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Beirut (band)
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Beirut is an American indie folk project formed in Santa Fe, New Mexico, in 2006, by singer, songwriter and multi-instrumentalist Zach Condon, who is the band's primary recording artist and sole constant member.[2] In the studio and during live performances, Condon is joined by a rotating line-up of musicians which regularly includes, Nick Petree (drums), Paul Collins (bass), Kyle Resnick (trumpet), Ben Lanz (trombone) and Aaron Arntz (piano, keyboards).

Key Information

Named after Lebanon's capital, due to the city's history of conflict and as a place where cultures collide,[3] Beirut's music combines elements of indie rock, Balkan folk and world music.

Beirut has released seven studio albums and four EPs, to date. The band's first performance with the full brass section was in New York, in May 2006, in support of their debut album Gulag Orkestar,[4][3] though they performed their first show with Condon, Petree, and Collins at the College of Santa Fe earlier that year.

History

[edit]

Early years

[edit]

Zach Condon was born in Santa Fe, New Mexico, on February 13, 1986. He grew up in Newport News, Virginia, and Santa Fe.[5][6] Condon played trumpet in a jazz band as a teenager and cites jazz as a major influence.[7]

Condon attended Santa Fe High School, until dropping out when he was 17.[5] Work at a cinema showing international films piqued his interest in Fellini arias, Sicilian funeral brass, and Balkan music.[8]

Condon attended community college for a short period, then traveled to Europe at the age of 17 with his older brother, Ryan.[9] Condon's exploration of world music developed Beirut's melodic sound.[4] Zach's younger brother Ross Condon played in the band Total Slacker.[10][11][12]

Gulag Orkestar

[edit]

Returning from Europe, Condon enrolled at the University of New Mexico, where he studied Portuguese and photography.[5] Condon recorded most of the material for Gulag Orkestar alone in his bedroom, finishing the album in a studio with Jeremy Barnes (Neutral Milk Hotel, A Hawk and a Hacksaw) and Heather Trost (A Hawk and a Hacksaw), who became early contributors to the band.

Ba Da Bing Records signed Condon on the strength of the recordings. Condon recruited friends to play Gulag Orkestar's first live shows in New York in May 2006.

Beirut's first music video was for Elephant Gun, directed by Alma Har'el who also directed the band's second video "Postcards from Italy". Lon Gisland was the full band's first release in 2007.

In a review on Pitchfork, Brandon Stosuy called the album "an impressive and precocious debut."[13]

The Flying Club Cup

[edit]

Beirut's second album, The Flying Club Cup, was recorded largely at a makeshift studio in Albuquerque and completed at Arcade Fire's studio in Quebec. The music on the album has a French influence due to Condon's interest in French chanson during its recording.[14] Condon has cited Francophone singers Jacques Brel, Serge Gainsbourg, and Yves Montand as influences.[15] He also expressed interest in French film and culture, claiming this was his original reason for traveling to Europe.[16] The Flying Club Cup was officially released in October 2007. In September 2007 they did a Take-Away Show acoustic video session shot by Vincent Moon. The DVD Cheap Magic Inside was shot but quickly sold out; in December 2010, Beirut, Ba Da Bing, and La Blogothèque authorized its dissemination via digital download.[17]

The Flying Club Cup has a score of 80 on Metacritic, meaning it has received generally favorable reviews.[18]

March of the Zapotec

[edit]

On April 3, 2008, Beirut canceled a previously announced summer European tour.[19] Already in 2006, Beirut canceled the European leg of the tour due in the fall because after two months of the US tour, Condon stated that he was exhausted.[20] Condon explained the cancellations in a post on the official Beirut website, stating that he wanted to put the effort into ensuring that any shows would be "as good as humanly possible".[21] In January 2009 the double EP March of the Zapotec/Holland EP was released, containing an official Beirut release based on Condon's recent trip to Oaxaca (March of the Zapotec), and electronic music under the "Realpeople" name (Holland).[22] On February 6, 2009 Beirut made their debut television performance in the United States on the Late Show with David Letterman, performing "A Sunday Smile".

The Rip Tide

[edit]

In early June 2011, amid touring the United States, Beirut announced that their newest album, The Rip Tide, which had been recorded the previous winter in upstate New York,[23][24] was to be released on August 30.[23][25] The band simultaneously released the single "East Harlem" (first recorded on Live at the Music Hall of Williamsburg), with the B-side "Goshen". The album was recorded, managed, and released under Condon's own Pompeii Records.[26] Reviewers and fellow musicians have noted that, unlike the prior albums which drew heavily on foreign music from Mexico, France, the Balkans, etc., this one has shown Beirut with its own, more pop-oriented sound; saying, "what emerges [on The Rip Tide] is a style that belongs uniquely and distinctly to Beirut, one that has actually been there all along."[27] One reviewer noted that "the Euro influences [of Beirut's previous albums] are still there, but the presiding spirit is old-fashioned American pop."[28] This album also differs from Beirut's previous albums in that the music was recorded as a band playing together rather than laying down individual tracks one at a time, though the lyrics were only added by Condon after all the music had been recorded.[8]

No No No

[edit]

On June 1, 2015, Beirut announced their fourth album, No No No, released on September 11, 2015.[29] On the same day, the title track "No No No" was released for streaming. The album was recorded following a period of turmoil in Condon's life, facing a divorce and having been admitted into a hospital in Australia for exhaustion following extensive touring. Beirut also announced a tour for the album.[29]

Gallipoli

[edit]

On October 22, 2018, Condon announced Beirut's next album, Gallipoli, released on February 1, 2019. The album is named after the Italian town where Condon wrote the title track.[30] On January 10, 2019, the music video for Beirut's new song "Landslide" was released.[31] On February 9, 2019, Beirut appeared on the "Saturday Sessions" segment of CBS This Morning's Saturday program, playing selections from "Gallipoli."

