Rebel Yell
Coming Soon…
This is the second episode in a series showcasing the amazing work of Joy House, a community center and school in Mae Sot. In the first episode, three Burmese musicians shared their stories of resilience and touched upon the transformative power of creative expression in the face of displacement and conflict, highlighting the healing and unifying role of music and art. In this episode, we hear from three more guests.
First up are Benji and GraiGrai Simmersbach, two brothers who also known as “The Durgas.” These veteran musicians share about their journey, which has spanned several decades, continents, and musical genres.
Although born in Bavaria, Benji and GraiGrai’s father (and later their stepfather) worked for the United Nations. As a result, the two brothers were raised in a variety of countries around the world: Thailand, Switzerland, Portugal, Tanzania, Mali, Senegal, Italy, France, and the United States. They were particularly influenced by their early years growing up in Africa. This instilled in them a sense of comfort with multicultural environments, and inspired their lifelong appreciation for cultural exchange and exploration.
The brothers began their professional musical journey in the 1980s, diving into New York's vibrant punk rock and alternative scenes. These genres offered a raw, unfiltered outlet for their emotions and ideas, aligning with their global upbringing and a passion for addressing social and political issues. Fueled by the city’s dynamic underground culture, they embraced music as a powerful form of rebellion and connection, blending unpolished energy with a commitment to meaningful expression, carving out a distinctive space for themselves in a scene that thrived on authenticity and experimentation. Their first band, called A Subtle Plague, was established in 1984 and quickly gained a following; some of their early work was even recorded by Adam Yauch of the Beastie Boys. This early success allowed them to tour the world extensively. Music for them was not only an expression but also a form of escape—a way to avoid mundane day jobs. The brothers dedicated themselves wholly to their craft, spending years in intense rehearsals and non-stop global touring.
Their music evolved to more intentionally incorporate the soundscape of their transcultural upbringing, blending reggae, African and Eastern European folk, Americana and other genres. Eventually, they incorporated traditions from West African music—characterized by complex polyrhythms and call-and-response elements—along with other influences, such as Roma music, all integrated into their original punk-inspired style. This evolution was a natural progression from their roots, resulting in a unique sound that speaks to their heritage and their diverse experiences. Through it all, the raw energy of punk remained at the core of their music, representing anger, youthful frustration, and political disillusionment.
A significant turning point in their musical career came during the Balkan conflict, when Benji and GraiGrai were invited to perform in Kosovo. This came about unexpectedly after they connected with Matthew Ryder, the head of a UN mission there. Ryder attended their concerts in Budapest during his breaks from the war zone and, grappling with the challenge of fostering unity in that deeply divided region, believed that music could transcend political and ethnic boundaries. He saw an opportunity to leverage the brothers' energy and multicultural approach to help ease tensions and promote dialogue. Despite the uncertainty, the brothers agreed to perform, motivated by their natural affinity for different cultures and a strong desire to make a difference.
Their performances in Kosovo had a transformative effect. Initially met with skepticism from the military, the atmosphere soon shifted as music brought people from warring sides into the same space, breaking down barriers and fostering human connection. Benji and GraiGrai recall how people who had been fighting ended up embracing one another, moved by the music, as the atmosphere shifted from mistrust to shared humanity. As Benji put it, "Music is such a universal language, and that if you actually let loose, it doesn't matter where you're from, if you let it incorporate it all. It works." This powerful realization became the backbone of their subsequent work in conflict and post-conflict areas.
Their approach evolved from merely performing to actively empowering others through music. Following their success in Kosovo, and driven by their passion for community impact, The Durgas, as they were now known, became increasingly involved in conducting musical workshops for children in conflict zones and refugee camps. One notable project was an initiative organized with the help of Jeanne Hallacy, where they worked with schools set up in border areas for Burmese children who had fled violence in Myanmar, providing not only education but also a sense of stability. The two brothers traveled with a generator on a pickup truck, giving impromptu concerts and spreading happiness among children, many of whom had experienced severe trauma, and saw firsthand how music could offer emotional respite and a sense of belonging to these young refugees.
The brothers emphasize that providing instruments to children in war-torn areas is just as vital as meeting their basic needs. As Benji notes, “I think our strength has always been in the music field, and so we want to contribute as musicians. If a kid receives an instrument in in one of those areas, I think that kid, despite being in a war zone or conflict zone, the moment of a kid receiving an instrument can be just as important as the food that might be lacking." For them, music provides a space for children to be children, even amidst the horrors of war. It offers an outlet for frustration, a form of protest, and a powerful means of healing.
Reflecting on their journey, GraiGrai and Benji transitioned from rebellious punk rockers venting frustrations to artists with a broader vision—using music as a catalyst for social change, empowerment, and community building. By providing tools for others to create and express themselves, they shifted from self-expression to community empowerment, significantly amplifying their impact. As Benji says, “Just playing music is such a healing and in transformative, transformative experience.”
