Libya is a North African country with a predominantly Arabic-speaking population and a rich musical heritage influenced by Arab-Andalusian traditions, Ottoman rule, and local Bedouin and Amazigh cultures. Various kinds of Arab music are popular, including Andalusi music (locally known as Malouf), Chaabi, and Arab classical music.
During the Ottoman period, Turkish musical influences were incorporated into Libyan music, though the Andalusian foundation remained important. Libyan folk music also reflects regional diversity, with Bedouin and Amazigh musical traditions especially present in Cyrenaica and the southern Fezzan region.
Two of the most famous musicians of Libya are Ahmed Fakroun and Mohamed Hassan.
Among Libyan Arabs, instruments include the zokra (a bagpipe), flute (made of bamboo), tambourine, oud (a fretless lute) and darbuka, a goblet drum held sideways and played with the fingers. Intricate clapping is also common in Libyan folk music.
Traveling Bedouin poet-singers have spread many popular songs across Libya. Among their styles is huda, the camel driver's song, the rhythm of which is said to mimic the feet of a walking camel.
In addition to these styles, there is also a tradition of ululation, a high-pitched, trilling vocalization, often performed by women at celebrations and gatherings.
During the 2011 revolution, the Amazigh singer Dania Ben Sassi went viral with her songs praising the sacrifices of the Libyan people, sung in Tamazight.
Libyan authorities have cracked down on rap music for violating "moral rules".
Traditional music
Malouf
Malouf, one of Libya's most notable musical forms, traces its origins to Andalusian music brought to North Africa following the expulsion of the Moors from Spain in the 15th century. This genre is traditionally structured around 24 nubas, each subdivided into five sections called mīzān, with performances often lasting six to seven hours and beginning with an instrumental prelude known as a tushiya. Libyan Malouf is related to similar styles found in Tunisia, Algeria (Gharnati), and Morocco (Ala), but it has its own distinctive repertoire and performance style. Traditional instruments like the oud and bendir are central to this music.
Chaabi
Libyan Chaabi is a popular genre of folk music that resonates deeply with urban and rural communities across the country. Rooted in traditional North African musical styles, Chaabi in Libya combines lively rhythms, poetic lyrics, and call-and-response vocal patterns that encourage audience participation. The genre often features a mix of percussion instruments such as the darbuka and bendir, alongside stringed instruments like the oud, qanun, and violin, as well as the Libyan bagpipe known as the zokra.
The lyrics typically explore themes of daily life, love, social issues, and cultural pride, making it both a form of entertainment and a vehicle for storytelling and social commentary. Unlike more classical genres such as Malouf, Chaabi is generally more accessible and dance-oriented, frequently performed at weddings, festivals, and communal gatherings.
Gheita
Gheita music is a traditional musical form that originated primarily in the Libyan city of Benghazi. It is considered one of the most prominent styles of Libyan popular music, alongside Jar Suwahli and Mirskaawi. This style should not be confused with the ghaita (or rhaita) instrument found in North African and Andalusi musical traditions; in the Libyan context, Gheita refers both to a fast-paced musical genre and to a traditional instrument bearing the same name. Despite sharing the term, the musical style and the instrument are distinct and unrelated in their origins and use.
Gheita is known for its intensely fast and aggressive rhythm, often compared to American hard rock, though the instruments and rhythmic structures are entirely different. It is a male-dominated genre, traditionally performed exclusively by young men, with no participation from women. Gheita music plays a central role in major public festivities, especially weddings and national celebrations such as sporting victories.
Mirskaawi
Mirskaawi (Arabic: المرسكاوي) is a traditional popular music form native to eastern Libya, particularly prominent in cities such as Benghazi, Al-Bayda, and Derna. Some believe its origin lies in the southern town of Murzuq, with the name deriving from "Murzuqawi." Others, including Libyan musicologist Tariq al-Hassi, suggest that the genre has Andalusian roots, citing similarities with Andalusian music and proposing that "Mirskaawi" evolved from "Moriscawi," a Libyan Arabic adaptation of "Morisco"—the term for Andalusian Muslims who fled to North Africa after the fall of al-Andalus.
Mirskaawi typically features a local maqam and opens with a vocal prelude resembling a mawwāl, supported by instrumental accompaniment known as diwan. Songs often conclude with a fast-paced rhythmic flourish called tabrouila, which may use the same musical theme or introduce a new one, often with a danceable rhythm. The music form is traditionally performed with local instruments and is known for its improvisational vocal style.
Jarr Suwahli
Jarr Suwahli (Arabic: جر السواحلي) is one of the oldest known musical traditions in Libya, originating along the Libyan coastline. The name derives from two words: jarr, meaning "to pull" or "to trail," referring to lyrical lines that flow continuously, and suwahli, meaning "coastal," marking its birth along the shores of the Mediterranean. Its exact origins dates back centuries, making them difficult to pinpoint with historical precision.
Characterized by its free structure, both rhythmically and lyrically, Jarr Suwahli developed as an expressive, improvisational form that allowed for significant artistic freedom. This openness made it especially appealing to younger generations. The lyrics are typically romantic or celebratory in nature, revolving around themes of love, longing, and social joy—often performed at weddings or festive gatherings. Poetic lines tend to range from medium to extended in length, providing performers with a flexible narrative structure suited for both personal expression and communal performance.