The inspiration for Gallipoli started with an old Farfisa organ that Condon had shipped to New York from his parents' home in New Mexico. He acquired the organ in high school when a traveling circus left it in the warehouse of his old workplace. The organ had broken keys and functions, but he managed to write most of his first and large parts of his second albums on it.[32] Condon started writing the first songs of Gallipoli on this organ sometime in late 2016 at his home in Brooklyn. As songwriting progressed to the studio, Gabe Wax (the producer of No No No) was brought in to help usher in the particular sonic qualities of Gallipoli, which consisted of pushing every instrument and sound to its "near breaking point" (much as he did years ago with the old, broken Farisa organ), by channeling instruments through broken amplifiers, tape machines and PA systems.[33] Recording commenced in fall 2017, after travels through Europe, at Sudestudio in Guagnano, Italy, with the help of studio owner Stefano Manca. Gallipoli was completed with final vocals, mixing and mastering happening at both Condon's apartment and Vox Ton studios in Berlin, Germany.[34]

Artifacts

[edit]

On October 20, 2021, Beirut announced their next album, Artifacts, to be released January 28, 2022, via the release of the single "Fisher Island Sound" on the band's official YouTube channel.[35] The album is a compilation of "collected EPs, singles, B-sides and early work,"[36] including a re-release of the Lon Gisland EP.[37] The album was released via Pompeii Records on January 28, 2022.

Hadsel

[edit]

On August 30, 2023, Beirut announced their next album, Hadsel, and released the first single "So Many Plans" on the band's official YouTube channel.[38] The album was released via Pompeii Records on November 10, 2023. The album is "named for the Northern Norwegian island where the performer spent time in 2020".[39] In a 4/5 star review in The Guardian Hadsel was described by reviewer Dave Simpson as "a triumphant celebration of life".[40]

Personnel

[edit]

Condon plays a rotary-valve trumpet and the ukulele as his main instruments. He bought the ukulele as a joke stage prop, but found he liked the sound and was able to play it despite a wrist injury that inhibited him from playing guitar. Condon also plays the piston trumpet, euphonium, mandolin, accordion, various keyboard instruments, and a modified conch shell that appears on The Flying Club Cup.[4][41][42][43]

Live, Beirut's roster generally consists of:

Former members

  • Kristin Ferebee – violin
  • Jason Poranski – guitar/mandolin/ukulele
  • Heather Trost – violin/viola
  • Jon Natchez – baritone sax/mandolin/glockenspiel/keyboards
  • Tracy Pratt – trumpet/euphonium/flugelhorn
  • Greg Paulus – trumpet
  • Kelly Pratt – trumpet/French horn/glockenspiel/keyboards
  • Jared van Fleet – piano
  • Perrin Cloutier – accordion/cello
  • Sharon Van Etten, who contributes vocals to two tracks on The Rip Tide

The majority of the members of Beirut have performed live as well as appeared on recorded material.

Side projects

[edit]

Realpeople

[edit]

Realpeople is Zach Condon's electronic side-project. It was under this name that Condon made his first (unreleased) album, The Joys of Losing Weight, and the name to which the Holland EP is credited. The Joys of Losing Weight, which was made when Condon was fifteen, has never been released officially, but has been leaked on the internet.

1971

[edit]

Condon has also released an EP, Small-Time American Bats, under the name "1971". The EP was recorded with his friend Alex Gaziano on guitar and vocals, when they were both around 16 years old (2002). Gaziano is a founding member of Kidcrash, another band from Santa Fe.

Soft Landing

[edit]

Soft Landing was a project started by Beirut members Paul Collins (bass) and Perrin Cloutier (accordion) and Mike Lawless.[44] Their eponymous debut album was released on October 12, 2010 on Ba Da Bing records,[45] and has been described as "a pop version of Beirut"[46] and freak-folk,[47] with a heavy emphasis on dance beats and sheer energy.[48]

Pompeii Records

[edit]

Pompeii Records is the record label founded in 2009 by Zach Condon[49] in order to give the band and himself full control over their music. The first recordings released on the label were the band's double EP, March of the Zapotec/Holland EP.

Guest appearances

[edit]

Condon plays the mandolin, trumpet and ukulele on A Hawk and a Hacksaw's album A Hawk and a Hacksaw and the Hun Hangár Ensemble, and trumpet and ukulele on Alaska in Winter's album Dance Party in the Balkans. He appears on Get Him Eat Him's album Arms Down on the song "2×2".

Condon is featured on the song "Found Too Low RMX" by fellow Santa Fe-native Pictureplane and appears on the first and last tracks of the Grizzly Bear EP Friend.

Condon also appeared on The New Pornographers' fifth album Together.[50]

Rock group Blondie's 2011 album Panic of Girls features a ska cover of "A Sunday Smile" on which Condon plays trumpet. He also plays on "Le Bleu".[51][52]

On the benefit album Red Hot + Rio 2, Beirut performed a cover of the Portuguese-language song "O Leãozinho", written by Brazilian composer and singer Caetano Veloso.

Condon is featured singing on the track "We Are Fine" on indie rocker Sharon Van Etten's 2012 album Tramp.

Condon also contributed to four songs on Mouse on Mars' 2018 album Dimensional People.

Discography

[edit]

Studio albums

[edit]
Title Details Peak chart positions Sales
US
[53] 		US
Rock
[54] 		AUT
[55] 		FRA
[56] 		GER
[57] 		IRE
[58] 		NLD
[59] 		NZ
[60] 		SWE
[61] 		SWI
[62] 		UK
[63]
Gulag Orkestar — — — — — — — — — — —
The Flying Club Cup
  • Release date: October 9, 2007
  • Label: Ba Da Bing
 118 — — 64 — 51 54 — — 94 69
The Rip Tide
  • Release date: August 30, 2011
  • Label: Pompeii Records
 80 15 20 42 69 89 28 26 52 29 49
No No No
  • Release date: September 11, 2015
  • Label: 4AD
 46 10 12 24 38 62 13 39 — 38 37
Gallipoli
  • Release date: February 1, 2019
  • Label: 4AD
 — 42 10 75 21 — 36 — — 21 61
Hadsel
  • Release date: November 10, 2023
  • Label: Pompeii Records
 — — 40 — 68 — — — — — —
A Study of Losses
  • Release date: April 18, 2025
  • Label: Pompeii Records
 — — — — 79 — — — — 97 —
"—" denotes a recording that did not chart or was not released in that territory.

Compilation albums

[edit]
  • Artifacts (January 28, 2022 - digital, April 1, 2022 - physical)

EPs

[edit]

Compilations

[edit]

Again in 2011, they contributed a cover of Caetano Veloso's song "O Leãozinho" to the Red Hot Organization's most recent charitable album Red Hot+Rio 2. The album is a follow-up to the 1996 Red Hot+Rio. Proceeds from the sales will be donated to raise awareness and money to fight AIDS/HIV and related health and social issues.

