Libya is a country in North Africa. Most people there speak Arabic, and the music has a long history shaped by many cultures, including Arab-Andalusian traditions, Ottoman rule, and local Bedouin and Amazigh traditions. Popular music styles include Andalusi music (called Malouf in Libya), Chaabi, and Arab classical music.
During the Ottoman period, Turkish musical influences were added to Libyan music, but the Andalusian style remained important. Libyan folk music shows differences between regions, with Bedouin and Amazigh traditions especially common in Cyrenaica and the southern Fezzan area.
Two well-known Libyan musicians are Ahmed Fakroun and Mohamed Hassan.
Instruments used by Libyan Arabs include the zokra (a bagpipe), a flute made of bamboo, a tambourine, an oud (a lute without frets), and a darbuka, which is a goblet-shaped drum held sideways and played with fingers. Elaborate hand clapping is also common in folk music.
Traveling Bedouin poet-singers have shared many songs across Libya. One style is huda, a song sung by camel drivers, whose rhythm is said to copy the sound of a camel walking.
Another tradition is ululation, a high-pitched, repeated vocal sound often performed by women during celebrations.
During the 2011 revolution, the Amazigh singer Dania Ben Sassi became famous online for singing songs that honored the sacrifices of Libyans in Tamazight.
Libyan officials have taken action against rap music because it breaks rules about behavior.
Traditional music
Malouf is a famous type of music in Libya. It started when Andalusian music was brought to North Africa after the Moors left Spain in the 15th century. This music is usually divided into 24 parts called nubas, each with five sections named mīzān. Performances often last six to seven hours and begin with an instrumental piece called a tushiya. Libyan Malouf is similar to music styles in Tunisia, Algeria (Gharnati), and Morocco (Ala), but it has its own unique songs and way of being performed. Traditional instruments like the oud and bendir are important in this music.
Libyan Chaabi is a popular folk music genre that is loved by people in both cities and rural areas. It comes from traditional North African music and uses lively rhythms, poetic lyrics, and call-and-response singing that lets the audience join in. This music often includes percussion instruments like the darbuka and bendir, as well as stringed instruments such as the oud, qanun, and violin, and a traditional Libyan bagpipe called the zokra. The lyrics talk about daily life, love, social issues, and pride in culture. Unlike more formal music like Malouf, Chaabi is easier to understand and is often played at weddings, festivals, and community events.
Gheita music is a traditional style that began in Benghazi, Libya. It is one of the most important forms of popular music in Libya, along with Jar Suwahli and Mirskaawi. This style should not be confused with the ghaita instrument found in other North African and Andalusian music traditions. In Libya, Gheita refers to both a fast-paced music style and a traditional instrument with the same name. The music style and instrument are different and have separate origins. Gheita is known for its very fast and strong rhythm, sometimes compared to American hard rock, though the instruments and rhythms are different. It is mainly performed by young men and is often played at weddings and national celebrations.
Mirskaawi is a traditional music style from eastern Libya, especially in cities like Benghazi, Al-Bayda, and Derna. Some believe it started in Murzuq, with the name coming from "Murzuqawi." Others, like musicologist Tariq al-Hassi, think it has roots in Andalusian music, suggesting "Mirskaawi" came from "Moriscawi," a Libyan Arabic version of "Morisco," the name for Andalusian Muslims who moved to North Africa after the fall of al-Andalus. Mirskaawi usually uses a local musical scale and starts with a vocal piece called a mawwāl, supported by instrumental music called diwan. Songs often end with a fast, rhythmic section called tabrouila, which may repeat the same theme or introduce a new one with a danceable rhythm. This music is performed with local instruments and includes a lot of vocal improvisation.
Jarr Suwahli is one of the oldest known music traditions in Libya. It started along the coast of Libya, with the name coming from "jarr" (meaning "to pull" or "to trail"), referring to flowing lyrics, and "suwahli" (meaning "coastal"), showing its origin along the Mediterranean Sea. Its exact beginnings are unclear, but it has been around for many centuries. Jarr Suwahli is known for its free structure, both in rhythm and lyrics, allowing for a lot of artistic freedom. This made it popular with younger people. The lyrics are usually romantic or celebratory, focusing on love, longing, and joy, and are often performed at weddings and festivals. The words in songs are often long, giving performers flexibility in storytelling. Traditional instruments include the oud, ney or zamara, darbouka, bendir, and qanun. In the 20th century, modern instruments like the keyboard, guitar, violin, and accordion were added, showing a mix of old and new styles.
