Lebanese artist Ziad Rahbani, son of Fairuz, dies at 69
BEIRUT (AFP)Renowned Lebanese musician and composer Ziad Rahbani, son of music icon Fairuz and pioneer of Oriental jazz, died on Saturday aged 69 after revolutionising Lebanese theatre and music."On Saturday at 9:00 am (0600 GMT), the heart of the great artist and creator Ziad Rahbani stopped beating," said a statement from the Beirut hospital where he was being treated.He had long suffered from health problems.Tributes poured in for the enfant terrible of Lebanese music -- a musician, composer and theatre producer who made a huge mark on generations of Lebanese with his theatre pieces and songs, which many know by heart.Ziad Rahbani was the son of Arab musical icon Fairuz, who turned 90 last year, and the late Lebanese composer Assi Rahbani who along with his brother Mansour modernised Arab music by blending Western, Russian and Latin American sounds with Eastern rhythms.Already adored by older generations, Fairuz became a youth idol when her son began composing jazz-influenced songs for her, calling it "Oriental jazz".Lebanese President Joseph Aoun said in a statement that Rahbani was "a voice that rebelled against injustice, an honest mirror for the oppressed and marginalised".
Prime Minister Nawaf Salam said that "Lebanon has lost an exceptional artist and creative, a free voice who stayed faithful to the values of justice and dignity" and who said "what many don't dare to say".
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The National
14 hours ago
- The National
Seven ways Ziad Rahbani changed Arabic music
Ziad Rahbani reimagined what Arabic music could be. The Lebanese composer and playwright, who died on Saturday aged 69, charted his own path from the beginning of his five-decade career. From redefining his mother Fairouz 's career, to transforming what could be seen and heard on the Lebanese theatre stage, Rahbani's contributions showed the dynamism of Lebanese music while breaking outdated taboos. More than these stylistic and technical feats, the reason Rahbani's death has been felt so keenly in Lebanon and across the Arab world – with tributes pouring in from musicians to politicians – is that his work was deeply empathetic to the trials and travails of the common man. As Taymoor Marmarchi, Mena Recording Academy executive director, tells The National, Rahbani's music made people feel seen and heard. "He wasn't just an iconic musician and composer – he was part of the soundtrack of so many people's lives all across the Arab world. He captured the soul of Lebanon with raw honesty and intellectual brilliance," he said. "His words made us laugh, think and sometimes cry, because they spoke to real moments we all lived through. He had this rare gift of turning politics into poetry, and everyday struggles into unforgettable songs. His legacy isn't just in what he created, but in how he made people feel seen." Here are seven ways Rahbani changed popular Arabic music. 1. He gave Fairuz a second act By the late 1970s, Lebanese artist Fairouz 's career high was gradually turning into a creative cul-de-sac, with her musical identity still rooted in the folk theatre and operatic works of Assi and Mansour Rahbani. It took her son Ziad to shake up her sound. Brilliant albums such as Wahdon (1979) and Maarifti Feek (1987), found Fairuz moving away from the pastoral scenes and folk wisdom of the Rahbani Brothers to embrace darker ballads and jazzy torch songs. Ziad's lyrics reflected the gritty social realities of Beirut such as in the 1979 Fairuz track Al Bosta. Initially viewed as a creative risk, the shift helped cement both his and Fairuz's status as commentators on Lebanon's changes and challenges over the years. 