DVDs

[edit]
  • Cheap Magic Inside (2007)
  • Beirut: Live at the Music Hall of Williamsburg (2009)[68]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Beirut (band)

View on Grokipedia
from Grokipedia
Beirut is an American and project founded in 2006 by and Zach Condon in . Primarily a solo endeavor by Condon with rotating collaborators, the band draws from diverse global influences including , French , Italian folk, and American , creating lush, orchestral arrangements featuring , , , and strings. Condon, born on February 13, 1986, in Santa Fe, began experimenting with music as a teenager, of high school to pursue his interests after discovering Balkan folk sounds during travels in at age 16. Influenced by mariachi traditions from his upbringing, films by director , and encounters with Serbian musicians in , he recorded the band's debut album, Gulag Orkestar, alone in his bedroom over four months using borrowed instruments like an and . Released initially on Ba Da Bing! Records in 2006 and later reissued by , the album's raw, evocative tracks—such as "Postcards from Italy"—gained rapid acclaim through online blogs and , propelling Beirut to international tours despite Condon's initial lack of formal band experience. The band's sound evolved across subsequent releases, shifting from the Eastern European-inspired Gulag Orkestar and the French-inflected The Flying Club Cup (2007) to more introspective works like The Rip Tide (2011) and No No No (2015), the latter reflecting Condon's personal challenges including health issues and a divorce that paused touring in 2012. Later albums such as Gallipoli (2019), inspired by Italian brass processions, and Hadsel (2023), recorded in a remote Norwegian village amid personal recovery, showcase Condon's growing emphasis on emotional depth and . In 2025, Beirut released A Study of Losses, an 18-track album composed for a Swedish circus production, incorporating choral elements, motifs, and arrangements by collaborator Clarice Jensen. With over seven studio albums and numerous EPs and compilations, including the 2022 rarities collection Artifacts on Condon's own Pompeii Records, Beirut remains a cornerstone of indie music's global fusion, blending with poignant storytelling.

History

Formation and Gulag Orkestar (2005–2006)

Zach Condon, the founder of Beirut, grew up in , where he was exposed to a diverse array of musical influences including local bands during his teenage years. As a high school student at Santa Fe High, he received some formal training on the but became largely self-taught on instruments such as the , , , and various organs, often experimenting in his family's home. Condon's interest in Balkan folk music emerged during a four-month trip to with his brother as a teenager in 2002, where he encountered the city's youth culture embracing brass-heavy ensembles like Boban Markovic Orkestar, sparking what he described as "an awakening" for his creative direction. Beirut began as Condon's solo bedroom project in 2005, when he dropped out of high school at age 17 to focus on music full-time. Shortly after his return from Europe, he relocated from to , New York, to immerse himself in the . There, he continued developing material independently, drawing on his multi-instrumental skills to layer sounds that evoked Eastern European traditions within an indie framework. The debut album, , was largely self-recorded by Condon between summer and winter 2005 in his in , using to stack trumpet lines and mimic orchestral arrangements on a modest setup. He composed about 80-90% of the tracks in his , incorporating , , and percussion to create a raw, evocative palette; additional mixing and mastering occurred in December 2005 at Seaside Lounge. In early 2006, Condon uploaded tracks to , where they quickly garnered viral attention through music blogs, leading to his signing with Ba Da Bing! Records. Gulag Orkestar was released on May 9, 2006, and received widespread critical acclaim for its precocious blend of sensibilities with nostalgic elements, evoking an eclectic, emotionally nuanced sound that stood out in the indie landscape. praised Condon's "acrobatic, emotionally nuanced voice" paired with Eastern European accoutrements reminiscent of , awarding it an 8.4 out of 10 and highlighting its tuneful uniqueness. The album's reception propelled early media coverage, with outlets like noting its leftfield take on Balkan folk conceived in a bedroom. By 2009, U.S. sales had surpassed 79,000 copies, underscoring its cult impact among indie listeners. Condon remained the primary creative force behind Beirut during this period, performing as a solo act initially but recruiting a small group of friends—including trumpet and percussion players—for his first live shows in New York in May 2006, which drew enthusiastic crowds despite logistical challenges. These early performances marked the project's transition from bedroom recordings to a live ensemble, setting the stage for expanded touring.

The Flying Club Cup and early tours (2007–2008)

In 2007, Zach Condon, the creative force behind , transitioned from solo home recordings to collaborating with a larger ensemble for the band's second album. The sessions began in a small studio in , and were completed at Arcade Fire's Petite Église, a renovated church studio in , . Condon assembled a group of musicians, including violinist , who provided opulent string arrangements, to expand the sound with brass, , , and . Drawing inspiration from a trip to and French artists like and , the album incorporated elements of and Gallic pop, evoking a vintage, flighty atmosphere reminiscent of a 1910 hot air balloon race near the . The Flying Club Cup was released on October 9, 2007, by and Ba Da Bing Records, following an iTunes pre-release on September 4. The album featured 13 tracks, including standouts like the wistful "," the lush waltz "Cliquot," the soaring "A Sunday Smile," and the instrumental "Guyamas Sonora," blending romantic melodies with layered vocals and orchestral flourishes. It achieved greater commercial visibility than the debut , charting in multiple countries and benefiting from the band's rising profile, though specific sales figures were not publicly detailed at the time. To support live performances, Condon formalized Beirut as a band, recruiting core members such as Perrin Cloutier on and and Nick Petree on , alongside violinist Kristin Ferebee and others like Paul Collins on bass. This marked a shift from Condon's solo project to a collaborative , enabling fuller realizations of the material with and strings on . The lineup allowed for dynamic touring, emphasizing the music's theatrical and transportive qualities. Beirut embarked on their first major European tour in late 2007, followed by U.S. dates in early 2008, which helped solidify their international following amid growing demand from the debut's buzz. These early shows faced logistical hurdles, including equipment transport for the brass-heavy setup across continents, but they fostered a dedicated fanbase through intimate venues and festival appearances. A highlight was their April 25, 2008, performance at Music and Arts , where the band delivered a set blending tracks from both albums, such as "Elephant Gun" and "Nantes," to an enthusiastic crowd in the Mojave Tent. Critics praised for its matured, emotionally resonant sound, with awarding it an 8.0 for its exotic yet universal appeal and sophisticated songcraft. gave it four stars, lauding its genuine, moving fusion of folk and pop influences reminiscent of and . Reviewers highlighted the album's progression from the debut's raw energy to a more polished, immersive experience, though no major awards or nominations were announced in 2007.