Over time, Jarr Suwahli became the base for many modern Libyan music styles. In the late 1960s, musician Ahmed Fakroun combined Jarr Suwahli with rock music, creating a new style for young people. By the 1970s and 1980s, this modern version, sometimes called Libyan free music, spread to Egypt, where it became known as musiqa shababiyya ("youth music"). Though some people thought it was not important, it became popular across the Arab world. Libyan artists like Hamid Al Shaeri and Ibrahim Fahmi helped spread this music to Egypt, leading to its growth. From this, a sub-style called Libyan country music (musiqa rifiyya) developed, with simple lyrics and melodies that kept the music accessible and emotionally strong.
Zamzamat is a traditional form of music sung by women in Libya. It is often called "Libyan female songs" or "women’s anthems." Zamzamat songs are performed at social events and weddings, with themes about love, celebration, and customs. They are accompanied by simple rhythms played on hand drums like the duff. Zamzamat began in the early 20th century, possibly to celebrate the return of a government official. Early performers like Kamila Al-Makhla and her blind sister helped preserve songs from Malouf music. The genre grew through the work of musicians like Muhammad Al-Sayyadi and singers such as Aisha Al-Fizika, Mama Nissa, and Khadija Al-Funsha (known as Warda Al-Libiya). Zamzamat is most connected to Tripoli, where women sing together, often improvising verses that praise the bride, celebrate the groom, or share social comments. These performances include rhythmic shouting, hand clapping, and drumming, lasting until the groom's family arrives. Zamzamat is unique because only women perform it, following local customs that separate men and women during events. Men usually perform different music like nuba and Malouf.
In eastern Libya, a similar tradition called Darbakat exists. It is named after the darbuka drum used in the performances. Darbakat shares many features with Zamzamat but is performed by men.
Vocal Tradition
Modern Libyan singing is similar to singing styles found in other Arab countries. It combines traditional elements with modern sounds. Traditional and folk singing, passed from one generation to the next, is still used in religious, national, and social events. In the late 1800s, a style called Tarablusi singing (al-ghināʾ al-Ṭarābulsi) developed in Tripoli. It was created by people who loved music and were influenced by styles from the Levant and Egypt.
Libyan singing grew significantly after the national radio station was established in the mid-1950s. In the early 1970s, a new style of music for young people appeared. This style used electronic instruments and modern recording technology. It became very popular in the 1980s and 1990s, dominating Libya’s music scene and selling many cassettes. However, it was not as widely played on government-owned radio and television as it was in other Arab countries.
Traditional Libyan singing is based on the rich Arabic musical heritage of the Maghreb and Andalusia. It is often performed during religious and social events, especially in Sufi communities. These performances include devotional chants, praise poetry, and musical pieces called malouf, which are influenced by Andalusian traditions. They focus on spiritual expression and use vocal styles that have been passed down through generations.
This tradition also includes devotional texts that are sung responsively, usually without instruments. A practice called dhikr involves repeating divine names in layered vocal parts that gradually increase in speed and pitch. It is often accompanied by percussion instruments like the baz (a small metal plate struck with a leather strap) and the zal (a pair of copper plates struck together).
Praise poems honoring the Prophet Muhammad or important Sufi leaders are sung using Arabic musical scales called maqamat, such as Rast, Bayati, Sikah, and Ajam. These are performed a cappella or with traditional Arabic or folk instruments. Many of these songs show influences from Egyptian and Levantine musical traditions.
Folk songs in Libya have been passed down through generations and are connected to local customs and daily life. These songs often change over time to reflect new social and cultural changes. They remain important parts of celebrations like weddings and festivals.
Tarablusi singing, which began in Tripoli in the late 1800s, is different from traditional and folk singing. It uses local poetic and rhythmic traditions and often includes themes of love, description, and separation. It uses classical Arabic maqamat and local rhythms, performed with an Arabic orchestra called the takht. Radio broadcasts from the Italian colonial period and recordings made abroad helped this style grow. Early musicians like Muhammad ‘Abiyah, Ali al-Buni, and Mohsen Dhafir were important in its development. Music departments at Libyan radio stations in Tripoli and Benghazi in the mid-20th century also helped spread this genre.
