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This April I was fortunate enough to spend a few days at Everest Base Camp early in the Himalayan climbing season. I joined a Sherpa team and I ‘watched and learned’ (in pure awe) as they set up their team basecamp. Many of the Sherpas had already been at basecamp for 2 – 3 weeks, building platforms out of the ice, setting up tents, organising food, and ensuring that the relative ‘creature comforts’ were ready for the arrival of the wider teams from mid-April.
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The ultimate vision for the project was for Paul to gain a deeper understanding of the importance of music and dance to the Nepali people, and especially the Sherpas. He would use this to promote the country in his own unique way – e.g. leveraging his talent as an artist and the power of his global brand.
The set began at 11am and ran for 2 hours. This meant that the trekkers coming to Basecamp could be part of the project as well as those already on Everest preparing the mountain for the climbing season. This is unique in itself as there is little (if any) organised social interaction between the ‘groups’ from early April. The 11am timing was also a natural break in the day for an early lunch break.
The ‘stage’ was shared with a local Nepali DJ, Ranzen Jha, whom Paul had contacted and mentored along the 2-week trek. The local DJ had never been to the Khumbu so the challenge of getting to basecamp also appealed on a personal level. In many respects, DJ Ranzen mentored Paul as much as Paul mentored DJ Ranzen. This story was also shared through the SoundTrek social media pages.As part of his tour, Paul played gigs in Singapore and in Kathmandu and both times he personally donated his fee to local charities (www.supportingnepalschildren.org.uk). In addition, there is ongoing fundraising for children charities both in Nepal and in the UK.
The sound equipment and speakers were being donated to a School in Kathmandu as well as a Bhuddhist Monastery in Thangbouche – often frequented by both locals and foreigners – and also impacted by the devastating 2015 Nepal earthquake.
During one song we joined arms in a 30-strong traditional Sherpa ‘line dance’ and together sang out, ‘Aint No Mountain High Enough’. During another memorable moment the traditional sound of yak-bells was layered upon the sound of the wind whistling through the mountains and laced with a slow hypnotic beat. The melodic melange left the audience entranced and reflective.










































