Remembering Ziad Rahbani: The legend who rewrote Lebanon's soundtrack

LBCI

3 days ago

Report by Wissam Nasrallah, English adaptation by Yasmine Jaroudi
"What About Tomorrow?" Ziad Rahbani once quipped—a phrase that, in its simplicity, captured his cynical and humorous view of the world. Today, Rahbani, the irreplaceable artist, is gone—quietly, without knowing what tomorrow holds.
Born 69 years ago, in 1956, in the town of Antelias, Ziad grew up in a household steeped in music and art. His mother, Fairuz, is Lebanon's eternal voice, and his father, Assi Rahbani, was one half of the pioneering Rahbani Brothers duo. Music, for Ziad, was not just a birthright—it was destiny.
From an early age, Rahbani began playing instruments, and by his teenage years, he was already composing.
Ziad carved his own path, opting for raw realism over romanticism, and crafted songs and plays that reflected the struggles of everyday people. Deeply rooted in leftist politics, his work always sided with the poor and marginalized.
At 14, he penned his first hit, "Dalli Hibbini Ya Lawziyeh." At 17, he wrote his first song for Fairuz during a time when his father was severely ill. That emotional track, "Saalouni El Nass," filled with sorrow and love, marked the beginning of a long and bold artistic partnership between mother and son—one that challenged the dreamy aesthetic of the 'Rahbani school' with a more grounded and daring style.
His musical portfolio includes modern classics such as "Kifak Inta" and "Oudak Rannan," but his legacy extends beyond music.
In the same year he began composing, Ziad also ventured into theater. His debut play, "Sahriyeh," launched a career in satirical political theater that made him a defining voice during and after Lebanon's civil war. His plays—"Nazl Al-Sourour," "A Long American Movie," "What About Tomorrow?",* and "Chi Feshil"—became mirrors of Lebanese society, performed in colloquial Arabic and laced with biting black comedy.
Rahbani spared no one in his critique—lambasting political leaders, sectarian figures, and societal hypocrisies with fearless candor. He refused to compromise with power or even to flatter his own audience, remaining fiercely independent to his last breath.
Musically, he revolutionized the Lebanese sound by blending jazz, pop, classical, and oriental music into a new, unorthodox form. Albums like "To Whom It May Concern" and "Bima Inno" cemented his role as a pioneer of Lebanon's alternative music scene.
Even in his rare media appearances in recent years, Ziad's wit and humor left their mark—offering laughter even in the gravest of discussions. Though his public presence had diminished, he remained a symbol of rebellion, freedom, and creativity for an entire generation.
Ziad Rahbani may have passed after a battle with illness, but his voice endures—in music, in theater, and the consciousness of a nation; a defiant note that will never fade.