Since the 1970s, modern youth music in Libya has used electronic instruments and modern production techniques. This style became popular through cassettes and other media but was rarely played on radio or television. It mixes traditional sounds with modern music, especially appealing to younger listeners.
Instruments
The gasba (ⵜⴰⵖⴰⵏⵉⵎⵜ Taghanimt in Tamazight) is a traditional wind instrument from North Africa, often found in Libya, especially in the Nafusa Mountains. It looks similar to the ney, a flute-like instrument used in Arabic and Persian music. The gasba is usually made from a hollow metal or reed tube, such as bamboo, with finger holes along its body. Sound is created by blowing across the top edge, where air splits against the edge and causes vibration. Unlike some flutes, the gasba does not have a built-in whistle (fahlil) and lacks a rear thumb hole, limiting its sound range to about seven notes.
The gasba is made from a hollow piece of metal or reed (ghab), with several holes along its length. Sound is produced by blowing across the top rim, where air splits against the edge to create a resonant tone. It does not have a built-in whistle, unlike the fahlil, and lacks a rear thumb hole, which limits its range to about seven notes.
Traditionally, the gasba is played during folk performances and ceremonies. In western Libya, it is often played with the danga, a percussion instrument, forming a unique musical pair that is important in local traditions.
The darbuka is a goblet-shaped drum used in Libyan music, especially in coastal areas. It has a ceramic body shaped like a cone or hourglass, with a tight skin membrane on top.
In Libya, ceramic darbukas are played during weddings and celebrations in coastal cities. In southern and central regions, wooden versions like the dabbaba are more common. In Ghadames, a smaller type called the Andkallel or Ghadames darbuka is played by women during festivals. These drums come in three sizes: small, medium, and large. The player holds the drum in the left hand and strikes it with the right hand, a method different from the two-handed technique used elsewhere.
The dabbaha is made from a piece of almond or olive tree trunk, about 50–60 cm long. A hollow space is carved inside, and both ends are sealed with goat skin stretched over wooden frames and tied with cords. Before each performance, the cords must be tightened. In some areas, a piece of date fruit is placed between the skin and wood to increase tension through heat, creating a warmer sound. The drum is worn over the left shoulder with a leather strap, allowing the player to dance while playing, especially in groups like the Zakkar troupe, which includes two dabbaha drummers and one zokra player (a Libyan bagpipe).
In many areas, the ceramic darbuka is heated before playing to improve its sound. Some musicians place a small piece of date fruit on the membrane to mimic the deep tone of the dabbaha.
The bendir is a frame drum used in Amazigh and Libyan folk music. It has a circular wooden frame about 40 cm wide, with a hole along the edge where the left thumb is inserted for support. One side is covered with stretched goatskin, and the inside often has one or two gut strings (made from animal intestines) stretched across the back of the membrane. These strings vibrate when struck, creating a buzzing or resonant sound.
The bendir is a key instrument for keeping rhythm in Libyan music, especially in Amazigh traditions. It is also used in religious music, such as hadra (Sufi ceremonies), and in group performances, solo music, and rituals.
The danga (Arabic: الدنقة) is a traditional Libyan percussion instrument, similar in size to the nūba drum. It is worn over the left shoulder and played with a curved stick, often made from the tazugart tree, to strike the drum’s surface and create a deep "dum" beat. The other hand taps the same surface with fingers to add lighter rhythms, called takkāt.
The danga is still used in areas west and south of Tripoli, especially in the Nafusa Mountains. It is often played with the zokra in Zakkar ensembles.
Historically, the danga was linked to Abu Sa'diyya, a performer known as "the masked man," whose roots trace back to ancient African traditions. He traveled through Libyan towns and villages during festivals, combining drumming, singing, and dancing. His performances were both entertaining and ritualistic.
In Tripoli, the danga is used in the Makariya parade, where it is played with shakshakat (metallic clappers) during public celebrations.
The zamara, also called the mizmar, is a traditional wind instrument with a long history in the ancient Near East and Eastern Europe. Classical scholars like Al-Farabi described reed instruments in his 10th-century work, Kitab al-Musiqa al-Kabir. In Libya, the zamara has two main parts: the gasaba, a pipe with finger holes, and the balous, a smaller reed inserted into the pipe. The player blows into the balous, causing it to vibrate and produce sound. Adjusting finger holes changes the pitch.