Next, Vanessa Till Hooper is one of the executive producers of Joy Fest, a virtual concert being sponsored by Joy House. She provides insight into its inception and describes her vision for the event.
First, she describes how Joy House had emerged as a safe space in the Thai border town of Mae Sot for displaced Burmese who fled to Thailand to escape the conflict after the coup. Joy House is a music school based on the philosophy that creative arts can bring people together even in the face of adversity, and can be a powerful tool for trauma recovery and community cohesion. The idea for the Joy Fest concert arose in this context, to draw international attention to the good work Joy House, while also trying to fundraise so as to provide one thousand musical instruments to the refugee community. Specifically, it originated from Vanessa's personal connection through her husband Benji Simmersbach and their friend Jeanne Hallacy, both musicians who had previously played together in learning centers in Thailand for children from migrant and refugee backgrounds, who were often excluded from formal schooling. Jeanne called Benji to invite him to perform again; one thing led to another, and the seed for Joy Fest was planted.
In addition to the concert, Vanessa came up with the idea of inviting individuals around the world to send their support to refugee communities through writing well-wishes, which are collected and transformed into artwork, adding a meaningful layer of community participation to the project. Vanessa points out how this practice also resonates with various cultural traditions across Southeast Asia, where communal well-wishing and symbolic acts are common methods of expressing solidarity and hope.
Vanessa highlights the richness of musical talent in Mae Sot, a border town that has become a hub for activists, refugees, and artists, since many Burmese continue to flee the violence of their homeland. With so many musicians to draw upon, the concert brings together a diverse range of performers, ranging from folk to rock, creating an engaging experience that they hope can resonate with audiences worldwide.
A pivotal moment in the Joy Fest’s program is the final act—a collaborative piece involving multiple artists, each contributing from their unique, musical backgrounds, which serves as a celebration of unity and shared creativity. Vanessa describes how each, new, added track further enriches the song, resulting in a profound mix of languages and styles that evoke the diverse voices contributing to the concert. This kind of collaboration reflects a broader tradition of Southeast Asian cultural festivals, where different artistic voices come together to celebrate resilience and diversity.
Another highlight involves segments recorded on the border by musicians looking back into Burma. Vanessa explains that these recordings will not only showcase the natural beauty of the region but also the determination of the musicians who braved the trek to safety, and continue to resist oppression. This part of the project reflects how the Thai-Myanmar border area has long symbolized both division and hope, a place where people fleeing conflict often endure hardship but also find solidarity.
Within the concert, Vanessa also points to the significance of cross-cultural collaboration, underscoring how this collective effort transcends music to become a catalyst for deeper connections in finding a shared humanity. She explains that the project isn’t just about bringing a concert to life; it is about fostering conversations and building lasting relationships, which have a profound impact beyond the event itself. This experience, she notes, positions Joy House to build on its momentum and possibly expand with an in-person event in the future. To her, these events symbolize a return to normalcy as well as the sustained commitment of the Joy House community to healing and cultural exchange.
In her concluding remarks, Vanessa shares the importance of engaging in open-ended conversations with people whose lives are vastly different from one's own, emphasizing how these dialogues can lead to meaningful growth. She encourages making time for these discussions, as they can create unexpected opportunities for connection, creativity, and shared purpose.
If you enjoyed this episode, consider checking out past podcast shows that explore similar themes:
· Patrick Burgess describes how his work as a human rights lawyer and musician has consistently ended up placing him in environments of extreme conflict, where ordinary people are called upon to perform extraordinary acts of courage. He reflects on how music and personal experiences—like his work in Rwanda and East Timor—have shaped his advocacy and contributions in Myanmar. His insights resonate with the theme of using art and cultural tools for healing, emphasizing music’s power to sustain community and inspire resistance even amidst profound hardship.
· Darko tells of his journey as the lead of the indie band, Side Effect, and his engagement with both Buddhism and activism. His music, particularly shaped by meditative and personal insights, underscores the importance of resilience and positive transformation even in dark times. This aligns with the theme of music as a vehicle for cultural commentary and emotional processing during societal upheaval.
· David Lai is a Chin singer who courageously uses his platform to advocate for democracy and stand against oppression despite personal and familial risks. His revolutionary songs directly address the crisis in Myanmar, illustrating music’s role in uniting and energizing communities to work towards collective action and hope—a theme deeply intertwined with cultural and personal resilience.
· Kyaw Kyaw explains how punk music became an outlet for his anger and a form of rebellion against injustice in Myanmar. As the founder of Rebel Riot, he emphasizes the power of punk as a means to voice societal frustrations and fight for freedom, echoing the broader theme of music as a universal language of resistance and solidarity.
· Star2 shares his journey from a Thai refugee camp to becoming a hip-hop artist in the U.S. His music reflects the struggles of identity, displacement, and perseverance, with a focus on uplifting his community and sharing their stories.