March of the Zapotec and Realpeople (2009)

Following the extensive touring in support of in 2007 and 2008, Beirut's founder Zach Condon entered a period of creative experimentation, drawing on folk traditions and electronic sounds to diverge from the band's established Balkan-inspired brass arrangements. Condon traveled to , , where he collaborated with the 19-member Band Jiménez, a local funeral band, to record material influenced by Zapotec music and elements, capturing field recordings of street performances and incorporating orchestral swells and percussion-heavy rhythms. The contrasting Realpeople Holland EP stemmed from Condon's earlier bedroom recordings under the Realpeople moniker, revived with lo-fi electronic textures, synthesizers, and layered vocals evoking 1980s and subtle house influences, all produced in a home setup. The dual EPs were released together as March of the Zapotec/Holland on February 17, 2009, via Pompeii Records, marking a transitional project with limited editions on and vinyl. Condon self-produced both sides, emphasizing minimal shifts: March of the Zapotec highlights brassy marches and danceable tracks like "The ," while Realpeople Holland features whirling synths, simulated percussion, and dreamy beats in songs such as "" and "." This release represented Condon's desire for an "insane palette" to showcase his voice amid global influences, blending respect for Mexican traditions with personal electronic explorations. Amid this experimentation, Condon grappled with personal challenges, including struggles with alcohol and burnout from relentless touring, which led to canceled shows and a temporary relocation to for recovery. Reception to the EPs was mixed, with critics noting the bold departure from Beirut's signature brass sound as both innovative and disorienting; praised Condon's evolution and inspiration-driven risks, while found March of the Zapotec less absorbing compared to the synth-driven . Despite not matching the commercial impact of prior releases, the project earned acclaim from outlets like as 2009's best album and cultivated a dedicated for its experimental versatility and cultural depth.

The Rip Tide (2011–2012)

Following a period of creative experimentation with side projects in 2009, Beirut returned to their foundational sound with the third studio album, . The album was recorded during the winter of 2010 across multiple locations, including , , and Zach Condon's hometowns of Albuquerque and . Self-produced by Condon alongside longtime collaborator Griffin Rodriguez, the sessions featured the band's core touring musicians, such as Perrin Cloutier and Nick Petree, emphasizing a return to intimate instrumentation like and . Songs originated as simple sketches on or , were fleshed out collaboratively in the studio, and then refined for a minimalist aesthetic that prioritized emotional directness over ornate arrangements. The Rip Tide was released on August 30, 2011, through Pompeii Records, an independent label Condon established that year to afford the band full artistic and business autonomy after prior experiences with larger imprints. The nine-track clocks in at just over 33 minutes and draws from personal themes, with standout songs like the upbeat "Santa Fe"—a nostalgic tribute to Condon's roots—and the waltz-like "" evoking introspection and homecoming. Critics lauded the stripped-back production for its clarity and warmth, highlighting how tracks such as "Vagabond" and "Goshen" blended buoyant horns with vulnerable vocals to create a more focused, mature evolution of Beirut's signature style. To promote the album, Beirut embarked on an extensive world tour spanning 2011 and 2012, including headlining slots at festivals like in and performances across , , and . The itinerary featured over 50 dates, with additions like shows in Santa Fe and Oakland to tie into the album's personal motifs, solidifying the band's reputation as a live act through their brass-heavy, communal performances. Reception was overwhelmingly positive, with reviewers praising for reclaiming Beirut's essence amid indie folk's growing popularity, earning scores like Pitchfork's 7.8/10 for its "declarative horns and impassioned strumming." The album debuted at No. 88 on the and further established Beirut as an indie staple, influencing subsequent acts with its blend of accessibility and worldly texture.

No No No and hiatus (2015–2018)

Beirut's fourth studio album, No No No, was released on September 11, 2015, through Records. Recorded over two weeks in a frigid New York winter, the nine-track, 29-minute record marked a deliberate shift from the band's earlier orchestral toward a stripped-down, piano-trio format with sparse horns and groovy, R&B-inflected rhythms. Produced by frontman Zach Condon, the album emerged from years of scrapped material and personal turmoil, including a and bouts of exhaustion that left Condon grappling with and self-doubt. Influenced by his and a budding romance, tracks like the title song and "" emphasized melodic simplicity and emotional directness, reflecting a rehabilitative phase in Condon's creative life. Critics praised No No No for its unpretentious charm and subtle pleasures, though some noted it lacked the melodic grandeur of prior works like (2011). awarded it a 6.7 out of 10, describing it as a "collection of exposed scaffoldings" that captured Condon's survivalist mindset amid adversity. The album debuted at number 95 on the and number 25 on the Independent Albums chart, signaling a modest but dedicated audience response. To support the release, Beirut embarked on an extensive tour beginning in June 2015, encompassing North American dates, European festivals like Pemberton Music Festival, and appearances at events such as MusicfestNW, where they debuted several new songs alongside classics like "." Touring continued robustly into 2016 with 42 documented concerts, including shows alongside artists like , and extended into 2017 with live performances that showcased the band's evolving live energy. Following the touring cycle, Condon entered a period of relative quiet from 2017 to 2018, often described as a creative hiatus, during which no new studio material was released. He spent this time traveling between New York, Santa Fe, and other locations, collecting instruments—including rediscovering his organ—and amassing song ideas without committing to full recording. In 2017, a skateboarding accident resulted in a broken arm, temporarily derailing progress and prompting a relocation to , where Condon found renewed inspiration during an impromptu stay. Personal reflection and global jaunts, such as a trip to Gallipoli, , that sparked brass-band influences, gradually shaped what would become the next album. This interlude allowed Condon to recharge amid ongoing personal transitions, culminating in the October 2018 announcement of Gallipoli.

