instruments like the oud but with a "contemporary veneer of programmed percussion and samples added in." Taha mixed the oud with strings using a contemporary beat along with guitar work, according to one account. Taha's album Tékitoi, produced by Steve Hillage and released in 2004, brought acclaim and recognition from other rock musicians. The title track is "street slang" meaning, roughly, Who the Hell Are You? (from the French Tu es qui, toi ? shortened into T'es qui, toi ?) and the music had "echoes of Joe Strummer", according to a review in The Observer. In 2005 Taha performed with Robert Plant, Patti Smith and Brian Eno. He covered The Clash song "Rock the Casbah" which he retitled with the Arabic name of "Rock El Casbah". This song appeared in the 2007 film about Clash frontman Joe Strummer entitled The Future Is Unwritten. The song suggested rock music as "banned but unstoppable". Taha performed the song along with The Clash musician Mick Jones. The Guardian selected "Rock El Casbah" as one of the top 50 cover songs. Taha played in Morocco in 2006. In 2007, Taha performed in Canada and a reporter from the Montreal Gazette described his performance while wearing a "pewter pimp suit" which was "stunning": In 2008 he performed with the band Dengue Fever. He was described as a ""wild Algerian punk fan" performing among a lineup which read like a "Who's Who of West African music", and was part of "Africa Express", a response to the lack of African musicians at Bob Geldof's Live 8 musical extravaganza. In 2008, Taha was growing increasingly prominent, with greater audiences in places such as Canada, although there were reports that his music had "trouble getting airplay" in France. He performed with Nigerian artists Femi Kuti and Seun Kuti in Lagos at a "Felabration" of the music of their late father Fela Kuti, as well as with Brian Eno in an anti-war concert in London. In 2009, Taha released Bonjour which The Guardian music critic Robin Denselow described as "calmed down" under a new producer, Gaëtan Roussel. Denselow wrote: "The result is an unlikely set in which Taha appears to be deliberately courting a new, wider market by playing down that wild rebel image." Denselow felt the music was more "commercial" and "not his most exciting." It included a "rousing tribute" on his cover song Rock El Casbah to the