Ziad Rahbani was a Lebanese composer, pianist, playwright, and political provocateur, passed away on Saturday at the age of 69, Lebanon’s state-run National News Agency has confirmed . He born on January 1, 1956, in Antelias, near Beirut, he was the eldest son of the legendary singer Fairuz (Nouhad Haddad) and composer Assi Rahbani, a founding half of the iconic Rahbani Brothers. He passed away after battling Sickness.
| Full Name | Ziad Rahbani |
|---|---|
| Date of Birth | January 1, 1956 |
| Place of Birth | Antelias, Lebanon |
| Profession | Composer, Pianist, Playwright, Political Commentator |
| Parents | Fairuz (mother), Assi Rahbani (father) |
| Known For | Satirical plays, political commentary, collaborations with Fairuz |
| Notable Works | Sahriyyeh, Film Ameriki Tawil, Bi Ma Inno |
| Marital Status | Divorced from Dalal Karam |
| Children | One son (not biologically his) |
| Political Views | Leftist, Communist sympathies |
Ziad Rahbani music journey
Ziad Rahbani emerged as a prodigy early on: he composed his first song for his mother at just 17, “Sa’alouni El‑Nass,” which quickly became one of Fairuz’s enduring classics. His musical voice evolved into a unique synthesis of classical Arabic melodies with Western jazz, funk, and classical influences a sonic blend often dubbed “oriental jazz,” although critics argue the label undersells his artistic breadth.
His albums, including Houdou Nesbi (1984) and Amrak Seedna & Abtal Wa Harameyah (1987), showcased layered arrangements and bold political undertones that helped reshape Arab musical identity. He also appeared in film The Kite (2003) as actor, directed and written by Randa Chahal Sabag.
Theatre and Satire: Lebanon’s Conscience
Beyond music, Rahbani reinvented Arabic musical theatre. His debut play, Nazl el‑Sourour (“Happiness Hotel,” 1974), was a biting satire on class oppression and social disillusionment, staged at the age of 17. Subsequent works like Bennesbeh Labokra Chou? and Film Ameriki Taweel offered darkly comedic takes on postwar Beirut, corruption, and fractured ideals.
He released several songs including Bi hal shakel, Abou Ali, Halleluja, Shareet Ghayr Houdoudi, Houdou Nesbi, Ana Mouch Kafer, Hakaya al Atfal, Bema Enno, Monodose (with singer Salma Mosfi) and Maaloumat Mush after war. Ziad Rahbani was known for powerful songs like “Sa’alouni El Nass”, “Kifak Inta”, “Bala Wala Shi”, and “Houdou Nisbi”, blending jazz and Arabic music with political themes.
His radio programmes during the Lebanese Civil War. We Are Still Alive and Thank Almighty God became rallying voices for the marginalized, riddled with sharp satire and political critique.
Legacy, Tributes, and Mourning
Lebanese President Joseph Aoun mourned Rahbani’s death as a national loss, hailing him as “not just an artist, but a complete intellectual and cultural phenomenon,” lauding Rahbani as “a living conscience, a rebellious voice against injustice” who reflected Lebanon’s marginalized, opening “new windows for Lebanese cultural expression”.
Prime Minister Nawaf Salam echoed praise for Rahbani’s unwavering commitment to justice and dignity, calling him “a free voice… true to the values of human and national causes”.
Fans and artists across the Arab world joined the mourning, with pop star Elissa writing on X: “Ziad_Rahbani was not an ordinary artist … With his loss today, Lebanon has lost … a big piece of its collective memory.”
His life partner
He married to Dalal Karam. They had a son named “Assi.” Later, it was revealed that Assi was not his biological son. This led to the end of their marriage. After their divorce, Dalal wrote a series of articles about their relationship in a gossip magazine called Ashabaka.
Ziad expressed his feelings about their troubled relationship through songs like “Marba el Dalal” and “Bisaraha.”
Prime Minister Nawaf Salam wrote on X that Rahbani was “an exceptional creative artist and a free voice who remained loyal to the values of justice and dignity.” He added: “On stage, through music and words, he said what many did not dare to say…” and that he “planted a new awareness in the conscience of national culture.”