2. He made Arabic jazz cool Popular Arabic music has a long history of incorporating Western elements into its sound – whether through the orchestras of Umm Kulthum using violins, or Abdel Halim Hafez drawing on the sound of French chanson for his ballads. Rahbani didn't just borrow aspects of jazz as an appendage. A fan of jazz maestros Charlie Parker, Stan Getz and Dizzy Gillespie, he absorbed the sound fully with solo works full of nifty phrasing, improvisation and harmonic depth. This approach shines in seminal recordings such as Nazl El Sourour (1974) and Film Ameriki Tawil (1980), with Arabic compositions built on jazzy foundations of upright bass and trumpets. He coined the term "Oriental jazz" to describe his style, and his recording sessions were known to encourage improvisation – most clearly heard in the vibrant 1978 album, Abu Ali. 3. He made protest music funny Rahbani's politically inspired songs were defined more by dry satire than grand declarations. You rarely find sloganeering in his lyrics – just a catalogue of observations reflecting the absurdity of the times. In songs for theatrical plays such as Bennesbeh Labokra Shou? (1978), Shi Fashel (1983), and Bikhsous el Karameh (1993), the music was inseparable from political commentary. Characters used it to expose contradictions in Lebanese society. Rather than offering revolutionary anthems or patriotic hymns, Rahbani's political works captured the weary cynicism of ordinary Lebanese caught between competing factions. His characters expressed the kind of political exhaustion that resonated across generations – the sense that ideology had given way to survival. This approach continues to strike a chord as Lebanon moves from one crisis to the next. 4. He made Arabic music more intimate A woman confessing a love to a married childhood sweetheart – the subject matter of one of Fairuz's most memorable tracks, Kifak Inta, caused a stir upon release. It wasn't only due to what was perceived as daring subject matter in conservative Lebanese society, but also the fact that it came from the country's musical idol. Not only did it showcase the brilliant songwriting partnership between mother and son, it showed how Rahbani pushed the Arabic ballad to move beyond the extreme ends of the relationship scale – grand love and crushing heartbreak – to explore some of the more interesting places in between, such as nostalgia, regret, and confessionals. All of which went on to be incorporated in works by Lebanese indie music stalwarts such as Mashrou' Leila, Yasmine Hamdan, and Tania Saleh. The latter summed up the influence best in her tribute to Rahbani for The National:"Some people like to think the indie scene started with us. I don't think so. I believe it started with him, because he was already independent – from his family, from the Lebanese music scene, and even from the larger Arab world. His influences came from everywhere. He was the true first." 5. He turned street slang into song Rahbani infused the Lebanese theatre stage and songs with unfiltered Beiruti dialect – fast, clipped and dripping with sarcasm. The move also aligned with his image as an enfant terrible, disrupting the approach of the Rahbani Brothers, who often drew on stylised village dialects in their work. Ziad made his songs sound deliberately raw – with staccato phrasing and repeated spoken-word phrases – but it made them feel real and urgent. That freewheeling approach to lyrics and vocal delivery has since become a trait of Arabic indie music, from the work of Lebanese band Mashrou' Leila to Palestinian rapper Saint Levant. 6. He is the blueprint for fusing Arabic music Rahbani's discography is replete with styles such as disco-funk, bossa nova, jazz and French chanson. But that exploration was always rooted in clear and distinct Arabic melodies. This vast body of work deserves to be cited more when discussing how Arab music can be fluid with Western forms without losing its integrity. 7. Rahbani still hasn't faded Rahbani's work never lost its vitality and audience. Tracks from the 1970s and 80s are regularly reissued on vinyl by labels such as WeWantSounds and Habibi Funk. DJs sample his grooves and snippets of musicals are reposted and subtitled for a new generation of viewers across the Arab world. These rediscoveries are not part of retro fads found in other genres such as disco and funk. They remain as relevant as Lebanon's ongoing resilience. His work will remain a reference point for creatives on what it means to be proud of your heritage while also embracing what the world out there holds.