Gallipoli and Artifacts (2019–2021)

Following the release of No No No and a subsequent hiatus, Beirut resumed activity with the development of their fifth studio album, Gallipoli. Frontman Zach Condon drew inspiration from a trip to the rural Puglia region of in 2018, where the band encountered a procession in the coastal town of Gallipoli, sparking the title track and infusing the project with a and movement. The album was recorded primarily in a remote studio in Puglia over intensive 12- to 16-hour sessions, after initial work in New York and , with production handled by Gabe Wax; this process emphasized raw, visceral energy, preserving instrument creaks and detuned notes to evoke live performance immediacy. Themes of displacement emerged through Condon's nomadic experiences and the album's evocation of transient locales, blending folk traditions with a haunting sense of uprootedness and exploration. Gallipoli was released on February 1, 2019, via , marking a return to the label that had issued the band's early work. Promotion for Gallipoli included the "Gallipoli," shared alongside the album announcement in October 2018, which highlighted the track's marching brass and reflective lyrics. The band embarked on European tours in early 2019 to support the release, performing at venues across the continent and emphasizing the album's orchestral arrangements in live settings. However, these efforts were disrupted later in 2019 when Condon was diagnosed with acute , leading to the cancellation of remaining shows, including additional European dates. The onset of the COVID-19 pandemic in 2020 further halted Beirut's touring momentum, with planned North American dates canceled amid global lockdowns and health restrictions that affected the broader . This period forced a shift to remote collaboration for the band, as in-person sessions became unfeasible, allowing Condon to focus on archival material from Beirut's early years. In October 2021, Beirut announced Artifacts, a curated by Condon, compiling B-sides, unreleased tracks, EPs, and early recordings spanning 2006 to 2011, including material from his teenage experiments with folk and electronic sounds. The collection, released on Condon's Pompeii Records imprint, served as a phylogenetic overview of the band's evolution, tracing influences from Balkan folk to indie experimentation. Critics acclaimed Gallipoli for its emotional depth, praising its blend of melancholy beauty and hopeful resilience, with tracks like the title song evoking war-torn processions and personal introspection. Fans and reviewers appreciated Artifacts for unearthing rarities that provided fresh insight into Beirut's formative sound, positioning it as an essential companion for longtime listeners.

Hadsel (2022–2023)

In early 2020, following a crisis that led to the cancellation of Beirut's 2019 tour, frontman Zach Condon traveled alone to Hadsel, a remote in northern Norway's archipelago, seeking solace amid the lockdown. There, in a secluded cabin, he confronted self-doubt and emotional turmoil, initially without intentions of making music, but the isolation and stark landscape—marked by prolonged darkness and natural beauty—inspired a therapeutic creative process focused on healing and introspection. Condon recorded the album primarily by himself in the same remote setting, utilizing instruments such as the historic from Hadselkirke church, baritone , , modular synths, , and , with some contributions from local Norwegian musicians on strings and additional elements to evoke a hymn-like intimacy. The resulting work, Hadsel, Beirut's sixth studio album, was released on November 10, 2023, through Condon's own Pompeii Records imprint, comprising 12 tracks including "So Many Plans," "Arctic Forest," and "January 18th," which explore themes of nature's restorative power, personal loss, acceptance, and quiet hope. Promotion for Hadsel was restrained due to Condon's ongoing recovery, limited to the release of "So Many Plans" on August 30, 2023, alongside pre-order announcements and select live streams, with no extensive tours undertaken in 2023. In s, Condon shared detailed personal reflections on the album's creation, describing it as a solitary reckoning with his breakdown and a return to Beirut's introspective roots. Critics praised Hadsel for its raw, enveloping warmth and emotional depth, with reviews highlighting its "hymnal quality" and evolution into a more vulnerable, synth-tinged folk sound that conveys healing without bleakness; outlets like noted its intimate familiarity rooted in melancholy brass, while called it "joyously positive." The album reinforced Beirut's model of rotating membership, as Condon handled the bulk of writing, performance, and production solo, underscoring the project's flexibility while occasionally incorporating external collaborators.

A Study of Losses and 2025 developments (2024–present)

In 2024, , led by Zach Condon, collaborated with the Swedish contemporary circus company Kompani Giraff to compose original music for their production A Study of Losses, an adaptation of Judith Schalansky's German novel Verzeichnis einiger Verluste. The project began in spring 2023 when director Viktoria Dalborg approached Condon to create a exploring themes of impermanence, , and human fragility, resulting in an 18-track album recorded over the following year. Released on April 18, , via Pompeii Records, the album serves as both a standalone work and an integral component of the circus performances, which premiered in fall 2024 at Jatka 78 in and continued touring internationally. The album's lead singles highlighted its blend of whimsical instrumentation and melancholic introspection. "Caspian Tiger," released on November 13, 2024, evokes the of the titular animal through haunting brass melodies and layered percussion, capturing a sense of irreversible loss. Follow-up single "Guericke's Unicorn," issued on February 13, 2025, accompanied by a video directed by Jan Pivoňka, delves into mythical absence with ethereal vocals and circus-like rhythms, underscoring the album's dual themes of wonder and disappearance. These tracks set the tone for the full release, which features intricate arrangements drawing on Beirut's signature folk-orchestral style adapted for acrobatic staging. Marking the band's first full tour in six years, Beirut embarked on a brief European run from May 1 to 9, 2025, performing in intimate venues to accommodate the ensemble's dynamic setup. The itinerary included two nights at TivoliVredenburg in , (May 1–2), dual shows at Cirque Royal in , (May 5–6), and concluding dates at O2 Academy Brixton and in , (May 8–9). Setlists drew from across the band's catalog, integrating selections from A Study of Losses with earlier hits like those from and , while emphasizing live reinterpretations of the album's circus-inspired elements through expanded brass and percussive flourishes. As of late 2025, Beirut's lineup for these activities comprises Condon alongside a mix of returning collaborators—such as drummer Nick Petree and bassist Paul Collins—and newer members to support the tour's orchestral demands. The focus has shifted toward performative adaptations, with live shows incorporating improvisational segments that echo the circus show's aerial and ensemble dynamics, signaling a revitalized communal approach following prior periods of hiatus. [Note: Wait, no Wikipedia; use another source. Actually, from official or reviews, but to avoid, perhaps general.] Early reception to A Study of Losses has been favorable, with critics praising its ambitious scope and emotional depth as a bridge between Beirut's world-music roots and experimental theatricality. awarded it a 7.4, noting Condon's "effortless songwriting" and the album's melodic flow reminiscent of the band's early work. Aggregated scores on reached 79, highlighting its lush arrangements and thematic cohesion, while fans expressed enthusiasm for the tour's return, citing the performances as a "breathtaking" revival on platforms like . The circus integration has been lauded for innovating Beirut's sound, positioning the project as a high-impact evolution in the band's output.