Zamara players use circular breathing, a technique that lets them hold air in their cheeks and release it slowly while inhaling through the nose. This allows them to play continuously for over an hour, often accompanying traditional songs and dances.
The zamara comes in different forms, including single and double-pipe versions, and some have horn-like extensions to amplify sound. All are made from natural materials using methods unchanged for thousands of years. The sound matches the Arabic quarter-tone scale, but the limited finger holes usually limit melodies to six notes, suitable for regional folk music.
The zokra (also called tazkart) is a traditional Libyan wind instrument believed to date back to the 17th century. Made from reed (qasab al-ghab), it has a single-reed mouthpiece called the balous. The zokra exists in single and double-pipe forms, and some, like the maqrunah, have a goatskin airbag attached, similar to a bagpipe’s reservoir. This allows continuous sound while using finger holes to create melodies.
The zokra is often played with the dabbaha drums in a three-part ensemble called the zkar, a tradition common in Libyan weddings, especially in coastal areas and the Nafusa Mountains. It is played at festivals, weddings, Mawlid celebrations, and folk dances in places like Derna, Al-Bayda, Kufra, and Murzuk, as well as other regions in eastern and central Libya.
Traditionally, zokras are made from two equal-length reed pipes tied together with goatskin, usually filali hide. Some types, like the maqrunah, have cattle horns attached to the ends to enhance sound.
Contemporary Music
Contemporary Libyan music has changed a lot, with a new group of artists mixing traditional sounds with modern styles like trap, hip-hop, and electronic music.
Reggae music, which began in Jamaica, became popular in Libya starting in the 1970s. During this time, Libyan musicians combined reggae’s unique rhythms with traditional Libyan instruments and Arabic musical scales, creating a special version of the genre. Themes in reggae, such as fighting for freedom and unity, connected with Libyan youth, especially during the Gaddafi era, when music was used to express quiet disagreement with the government.
Ibrahim Hesnawi is known as the "Father of Libyan Reggae" and is one of the most important people in the genre. Other important artists include Ahmed Ben Ali, Najib Alhoush, Tarek Al-Najeh, Jamal Abd Al-Qadder, Alneeda Group, The White Birds Band, and Shahd. Even after political changes in Libya, reggae remains an important way for people to express themselves artistically and socially. International music companies like Habibi Funk have recently helped share this unique Libyan music with more people.
In the 1970s and 1980s, Libya had a funk music scene influenced by global trends like Western pop, disco, and synth-funk. Ahmed Fakroun is one of the most famous musicians in this scene. His music mixes Arabic melodies and Maghrebi rhythms with European electronic and funk styles. His albums, such as Mots d’Amour and Awedny, are well-known worldwide, and he is considered one of Libya’s most important musicians today.
Another important figure in Libya’s music scene is Hamid Al Shaeri, who helped shape Arabic pop music and started the Al-Jeel genre. Al-Jeel, which began in the 1980s, mixes Western synth-pop, disco, and soft rock with Arabic sounds. Al Shaeri’s music uses electronic synthesizers, funk rhythms, and Arabic vocals. He was born in Benghazi, Libya, but later moved to Cairo, where he became a key part of the Arabic pop music scene in the 1980s and 1990s.
Cheb Arab is a Libyan singer who was active in Egypt during the 1990s. He helped develop Arabic pop and electronic music by mixing modern sounds with regional influences. He became well-known in the Egyptian music industry.
Other artists, like Najib Alhoush and The White Birds Band, also explored funk and soul music, often adding reggae elements to their work.
After the 2011 revolution, Libyan rap and hip-hop became more popular. These styles became a way for young people to express their thoughts and opinions about politics. Because of limited resources and censorship, much of this music was made in informal or underground settings. Artists like GAB and Ibn Thabit, who live in exile or diaspora communities, often write about issues like unfair treatment, identity, and resistance. Their songs are usually performed in Darja, the Libyan Arabic dialect, and have a direct, honest tone with clear political messages. Hip-hop remains a key form of artistic expression in Libya today.
Desert blues is a music style popular among the Tuareg people in the Sahara regions of North Africa, including southern Libya. It is also called Assouf, Tishoumaren, Takamba, Tuareg Rock, and Saharan Rock. Desert blues mixes traditional Tuareg sounds with rock and blues music.