Historical evidence places the emergence of Zamzamat in the early 20th century. The tradition is believed to have started around 1919, reportedly to celebrate the return of a government minister. Esteemed Libyan artist Mokhtar Al-Aswad, drawing on sources such as the Yawmiyyat Al-Faqih Hassan (Diaries of Jurist Hassan), explains that early Zamzamat performers like Kamila Al-Makhla and her blind sister preserved songs once recited by Malouf music masters in cultural hubs such as the Khouja Hotel. The genre flourished through generations, supported by prominent musicians and singers including Muhammad Al-Sayyadi, a renowned Maqruna player, and singers like Aisha Al-Fizika, Mama Nissa, and Khadija Al-Funsha (widely known as Warda Al-Libiya).
Zamzamat is primarily associated with Tripoli. Their performances are characterized by collective female participation, with singers often improvising verses that praise the bride's virtues, celebrate the groom's qualities, or express affectionate social commentary. These performances are characterized by rhythmic ululations accompanied by hand clapping and drumbeats, often continuing throughout the wedding festivities until the arrival of the groom's family. The Zamzamat tradition is distinctive for its exclusive female participation, reflecting local customs that segregate men and women during such events. Male musical ensembles typically perform separate repertoires such as nuba and Malouf.
The name Majrouda derives from the Arabic root meaning "stripped" or "bare," reflecting its poetic style of brevity and simplicity. Unlike more elaborate poetic forms, Majrouda features short, direct verses with a strong emotional focus, often narrating personal tales of lost love and sorrow.
Tuareg music
The Tuareg in southern Libya have their own distinctive folk music. In their culture, women are usually the musicians. They play the anzad, a one-stringed violin with a unique sound, and use different types of drums to create rhythm. Their music often accompanies social gatherings, storytelling, and important ceremonies, making it an important part of Tuareg life and culture.
Vocal Tradition
Contemporary Libyan singing bears strong resemblance to vocal styles found throughout the rest of the Arab world, in that it combines both authenticity and modernity simultaneously. Traditional and folk singing, passed down through generations, continues to be practiced in numerous religious, national, and social occasions. Alongside these, Tarablusi singing (al-ghināʾ al-Ṭarābulsi) emerged in the city of Tripoli in the late 19th century. It was developed by a group of musical enthusiasts influenced by Levantine and Egyptian styles of classical Arabic music (ṭarab).
History
Libyan singing witnessed significant growth following the establishment of the national radio station in the mid-1950s. Alongside earlier styles, a new form of modern youth-oriented singing emerged in the early 1970s, characterized by the use of electronic instruments and advanced sound recording technologies. This genre reached the height of its popularity during the 1980s and 1990s, dominating the music scene and becoming one of the most commercially successful forms in Libya's cassette market. Despite its widespread popularity, this style did not achieve the same level of exposure on state-run radio and television stations as it did in other Arab countries through their media outlets and satellite channels.
The gasba is typically crafted from a hollow piece of metal or reed (ghab), with several holes pierced along its length. Sound is produced by blowing across the upper rim, where the air splits against the edge, creating a resonant tone. Unlike the fahlil (another regional wind instrument), the gasba does not contain a built-in whistle. It also lacks a rear thumb hole, which limits its tonal range to approximately seven notes.
Ibrahim Hesnawi, often referred to as the "Father of Libyan Reggae," is one of the genre's most prominent figures. Other notable contributors include Ahmed Ben Ali, Najib Alhoush, Tarek Al-Najeh, Jamal Abd Al-Qadder, Alneeda Group, The White Birds Band, and Shahd. Even after the country's political transformations, Libyan reggae continues to serve as a powerful form of artistic and social expression. International labels such as Habibi Funk have recently helped bring wider attention to this uniquely Libyan musical form.
Desert Blues
Desert blues is a prominent music genre among the Tuareg communities inhabiting the Saharan regions of North Africa, including southern Libya. Also known by names such as Assouf, Tishoumaren, Takamba, Tuareg Rock, and Saharan Rock, Desert Blues blends traditional Tuareg sounds with elements of rock and blues.
The 2024 edition, organized by the Ajyalna Foundation and directed by Libyan music journalist Ahmed Kwfiya, featured over 27 artists from across the Arab world and North Africa. Performers included Egyptian rapper Wegz, Moroccan rapper ElGrandeToto, Tunisian artist Samara, and Lebanese pop singer Wael Jassar. Prominent Libyan musicians such as Mansour Anaoun, Ka7la, Akhras, and Fares Saber also performed.
The festival featured a blend of genres, including hip-hop, pop, Arabic trap, and traditional Libyan music. Alongside the concerts, the event also hosted beach volleyball matches, e-sports competitions, a Russian circus, cultural exhibitions, and literary showcases.
Music and dance are central to the festival's cultural showcase. Performers clad in traditional attire fill the ancient alleys and courtyards of Ghadames's old town with call-and-response singing, accompanied by indigenous instruments like the zokra and dabbaha. These performances often take place during folk dances and camel or horse races held just outside the city walls.