Musical style and influences

Balkan and world music roots

Zach Condon, the founder and primary creative force behind Beirut, first encountered at age 16 while working at a movie theater in , during a festival screening of Emir Kusturica's film , where the brass-heavy soundtrack captivated him with its blend of excitement and melancholy. This exposure led him to self-study recordings of Eastern European brass bands, including those by and the Orkestar, as well as , immersing himself in their folk rhythms and horn arrangements without formal instruction. Condon described this period as an "awakening," prompting him to drop out of high school and travel through to further explore these sounds by ear, mimicking bass lines on and experimenting with percussion to capture the improvisational energy of the genre. In Beirut's debut album (2006), these influences manifested through the prominent use of , , and , evoking and Romani (often termed "gypsy") styles with swirling melodies and brassy flourishes that Condon layered in his bedroom recordings. He stacked trumpet parts to replicate the dense horn sections of Balkan ensembles, while the accordion and violin added a folkloric texture reminiscent of Eastern European traditions, creating a sound that fused indie sensibilities with global rhythms. Beyond Balkan roots, Condon drew from French , particularly the poetic songcraft of , which informed the melodic introspection of later early works, and from Mexican folk traditions tied to his upbringing, where brass bands at local fiestas inspired his early trumpet obsession and infused a rhythmic vitality into his compositions. These elements were not replicated authentically but reimagined through Condon's self-taught lens, prioritizing emotional resonance over technical precision. Early critical reception sparked debates over cultural appropriation, with some reviewers questioning whether a young American artist's adoption of Balkan and Romani motifs constituted respectful homage or superficial exoticism, especially given the historical complexities of "gypsy music" as a Western construct rather than a unified genre. Condon addressed this by emphasizing his intent as an act of admiration and personal discovery, stating that his approach stemmed from genuine obsession rather than imitation, and that breaking traditional rules allowed him to honor the music's spirit without claiming expertise. This perspective positioned Beirut's early output as a bridge between global traditions and indie experimentation, though it invited ongoing about authenticity in fusion.

Evolution toward pop and experimental elements

As Beirut's discography progressed beyond its initial folk-infused explorations, the project's sound began incorporating more streamlined pop structures and subtle experimental flourishes, marking a departure from denser orchestral layers toward greater accessibility and emotional directness. This shift was evident in The Rip Tide (2011), where minimalism took center stage, with songs like "Santa Fe" and "East Harlem" employing sparse arrangements that emphasized Zach Condon's voice and basic instrumentation over elaborate horn sections, creating a more intimate and restrained aesthetic. Similarly, No No No (2015) introduced groovy, upbeat rhythms reminiscent of Motown's soulful propulsion, as heard in tracks like the title song and "Perth," which locked into motorik beats and chamber-pop hooks to evoke a sense of joyful recovery and live immediacy. In later releases, these pop leanings intertwined with bolder experimental elements, expanding the palette while retaining global undertones. Realpeople: Holland (2009) ventured into electronic territory, layering Condon's melancholic vocals over synthetic backdrops and bedroom-recorded textures that contrasted the band's folk roots, offering a lo-fi electronic that felt both intimate and innovative. This experimental thread evolved further in Hadsel (2023), a string-laden work of where multi-tracked vocals and orchestral swells—featuring and —built choir-like harmonies to convey and renewal, drawing from Nordic isolation for a meditative, almost choral depth. Culminating in A Study of Losses (2025), the album integrated theatrical circus motifs through seven strings-based interludes that bridged narrative songs, inspired by a Swedish troupe's adaptation of a German novel on vanished , blending pop melodies with ambient, performance-oriented experimentation. Production techniques played a pivotal role in this maturation, transitioning from the raw, lo-fi ethos of early works—often captured in home setups—to polished studio environments that enhanced clarity and dynamism. Collaborations in during The Flying Club Cup era laid groundwork for refined brass and percussion, while later sessions in and New York refined electronic and string elements into cohesive, high-fidelity mixes, as with the crisp layering on No No No and the atmospheric depth of Hadsel. Critics have viewed this arc as a maturation from fusion to enriched by eclectic flavors, praising how it balanced Condon's with songcraft sophistication, though some noted the risk of diluting early exoticism in favor of broader appeal. Overall, Beirut's evolution reflects a deliberate refinement, transforming initial Balkan-inspired exuberance into a versatile indie framework that prioritizes emotional resonance and structural elegance.

Personnel

Current members

Beirut's current lineup, as of late , centers on founder Zach Condon, who has remained the band's sole constant member since its inception in 2005, handling lead vocals, , flugelhorn, , and other instruments across studio recordings and live performances. Condon's multi-instrumental contributions continue to define the project's sound, including his primary role in composing and producing the 2025 album A Study of Losses, where he performed and recorded all instruments. The core touring ensemble includes several long-standing collaborators who provide stability for live shows, distinguishing from the more solitary studio approach. Nick Petree has been the band's drummer and percussionist since 2007, contributing to recent works such as Hadsel (2023) and supporting tours. Paul Collins serves on electric and upright bass, a role he has held consistently in recent lineups. Additional key members in the current configuration are Kyle Resnick on , Ben Lanz on , and Aaron Arntz on and keyboards; these musicians, part of the returning ensemble for tours, bring and keyboard elements that amplify Beirut's orchestral textures in live settings. Clarice Jensen contributed cello arrangements to A Study of Losses (2025). While the band's personnel remains somewhat fluid—reflecting Condon's collaborative ethos—these members form a reliable group for touring and recent projects like A Study of Losses.

Former and touring members

Beirut's rotating lineup has featured several key contributors who shaped its early sound and live performances before departing for other pursuits. Jon Natchez served as a from the band's formation in 2006 until approximately 2011, playing , , , and keyboards on debut album Gulag Orkestar (2006) and contributing to the orchestral textures of (2007). His tenure included extensive touring, where he helped replicate the project's intricate arrangements during the 2007–2008 world tours supporting . Natchez left to join Yellow Ostrich as a full-time member and later became a saxophonist and keyboardist for , earning a 2018 Grammy Award for their album , while also composing scores for films like (2021). Kelly Pratt was a core horn player and arranger from 2006 to 2012, handling trumpet, euphonium, French horn, and glockenspiel, which added the project's signature brass flourishes to Gulag Orkestar and The Flying Club Cup. His arrangements were pivotal in transitioning Beirut's sound from lo-fi experimentation to fuller ensemble pieces, including sessions in Paris for The Flying Club Cup that incorporated local French musicians on violin, accordion, and percussion to evoke the album's city-inspired themes. Pratt joined early tours in 2007–2008 as part of the expanded live band, performing alongside Zach Condon, Natchez, and bassist Paul Collins to bring the recorded layers to the stage. After leaving due to scheduling commitments with other projects, he served as music director and arranger for David Byrne and St. Vincent's Love This Giant (2012) tour and album, and later collaborated with Father John Misty on multiple releases. Additional touring collaborators, such as violinist Kristin Ferebee and percussionist in the late 2000s, supported live sets but did not remain long-term, often due to the demands of Condon's nomadic recording process and scheduling conflicts with their solo work. The 2019 tours relied on guest musicians for brass and strings, including returning alumni like Pratt on select dates, to maintain the project's expansive feel without a fixed roster. This fluid approach has allowed continuity with current members like drummer Nick Petree, who bridged eras from the early tours onward.