The National
a day ago
- The National
Ziad Rahbani, 'voice of Lebanon's soul', dies at 69: Tributes pour in for beloved composer
Ziad Rahbani, a Lebanese composer, playwright and political commentator known for his influential role in Arabic theatre and music, has died aged 69. The cause of death has yet to be announced. The son of renowned singer Fairouz and late composer Assi Rahbani, Ziad Rahbani is widely regarded as one of the most distinctive creative voices to emerge from Lebanon in the past five decades. Toufic Maatouk, Lebanese composer and musicologist, told The National: 'Ziad Rahbani's music is a voice carved from Lebanon's soul. He called it 'oriental jazz,' but it was more – a fusion of Arabic melodies, funk, and jazz that sounded unmistakably Lebanese. Each note carried Beirut's chaos, warmth, and wit. Ziad's artistry wasn't imitation, it was invention, born from home.' Rahbani rose to prominence during the Lebanese Civil War through a series of acclaimed plays and musical works that combined colloquial Lebanese dialogue, jazz and classical Arabic music with political and social critique. He was born in Beirut in 1956 into one of the Arab world's most prominent musical families. He began his professional career at an early age, composing Saalouni El Nass in 1973, which Fairouz performed during a period when Assi Rahbani was recovering from a stroke. In the years that followed, Ziad Rahbani established himself as an important figure in Beirut's cultural scene. His early theatre productions including Nazl El-Sourour explored themes of civil conflict, sectarianism and everyday life in Lebanon with a satirical and often provocative tone. Rahbani was an outspoken political commentator, often expressing support for leftist movements and criticising the Lebanese political establishment. While his views were often polarising, he remained a leading voice in regional cultural and political discourse. In addition to his theatre work, Rahbani continued to compose music throughout his career, including a number of collaborations with his mother, in the 1980s. Albums such as Maarifti Feek and Wahdon introduced lyrical and musical directions for the celebrated musician, often reflecting more personal or socially conscious themes. Although he gave few interviews in his later years, Rahbani continued to perform live, frequently mixing music with political commentary during his concerts. His influence extends to several generations of Arab musicians, writers and performers. In recent years, the rise of the Habibi funk movement has won Rahbani fans around the world, with albums including Houdou Nisbi, Amrak Seedna & Abtal Wa Harameyah and Bennesbeh Labokra … Chou? reissued internationally on vinyl to great acclaim. Arab musicians pay tribute to Ziad Rahbani Lebanese musician Tania Saleh, considered one of the founding voices of the country's independent music culture, says that Rahbani is the true architect of the scene. 'Some people like to think the indie scene started with us. I don't think so. I believe it started with him, because he was already independent – from his family, from the Lebanese music scene, and even from the larger Arab world. His influences came from everywhere. He was the true first,' says Salah. Mayssa Karaa, singer and artistic director of Berklee Abu Dhabi, said that Rahbani's current influence extended far beyond his artistic output. 'Ziad Rahbani was more than just a musician; he was a voice, a mirror, and a pulse for Lebanon,' said Kara. 'He taught generations how to speak the truth through music, no matter how uncomfortable that truth was. His art was always based on his deep love for his country and its people, and this love shaped every lyric, melody, and story he told. 'People of all ages, classes, and faiths could relate to Ziad's music because it was so real. As a musician, he broke all the rules and didn't follow trends or fit into moulds, carving out a path that countless artists, including myself, have drawn inspiration from. He showed us that music could be both heartbreaking and full of humour,' Karaa says. 'Ziad, rest in music. Your music, your words, and your spirit will always live on in the hearts of the people of Lebanon. Without you, we might not even know what Lebanon means, but maybe that's the beauty of your legacy: you've become part of the country's very definition.' Emirati composer Ihab Darwish says: 'For us, this is a tragedy. It feels like we've lost one of the most iconic musicians in the Arab world. 