, reinforcing the notion that the spirit of culture cannot easily be extinguished.