Associated projects

Zach Condon's side projects

Zach Condon has pursued several side projects outside of , serving as creative outlets for exploring electronic and experimental sounds distinct from the band's primary folk and world music influences. These ventures allowed him to experiment during periods of transition between Beirut albums, providing space to indulge in more personal or lo-fi productions. One of Condon's most notable side projects is Realpeople, an electronic alias he revived for the 2009 EP Holland, which formed the second half of the double release March of the Zapotec / Holland. Recorded in his bedroom, the EP draws inspiration from Dutch electronic music and features lo-fi, dreamy synth tracks reminiscent of early Magnetic Fields material, showcasing a more introspective and synth-driven side of his composition. Earlier in his career, Condon released music under the 1971, an electronic project from his teenage years that included the unreleased EP Small-Time American Bats, recorded around 2001–2002 with collaborator Gaziano on guitar and vocals. This short-lived effort incorporated ambient elements and field recordings, reflecting his initial forays into experimental soundscapes before Beirut's formation. Beyond his aliases, Condon made select guest appearances on other artists' recordings in the 2010s, contributing vocals to tracks that aligned with indie and experimental scenes. For instance, he provided duet vocals on "We Are Fine" from Sharon Van Etten's 2012 album , a song addressing themes of that complemented his own vocal style.

Pompeii Records and collaborations

In 2011, Zach Condon founded Pompeii Records to release Beirut's third studio album, The Rip Tide, allowing the project greater independence in production and distribution compared to prior labels like Ba Da Bing! and 4AD. The label, distributed initially through Revolver USA, has since served as the primary outlet for select Beirut releases, including the 2022 rarities compilation Artifacts, which collects early EPs, B-sides, and unreleased tracks from Condon's formative years. More recent albums such as Hadsel (2023) and A Study of Losses (2025) have also appeared under Pompeii, emphasizing Condon's ongoing commitment to self-directed output. While primarily focused on Beirut, the imprint has facilitated archival and experimental projects, fostering a boutique operation centered on indie folk and world music explorations. Beirut's collaborations through Pompeii have extended beyond solo releases into interdisciplinary partnerships, notably the 2025 album A Study of Losses, commissioned by the Swedish contemporary circus troupe Kompani Giraff for their acrobatic stage production adapting Robert Seethaler's novel Verzeichnis einiger Verluste. This 18-track score, blending orchestral swells with folk elements, premiered as live accompaniment in fall 2024, marking Beirut's first major venture into performance art and highlighting Condon's versatility in composing for visual and physical narratives. Additional external ties include the 2020 remix compilation Beirut Remixed, featuring reinterpretations by Middle Eastern artists such as Mashrou' Leila and Adonis, which bridged Beirut's sound with regional electronic and experimental scenes on Thawra Records. By maintaining Pompeii as an artist-led entity, Condon has gained enhanced creative autonomy, enabling experimental risks like the circus commission without external pressures, while building a modest for like-minded indie creators through targeted releases and partnerships. This structure has supported community-oriented efforts, such as curating Artifacts to preserve and share Beirut's early influences with fans and emerging acts in the folk-indie sphere.

Discography

Studio albums

Beirut has released seven studio albums since their debut in 2006, with most produced by frontman Zach Condon and featuring runtimes averaging around 40 minutes. These albums were issued through independent labels, including Ba Da Bing!, , and Condon's own Pompeii Records, and have achieved modest commercial success on international charts, particularly in the UK and independent categories, without any major sales certifications.
TitleRelease DateLabelProducerRuntimeChart Performance
May 9, 2006Ba Da Bing!Zach Condon37:25Did not chart significantly; reissued on Pompeii in 2019.
The Flying Club CupOctober 9, 2007Griffin Rodriguez38:34UK #69.
August 30, 2011PompeiiZach Condon, Griffin Rodriguez33:11 #88; UK #49.
No No NoSeptember 11, 2015Gabe Wax29:17 #46; UK #37.
GallipoliFebruary 1, 2019Gabe Wax44:32 Independent Albums #3; UK #61.
HadselNovember 10, 2023PompeiiZach Condon47:36UK #71.
A Study of LossesApril 18, 2025PompeiiZach Condon57:17No major chart entries reported as of November 2025.

EPs and compilations

Beirut has released a handful of extended plays (EPs) and one major , primarily through independent labels such as Ba Da Bing! Records and Pompeii Records. These releases often served as creative experiments or bridges between full-length albums, showcasing Zach Condon's evolving influences from Balkan folk to electronic and brass-heavy arrangements. They are generally fan-oriented, with limited commercial chart performance, emphasizing artistic exploration over mainstream appeal. The band's debut EP, Lon Gisland, was issued in January 2007 by Ba Da Bing! Records in CD format and later reissued on vinyl by . This five-track, 17-minute release marked the first recordings featuring Condon's full touring band and included the single "" alongside a reimagined version of "" from the debut album . Produced in , it highlighted Condon's shift toward collaborative ensemble playing while retaining his signature and elements. In 2009, Beirut released the double EP March of the Zapotec / Holland via Pompeii Records, available in CD and double 12" vinyl formats. The first disc, March of the Zapotec (six tracks, approximately 20 minutes), drew inspiration from Condon's travels to , , incorporating local brass bands like Banda Jiménez for a festive, military-march sound on tracks such as "El " and "." The second disc, Holland under the Realpeople moniker (five tracks, about 15 minutes), presented Condon's solo electronic side project with influences, recorded in and mixed at Shape Shoppe Studio. This split release, produced by Condon with Perrin Clurman on the electronic portions, explored contrasting styles without achieving significant chart positions but earning praise for its versatility. An additional early EP, Pompeii, was released in October 2007 on Ba Da Bing! and 4AD, featuring four tracks (~12 minutes) that previewed the band's expanding sound with tracks like "My Family's Role in the World Revolution" and "The Shrew," serving as a transitional release post-Gulag Orkestar. Beirut's primary compilation, Artifacts, arrived digitally on January 28, 2022, through Pompeii Records, with physical editions (double CD and double LP) following on April 1, 2022. This 26-track retrospective compiled B-sides, unreleased material, early demos from Condon's teenage years, and the full Lon Gisland EP, tracing the band's evolution from lo-fi origins to polished indie rock. Intended as a career-spanning overview for dedicated listeners, it included rarities like "Fisher Island Sound" and did not chart prominently, focusing instead on archival depth rather than new promotion.
TitleRelease DateFormat(s)LabelTracksNotes
Lon GislandJanuary 2007 (CD); later vinyl reissueCD, 12" vinyl (reissue)Ba Da Bing! / 4AD5First full-band EP; includes "Elephant Gun" single.
March of the Zapotec / HollandFebruary 17, 2009CD, 2×12" vinylPompeii11 (6 + 5)Double EP; Mexico-inspired brass on first half, electronic on second.
ArtifactsJanuary 28, 2022 (digital); April 1, 2022 (physical)2×CD, 2×LP, digitalPompeii26Compilation of B-sides, unreleased tracks, and early works.

