The Israeli singer and songwriter Shlomi Saban gave an unusual, and moving, performance recently on the border with Gaza, as Matti Friedman recounts:
The parents of one of the hostages seized by Hamas in the October 7 attack, a young musician named Alon Ohel, had the idea that their son would hear the songs and draw strength to hold on. They invited three of his favorite singers, one of them Shaban, to play here, at one of the deserted communities along the border, and of course he came. Performing for people engulfed by the current tragedy, like soldiers and evacuees, is what Israeli artists do now.
Shaban is, in Friedman’s view, “the only genius currently active in Israeli popular music.” It is his biblically themed song “Canaan” that, although written three years ago, has come to be most associated with the current war:
Echoes from the Hebrew Bible and prayers are common in Israeli pop music in a way that would seem strange to American ears outside the quarantine zone of Christian rock. But Shaban goes further here, punctuating the verses of “Canaan” with a haunting nigun—a wordless hasidic melody, a return to a diaspora sound that the old Zionist anthems would never have considered.
More about: Gaza War 2023, Israeli music, Israeli society