UPDATED: Renowned Lebanese musician Ziad Rahbani, son of Fairuz, dies at 69 - Music - Arts & Culture

Al-Ahram Weekly

2 days ago

Renowned Lebanese musician Ziad Rahbani passed away Saturday, at the age of 69, following a rich artistic career that spanned decades.
Ziad came from one of Lebanon's most prominent artistic families — he was the son of the legendary Fairuz and the late Assi Rahbani. He began his artistic journey at an early age, carving out a unique path that combined composing, performing, writing, and acting.
Rahbani was known for his musical compositions that blended Eastern classical music with jazz and Western styles.
Throughout his career, he collaborated with many major artists, most notably his mother, Fairouz, for whom he composed dozens of distinctive songs that continue to resonate with audiences to this day.
Ziad Rahbani, the celebrated Lebanese composer, pianist, playwright, and political visionary, was born on 1 January 1956 in Antelias near Beirut, to legendary singer Fairuz (Nouhad Haddad) and composer Assi Rahbani.
As the Associated Press (AP) notes: "While his parents helped construct a golden era of Lebanese musical theater steeped in idealism and nostalgia, Rahbani charged onto the scene with irreverent satire, unflinching political critique and jazz-inflected scores that mirrored the chaos and contradictions of a Lebanon at war with itself."
His musical talent emerged early. At just 12, he wrote Sadiqi Allah (My Friend God), and by 17, one of his first compositions for his mother—Sa'alouni El‑Nass—became one of her most beloved hits.
Throughout his career, Rahbani composed many iconic songs for Fairuz, including Andi Sikka Fik (1991), Kifak Inta? (2000), and Sallimli 'Alayh (2001), many of which appeared on albums such as Wala Keef (2001) and Eh Fi Amal (2010), marking Fairuz's return after a long recording hiatus.
But his contributions went far beyond compositions for his mother. Among his most celebrated albums is Houdou Nisbi (1984), which he referred to as 'oriental jazz.' Critics, however, called that label 'a gross oversimplification,' noting that Houdou Nisbi draws from a wide range of styles rooted in Lebanon's unique cultural and historical crossroads, resulting in a deeply reflective musical meditation on its time.
His 1987 release Amrak Seedna & Abtal Wa Harameyah showcased Rahbani's signature fusion of Arabic melodic traditions with Western funk, jazz, and boogie, producing a sound palette that was groundbreaking in the Arab world.
These and many other compositions reflect Rahbani's distinct style: blending classical Arabic melodies with jazz, funk, and Western harmonies, often paired with lyrics of poetic, emotional, or satirical weight.
In addition to his music, Rahbani was known for his outspoken political views, which often influenced the lyrical and thematic content of his work. His artistic persona combined humour, sarcasm, and sharp insight into daily life and power dynamics.
This political engagement was especially evident in Rahbani's theatrical works, which emerged in the 1970s against the backdrop of Lebanon's social unrest and approaching civil war. As a playwright, composer, and lyricist, Rahbani created a genre-defying form of musical theatre that wove together colloquial Lebanese dialect, biting satire, and jazz-influenced compositions.
His debut musical, Nazl El‑Sourour (1974), was a dark comedy about factory workers who take hostages in a motel to demand their rights. His 1978 play Bennesbeh Labokra, Chou? (What About Tomorrow?) examined the erosion of revolutionary ideals. In Film Ameriki Tawil (Long American Movie, 1980), he portrayed Lebanese society during the civil war. This was followed by Speaking of Dignity and Stubborn People (1993) and Had It Not Been for Hope (1994), among other influential works.
These plays, known for their humour, irony, and emotional range, helped define what would come to be known as the 'Rahbani School' in musical theatre.
Rahbani's political satire extended to radio. His shows—such as We Are Still Alive and Thank Almighty God (broadcast on National Radio of Lebanon in 1976–77)—offered scathing critiques of Lebanon's political elite and championed the voices of the marginalized during wartime.
Following the news of his death, an outpouring of grief spread across the Arab world, with fans and prominent public figures mourning the loss.
Lebanese President Joseph Aoun described Rahbani's passing as a national loss, calling him 'not just an artist, but a complete intellectual and cultural phenomenon.'
The AP quoted Aoun as saying Rahbani was 'a living conscience, a rebellious voice against injustice, and an honest mirror reflecting the suffering and marginalized.'
He praised Rahbani's fusion of classical, jazz, and Oriental music, which he said 'opened new windows for Lebanese cultural expression' and elevated it globally. 'Ziad was a natural extension of the Rahbani family, which gave Lebanon much beauty and dignity,' the president added.
Rahbani was mourned by large scores of his fans and many influencial figures across the Arab region.
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