Nai Barghouti at Ludlow Assembly Rooms 
13th February 2025

Nai Barghouti – vocals, flute. Khalil Khoury – qanun, Tony Roe – piano, Diego Alva – guitar, electric bass, Ruven Ruppik - percussion

A Concert Beyond Words – A Voice of Virtuosity and Emotion

Attending Nai Barghouti’s concert at Ludlow Assembly Rooms was an experience not just of music, but of emotion, storytelling, and a deep, resonant call for peace and humanity. Without understanding Arabic, this, for me, was a concert of sounds and feelings—of being transported by the sheer power of her voice and the evocative journey she crafted through song.

Nai Barghouti was born in Ramallah, Jerusalem, and currently lives in Amsterdam. Singer, composer, and flautist, Nai is the Arabic word for wooden flute, and Barghouti is the surname of a prominent Palestinian family. At the age of 14, she launched her career and studied at music schools in Palestine, Holland, and America. She is now one of the most distinguished vocalists of her generation. Using her voice as an instrument, she brings a genre-defying link between jazz and Arabic music.

When I spoke with Nai after the concert, she said, “Palestine is in my roots – it’s who I am. The reason I do music is because of Palestine.”

From the very first note, Barghouti’s presence was commanding yet composed, exuding a maturity and confidence that belied her age. I was surprised, upon speaking to her, to learn that she is only 28 years of age. Her performance suggested a depth of experience well beyond her years. She carried herself with the poise of a seasoned artist, effortlessly weaving together a set-list that felt as meticulously curated as a high end, well-crafted West End production, guiding the audience through grief, pain, joy, and hope.

Despite its seamless presentation —again, much to my surprise, Nai admitted that her set-list often changes from night to night. Yet in Ludlow, it felt cohesive and intentional—like a story unfolding, a lament and a celebration of her homeland. There was an almost liturgical quality to her performance, reminiscent of the wailing women in “Jeremiah”, crying out from the depths of the soul, calling for mourning and remembrance, like the professional singers in biblical times who created a space for grieving in communities. It was clear that one of the reasons this show was sold out was due to the current political situation—the audience were immediately empathetic and engaged.

The standout moment for me was the song “Li Fairuz”, Nai’s tribute to the Lebanese singer Fairuz, one of the most celebrated singers in the history of the Arab world. The melody was exquisitely beautiful, carrying an exotic, hypnotic quality that made me feel like her music was resonating as a deep part of my DNA. Influenced by Arab legends Fairuz and Umm Kulthum, she sang predominantly in Arabic—one of the most sensual, romantic languages, where every phrase is a line of poetry. Arabic has a musical quality built into it it seems; the long vowels give it a haunting, lullaby-like sound, and the consonants when sung, feel raw and earthy. The language itself added emotional weight, tenderness, and power.

“Granada Calling” was a striking song in the set, which made me think of Ludlow’s Queen Catherine of Aragon moving from Granada to Ludlow. I told her of this connection afterwards, and she was interested to know more about Ludlow’s link to the Alhambra Palace. 

Nai’s voice was transportive, sending me into a trance, an evening of pure musical immersion. She sang one song in English called “If I Must Die”- its sweeping, cinematic quality felt like it could be the soundtrack to a film adaptation of Gaza’s struggles, or a world-class piece of Arabic musical theatre. In her crystal-clear, pure vocals, there were echoes of Pocahontas’ Colours of the Wind, yet with a depth and weight that extended far beyond any fairytale. I could hear the voice of Tony award-winning Lea Salonga singing this, or even the voice of folk singer Ruth Angell sitting next to me, who also organised the concert alongside Sid Peacock, of World Music promoters Surge Forward. There was a Celtic-classical quality that would make any good vocalist long to sing it. It’s interesting that I heard this aspect in her music, as when researching Fairuz, I learned she had been the voice of over 50 musicals. The song about the plight of the children of Gaza, with the pre-recorded sound of a young boys voice at the end, brought the situation into the here and now and added to the intensity and poignancy of the evening.

Her vocal control was remarkable, soaring effortlessly through the intricate scales of Arabic music. There was an undeniable virtuosity in her delivery—precise, studied, and intellectually refined. Unlike the raw, haunting, primal singing one might hear in the mountains of Morocco, Barghouti’s voice was polished, learned, and meticulously controlled. It was music at its most intelligent—perhaps even too refined for some, but nonetheless magnificent.

The Palestinian folk dance segments injected energy and movement into the performance, making it impossible not to feel the urge to dance along. Each musician on stage contributed to the experience: the beautifully expressive qanun was played by Khalil Khoury, the piano by Tony Roe, the guitar and bass guitar by Diego Alva, and percussion by Ruven Ruppik who, despite battling the flu, delivered an impassioned and energetic performance. Each of them played their part in elevating the concert beyond a vocal performance into a rich, textured soundscape. And Nai herself, not just a vocalist but a musician, played the flute, adding another layer to her already impressive skill set and stage presence.

By the end, the audience were spellbound, and on their feet in a well-deserved standing ovation.

This was more than a concert—it was a testament to the power of music to transcend language and speak directly to the heart. Even without knowing the lyrics, I felt every note, every breath, every emotion that Barghouti poured into her performance. Nai Barghouti did not just perform; she invited us into a world of sorrow and resilience, of longing and love, of history and hope. And in doing so, she left us all profoundly moved.

Full Set List: 

1. Yuma Mwel al Hawa, Palestinian folklore
 
2. ⁠Raj’een, lyrics by Amer Hlehl, composed by Nai Barghouti
 
3. Rahu: lyrics by Aous Shaheen & Nai Barghouti, composed by Nai Barghouti
 
4. Think of Others: lyrics by Mahmoud Darwish, composed by: Nai Barghouti
 
5. Huma Meen: lyrics by Ahmed Fouad Negm, composed by: Nai Barghouti
 
6. Haramt Aghani: written and composed by Samer Bshara
 
7. Granada Calling: Composed by Nai Barghouti
 
8. Lazim Ahkeelak: Lyrics by Aous Shaheen, composed by Nai Barghouti
 
9. Habaitak: written and composed by Rahbani Brothers, arranged by Nai Barghouti, inspired by Ziad Rahbani. Originally sung by Fairuz.
 
Intermission
 
10. Yimken Habeit: written and composed by Yazan al Hajri
 
11. Steps: composed by Nai Barghouti
 
12. Badri Alena: written and composed by Jalal Nader
 
13. If I Must Die: lyrics by Dr. Refaat alareer
 
14. Ana Wil Azab: composed by Mohammed Abdel Wahab
 
15. Li Fairuz/Concierto de Aranjuez composed by  
Joaquín Rodrigo, originally sung in Arabic by Fairuz. New lyrics dedicated to Fairuz by Nai Barghouti & Omar.
 
16. Ghandara: Palestinian folklore medley 
 
17. Longa Hijaz Kar Kurd: instrumental melody composed by Sabough Afandi, sung for the first time by Nai Barghouti using an original vocal technique called Naistrumentation or Dandanai.
 
Encore: Bent el Shalabiya

Nai Barghouti website;
http://www.naimusic.com

Surge Forward websites;
http://www.surgeforward.co.uk
https://www.facebook.com/surgeforwardmusicandarts#

DEBORAH ROSE

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