The name Tishoumaren comes from the French word chômeur, which means "unemployed." It was originally a term used for young Tuareg men who moved to cities in North and West Africa during the 1970s droughts. These men left their traditional nomadic lifestyle and used music to express pride in their culture, feelings of being left out, and resistance to challenges.
Musically, Desert blues uses strong rock rhythms and blues influences along with traditional instruments like the tende drum and Malian lute. Modern instruments like electric guitars and drums are also used. Songs are usually sung in the Tuareg Tamasheq language, showing the genre’s deep connection to Tuareg identity.
Desert blues is popular not only in southern Libya but also in Algeria, Niger, Mali, and Burkina Faso, making it a shared cultural tradition across the Sahara.
Recently, Libyan music has seen more use of remixes and electronic versions of traditional songs. DJs and producers are combining old folk melodies and regional rhythms with modern styles like synth, house, techno, and trap. These remixes often include traditional instruments such as the oud and percussion, blending them with modern music techniques to create danceable songs that still feel distinctly Libyan.
This mix has helped older music reach younger people, making it easier for them to connect with their heritage. These songs are now shared widely in Libya and with the Libyan diaspora through social media and online music platforms.
Music Festivals
Libyan music festivals help keep and share the country's many musical traditions, including those of the Amazigh and Arab cultures. These festivals give local artists, musicians, and craftspeople a chance to share their work, help people learn about different cultures, and attract visitors from around the world.
The Benghazi Summer Festival is a modern music and culture event in Benghazi, Libya. After being stopped for 15 years because of political problems in the country, the festival returned in August 2024. This event shows efforts to bring back cultural activities in eastern Libya.
The 2024 version of the festival was organized by the Ajjalna Foundation and led by Libyan music journalist Ahmed Kwfiya. It included more than 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. Well-known Libyan musicians like Mansour Anaoun, Ka7la, Akhras, and Fares Saber also performed.
The festival had a mix of music styles, such as hip-hop, pop, Arabic trap, and traditional Libyan music. In addition to concerts, the event also had beach volleyball matches, e-sports games, a Russian circus, cultural displays, and literary events. It is seen as an important step in helping Libya's culture grow again, giving both new and experienced artists a chance to share their work and showing that people are interested in music and art after 2011.
The Ghat Festival happens every year in December in the town of Ghat, which is in southwestern Libya near the border with Algeria. The festival celebrates the culture of the Tuareg people, who live in the area, and includes traditional music, dance, camel racing, and displays of local crafts. A special part of the festival is the performance of Desert blues music, making it an important place for this music style.
The Ghadames Festival is a three-day international event held every year in October or November in the old town of Ghadames, known as the "Pearl of the Desert." It honors the traditions of the Tuareg and Amazigh people, who are important to the region's culture.
Music and dance are central to the festival. Performers wearing traditional clothing sing call-and-response songs in the ancient streets and courtyards of Ghadames, using local instruments like the zokra and dabbaha. These performances often happen during folk dances and camel or horse races outside the city walls.
The event brings together people from nearby areas and around the world, with activities like group singing, performances by folk music bands, and musical processions that show the region's musical traditions.
The Nalut Spring Festival is an annual event held in the Amazigh-majority town of Nalut in Libya's western Nafusa Mountains. It takes place in early spring and marks the change from winter to spring. The festival brings people together and shows the local Amazigh identity. It includes activities like horse racing, Amazigh music and dance, and displays of local crafts. Performances often use instruments like the bendir and zokra, and community dances like the ahwash are held in open spaces. Artisans show woven textiles, pottery, and silver jewelry, keeping Nalut's traditions and crafts alive.
Since Libya's 2011 revolution, the festival has become more important as a sign of cultural strength and pride in the region, showing how the community connects with its history and natural environment.
The Awessu Festival is a traditional event in Zuwarah, a coastal town in western Libya. It began as a pre-Islamic ritual involving the sea and marks a time of renewal and spiritual cleansing. People from the local Amazigh community traditionally take animals and belongings into the sea for ritual bathing before sunrise, symbolizing purity and a connection to their ancestors.
Over time, the festival has grown into a larger celebration. Modern events include sailing and swimming races, along with performances of folk music and traditional dances. Big meals featuring local foods are also part of the festival, bringing people together and attracting visitors.