Lebanese Hip Hop[1] is a pioneering movement in Arabic hip hop as Lebanese youth were among the first to be affected by hip hop culture.[2][3][4][5][6][7] Arabic hip hop has received Western media attention, but most Lebanese rappers think that there is still a lack of local interest in their music.[8][9] Hip hop in Lebanon is both an art form and a stage for artists to voice their alternative discourse in the public sphere.
In 2001 Erhab records label introduced gangster rap to the Lebanese hiphop scene. The label established a recording studio in 2008 in Lebanon's central prison Roumieh Prison, They released many singles and albums featuring inmates.
In the early 2010s, most underground Lebanese rap was distributed through platforms like ReverbNation and SoundCloud, limiting mainstream access. By the late 2010s, artists began transitioning toward YouTube to reach broader and younger audiences. One of the key figures in this shift was Anthony Samarany, who consistently released visually striking and lyrically provocative tracks directly to YouTube. His work helped shift the attention of Lebanese hip-hop fans from niche platforms to more algorithm-driven spaces, contributing to the genre’s increasing visibility and chart presence online.[10]
Roots and Significance
Rayess Bek
The hip hop culture is grounded in African American oral tradition, but, as communities around the world tend to do, the Lebanese hip hop scene is accommodated to the local context.[11] According to member of local hip hop band Fareeq el Atrash,
"[hip hop] always existed in our traditions but we never paid attention to it. It’s a modern style of poetry – hip hop… It’s not about forming a hip hop culture in Lebanon, it exists in Zajal and Ataaba… hip hop already existed in Lebanon." – MC Edd Abbas[12]
Atabah ( Arabic: عتابة) is a form of improvised Arabic poetry that uses the lyrical nature of the Arabic language in its performance.[12]
Accompaniment
The music underneath the lyrical portion of songs in Lebanese hip hop varies widely. African drumming is prevalent, along with the sound of bombshells and other street noises.[12] Lebanese rapper Rayess Bek even includes a full orchestra with traditional instruments like the [oud] and [nay] in a recent album.[12] Other influences include swing, jazz, reggae, and acoustic guitar tapping.
Notable Collaborations
Anthony Samarany (2024)
Collaborations between rappers and producers have played a significant role in shaping the Lebanese hip-hop scene. Among the most influential duos is Anthony Samarany and Nizar Zgheib, professionally known as Abs. Their partnership spans over a decade and has resulted in a catalogue of tracks known for their raw lyricism, cinematic production, and bold social commentary.
Samarany and Abs are widely credited with bridging Lebanon’s underground roots with the algorithm-driven visibility of modern platforms like YouTube and Anghami. Their joint efforts include multiple viral singles, trend-topping videos, and sold-out events such as the Mouni3a fi Loubnan concert series, which once drew over 1,000 attendees per show.
With twenty millions of combined streams and a dedicated fanbase, the duo represents one of the most followed acts in the Lebanese rap landscape, both online and in live performance circuits.[13][14][15][16][17][18]
While lyricists have historically been the focus of Lebanon’s hip-hop spotlight, the growth of the scene has also been shaped by a network of innovative beatmakers and producers. These creators have defined the sonic identity of Lebanese rap by blending boom bap, trap, and Arabic melodic elements into a distinct regional sound.
Chris Bassil, known professionally as Illusive,[27] whose atmospheric and textured instrumentals have been widely used by underground artists. Beatlalipos is known for his experimental fusion, often merging Middle Eastern percussion with Western rhythms. Youssef Sayouf has produced tracks across multiple genres, recognized for his cinematic layering and versatile engineering. Jabha, who also performs as a rapper, is known for hard-hitting, politically infused production and street-rooted authenticity. There is also Serouj and Chris Ostoura.
Together, these producers have helped expand the sonic palette of Lebanese hip-hop, pushing it beyond traditional loops and into more dynamic, globally informed territory.
Tragedies and Losses
Like many underground movements born out of struggle, the Lebanese hip-hop scene has witnessed its share of personal and collective tragedies. The pressures of political instability, economic hardship, and societal rejection have taken a visible toll on several artists.
One of the first major losses in the community was the death of Abou Layla el Zir, an early and controversial figure in the scene. Known for his aggressive delivery and cult popularity in the early 2010s, he died on July 3, 2013, in what was initially surrounded by conspiracy theories linking his death to secret societies or political silencing. In reality, close sources confirmed it was a tragic accident involving a firearm he was cleaning. He died in poverty, away from the spotlight, marking a stark contrast to his public persona.
His death sparked conversations around mental health, artistic marginalization, and the mythologizing of underground figures after death. It also underscored the fragile line between performance and personal struggle within the Lebanese rap community.[28]
1 2 3 4 ”Scratch the Past – this is OUR Soundtrack” Angie Nassar, Arab Youth, Nov 19, 2012.
↑ Rabiah, Robert (2023-12-05), Une Lettre Pour Liban (Documentary, Adventure, Drama), Robert Rabiah, Nizar Zgheib, Anthony Samarany, retrieved 2025-06-14
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