'While I never met him, I consider him one of my idols. He taught me a lot about blending different genres. He also clearly has a storytelling style that is very similar to mine – ensuring that music has a narrative and theme.' Lebanon's political figures mourn late Lebanese composer Lebanon's President Joseph Aoun expressed his sorrow over the death of Rahbani. "Ziad Rahbani was not just an artist; he was an integrated intellectual and cultural figure. Moreover, he was a living conscience, a rebellious voice against injustice, and an honest mirror for those who suffered and were marginalised. He wrote about people's pain and played on the strings of truth, without ambiguity," Mr Aoun said in a statement. "Through his purposeful theatre and his music, ignited with infinite creativity between classical, jazz, and oriental music, he presented a unique artistic vision and opened new windows of Lebanese cultural expression, reaching the international level and creating masterpieces." "Ziad was a natural extension of the Rahbani family, which has given Lebanon so much beauty and dignity. He is the son of the creative Assi Rahbani and Fairouz, our ambassador to the stars, to whom we extend our sincere condolences today. Our hearts are with her in this huge loss, sharing with her the pain of losing someone who was more than a support to her. We also offer our condolences to the esteemed Rahbani family on this great loss," Mr Aoun continued. "Ziad's many distinguished works will remain alive in the memory of the Lebanese and Arabs, inspiring future generations and reminding them that art can be an act of resistance, and that words can be a stance. May Ziad Rahbani rest in peace, and may his music and plays, vibrant with memory and life, remain a beacon of freedom and a call for human dignity." Ghassan Salame, Lebanon's Culture Minister, said in a statement: "We dreaded this day, as we knew his health was deteriorating and his desire for treatment was diminishing. Plans to treat him in Lebanon or abroad had become obsolete, as Ziad no longer had the capacity to imagine the necessary treatment and surgeries. May God have mercy on artist Rahbani. We will mourn him by singing his immortal songs." Lebanon's Parliament Speaker Nabih Berri said: "Lebanon without Ziad - the melody is sad, the words are broken, and the black curtain falls on an immortal Rahbani humanitarian, cultural, artistic, and patriotic chapter."
Middle East Eye
a day ago
- Middle East Eye
Ziad Rahbani, icon of Lebanese music and theatre, dies at 69
Ziad Rahbani, one of Lebanon's most influential cultural figures and the son of Arab music legend Fairuz, has died at the age of 69. A playwright, composer, and political commentator, Rahbani shaped the landscape of Lebanese theatre and music with his biting wit, leftist and secular politics, and sharp portrayals of his country's fractured society. "On Saturday at 9:00 am [6am GMT], the heart of the great artist and creator Ziad Rahbani stopped beating," said a statement from the Beirut hospital where the artist, who has long suffered from health problems, was being treated. The son of Fairuz, who turned 90 last year, and the late composer Assi Rahbani, Ziad first rose to prominence in the 1970s. He broke away from the romanticism of his parents' work to create art rooted in social critique and everyday struggles. Tributes poured in for the enfant terrible of Lebanese music, whose theatre productions and songs left an enduring mark on generations of Lebanese - many of whom know his lyrics and playscripts by heart. New MEE newsletter: Jerusalem Dispatch Sign up to get the latest insights and analysis on Israel-Palestine, alongside Turkey Unpacked and other MEE newsletters Rahbani was a versatile composer and a pioneer of oriental jazz. He mixed traditional Arabic melodies with jazz, funk and classical influences, creating a unique and instantly recognisable sound. Rahbani composed for Fairuz in her later years, bringing political depth to her repertoire. Throughout Lebanon's civil war (1975-1990) and in the decades that followed, Rahbani's plays became spaces where Lebanese audiences confronted their harsh realities. He often highlighted the hardships of Lebanon's working class. His characters were disillusioned citizens, ex-revolutionaries or everyday people caught in the complexities of Lebanon's political and sectarian struggles. Lebanese diva Fairuz talks to her son, Ziad Rahbani, and Armenian conductor Karen Durgarian during rehearsals prior to their concert in Dubai on 23 January 2003 (AFP) One of his most influential plays, Nazl el-Sourour (Happiness Hotel), is a political satire set in a run-down hotel, where two laid-off workers take the guests hostage in a failed attempt at revolution. Through humour and absurdity, the play critiques class divisions and the hollowness of political slogans in pre-war Lebanon. Another one of his landmark works, the 1980 production Film Ameriki Tawil (A Long American Film), is a satirical portrayal of the civil war, set in an asylum where the patients represent different segments of society. Rahbani articulated a collective frustration and longing for change. For many in Lebanon and across the Arab world, his death marks the loss of a singular voice that never stopped asking uncomfortable questions.