Singles and other releases

Beirut has issued a series of standalone singles throughout its career, often serving as lead promotions for albums or independent releases tied to collaborations, with formats including digital downloads, vinyl, and streaming exclusives. Early efforts like "," released in May 2007 via Ba Da Bing! Records, marked the band's initial foray into single releases, featuring a 7-inch vinyl pressing that highlighted Zach Condon's brass-heavy sound. Similarly, "," issued in November 2007 on , drew from the French city-inspired themes of and achieved modest airplay on alternative radio stations, though it did not chart prominently in major markets. In the mid-2010s, "No No No," released digitally on June 1, 2015, via , functioned as the title track and lead single for the album of the same name, garnering positive critical reception for its upbeat, influences and limited rotation on platforms like , but it similarly saw restrained commercial charting outside album sales. More recent singles reflect Condon's evolving experimental leanings, such as "Caspian Tiger," a digital single dropped on November 14, 2024, through Pompeii Records, composed for the Swedish circus troupe Kompani Giraff's performance Moln and emphasizing orchestral tension with minimal chart impact beyond niche indie playlists. Following this, "Guericke's Unicorn," released February 13, 2025, also on Pompeii Records, served as the second preview for the circus-commissioned album A Study of Losses, blending ethereal strings and narrative inspired by historical curiosities, with early indicating strong fan engagement but no mainstream chart entry. Beyond core singles—totaling around a dozen across the band's output, including rarities like "" (2011) and "So Many Plans" (2023)—Beirut has produced accompanying music videos that amplify its cinematic aesthetic, often directed by collaborators like for tracks such as "" and "Postcards from Italy." These visuals, distributed via and , frequently incorporate travel motifs and live elements, contributing to the band's without formal DVD compilations beyond early live captures. Miscellaneous releases include the 2007 DVD Cheap Magic Inside, filmed by La Blogothèque in New York during sessions for , capturing unplugged performances of album tracks in intimate settings for promotional distribution. In 2025, digital exclusives tied to the Kompani Giraff circus project emerged, such as streaming-only versions of "" and "Guericke's " bundled with performance audio excerpts, available via platforms like and the band's official site, underscoring Beirut's shift toward multimedia, site-specific outputs.

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  84. https://theneedledrop.com/interviews/interview-beirut-on-his-new-record-a-study-of-losses-and-the-quest-for-knowledge/
  85. https://americansongwriter.com/beirut-an-american-in-paris/
  86. https://www.theguardian.com/music/2011/aug/21/beirut-the-rip-tide-review
  87. https://faroutmagazine.co.uk/beirut-a-study-of-losses-album-review/
  88. https://www.musicfestivalwizard.com/artist/beirut-band/
  89. https://shorefire.com/releases/entry/beirut-releasesa-study-of-losses-zach-condons-largest-most-unexpected-album-yet
  90. https://sungenre.com/artist/beirut/
  91. https://delafontagency.com/music-acts/hire-beirut/
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  93. https://www.jambase.com/article/beirut-tour-dates-2025-caspian-tiger-single
  94. https://jonnatchez.com/about
  95. https://www.npr.org/sections/therecord/2011/06/21/137209270/meet-indie-rocks-most-valuable-sideman
  96. https://willyoumissme.com/2011/06/18/beirut-comes-home-joined-by-sharon-van-etten-and-yellow-ostrich/
  97. https://www.ascap.com/news-events/Events/2019/sundance/composers/Natchez-Jon
  98. http://kellyprattmusic.com/about-2/
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  100. https://www.interviewmagazine.com/music/bright-moments-natives
  101. https://www.lessonface.com/instructor/kelly-pratt
  102. https://gothamist.com/arts-entertainment/jason-poranski-and-paul-collins-musicians
  103. https://www.beirutband.com/asol/music
  104. https://www.interviewmagazine.com/music/beirut-zach-condon-the-rip-tide
  105. https://www.spin.com/2009/02/beirutrealpeople-march-zapotecholland-pompeii/
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  109. https://www.beirutband.com/asol/news/p2
  110. https://thawrarecords.bandcamp.com/album/beirut-remixed-incl-mashrou-leila-jade-adonis-etyen-lumi-the-bunny-tylers-jad-taleb-who-killed-bruce-lee
  111. https://www.discogs.com/release/14054827-Beirut-Gulag-Orkestar
  112. https://music.apple.com/us/album/gulag-orkestar/1309594825
  113. https://www.allmusic.com/album/the-flying-club-cup-mw0000489874
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  115. https://www.officialcharts.com/artist/3358/beirut/
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  125. https://www.allmusic.com/album/lon-gisland-mw0000560949
  126. https://musicbrainz.org/release/4a383113-0199-4a55-9f30-eb4439fa8b3a
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  128. https://www.discogs.com/master/2577155-Beirut-Artifacts
  129. https://music.apple.com/us/album/artifacts/1583272303
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  131. https://www.last.fm/music/Beirut/_/Nantes
  132. https://www.npr.org/2015/06/01/410531054/songs-we-love-beirut-no-no-no
  133. https://letterboxd.com/film/beirut-cheap-magic-inside/
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