Award-winning Palestinian singer, composer and flautist Nai Barghouti captivated a sold-out crowd at the Howard Assembly Room in Leeds with a performance that seamlessly blended classical Arab music with jazz.
Raised in Ramallah and named after the nay, the Arabic word for flute, Barghouti’s musical journey began at the age of four when she first started singing, later picking up the flute at just six year old. Trained in Palestine and abroad, she has made her mark on the international stage with her distinctive voice. Her ability to fuse Arabic maqam and jazz has enthralled audiences worldwide, from Egypt to the United Nations headquarters in New York. Her Leeds performance was no exception, delivering both musical brilliance and a deep emotional resonance.
With a voice described as both haunting and jazzy, Barghouti transported the audience to a realm where the rich heritage of Arabic music seamlessly merged with jazz. Adorned Barghouti opened her set with Rajieen (We Shall Return), a poignant song about the yearning to return to Palestine. Her voice, layered with intricate ornamentations, conveyed the profound emotional weight of the song. The sombre atmosphere in the room was palpable, especially as she read from the famous poem Think of Others by renowned Palestinian poet Mahmoud Darwish, which encourages solidarity and empathy for the plight of others in the world. Barghouti’s set also included a reimagined rendition of Habaytek by the iconic Lebanese singer Fairuz.
Each piece was carefully crafted, showcasing not just her own artistry but also the exceptional talents of her quartet, which included electric guitar, qanun, piano, and drums. Each musician had their moment to shine, contributing to the rich tapestry of sound that filled the venue.
At one point, Barghouti reflected on the unique power of Arabic music, sharing: “The emotions in this music cannot be described, you will feel sadness, happiness, love and nostalgia throughout this show.” Listening to her sing, you would be inclined to agree. At times, it felt as though she was crying through her voice, carrying the weight of history in each note.
“I want to take you back to Egypt’s Golden Age,” Barghouti told the crowd, referring to a period she described as pivotal for Arabic music. True to her word, her performance had a nostalgic, almost cinematic quality, evoking the grandeur of an era that continues to shape the Arab world’s musical legacy. The audience responded with a collective zarghouta, a high-pitched ululation commonly used to express joy and solidarity, highlighting the cultural significance of the event.
One of the night’s most powerful moments came when Barghouti dedicated a song to Hind Rajab, a five-year-old Palestinian girl killed by Israeli forces while fleeing Gaza in January 2024, along with several members of her family and two paramedics who tried to assist her. Barghouti also performed a musical rendition of Dr. Refaat Alareer’s final poem, If I Must Die, as a tribute after Alareer was killed in an Israeli airstrike in December 2024. This was not just a concert but a communal experience where grief and resilience were shared through music.
The evening culminated in a highly anticipated encore, as the crowd, still buzzing with energy, joined in to sing along. Barghouti’s connection with her audience was undeniable, her magnetic presence and ability to blend traditional and contemporary elements leaving everyone in awe.
This concert was made possible by Marsm, a London-based event producer and dynamic digital platform that amplifies the vibrant musical culture of the Arabic-speaking world. Their commitment to challenging mainstream representations of artists from the South West Asia and North Africa (SWANA) region was evident in the stellar performance Barghouti delivered.
As the final notes faded, the room remained suspended in that shared moment—proof that Barghouti’s voice carries more than just melody; it carries memory, resilience, and the spirit of a people.