Looking back on more than four decades in music, Hamid El Shaeri recalls recording his first song, and one of his best known, Oyounaha (Her Eyes), in 1983. “When I recorded Oyounaha,” he says, “we relied on traditional instruments in the studio. Today, technology has made it possible for software to replicate instruments such as the piano and guitar, and even the sounds themselves are different.” Still, cultural authenticity remains paramount — a view that is especially interesting coming from an innovator and an icon of the new. “Music, at its core, is universal,” he says. “What gives it an identity is the environment of the artist. When you hear Indian or Scottish music, for example, you can immediately recognise it without seeing the performers because of the instruments and cultural influences. Technology does not erase identity; on the contrary, used thoughtfully, it can strengthen and support it.”
Born in Libya to a Libyan father and an Egyptian mother, El Shaeri’s musical journey began in 1981 when he joined Al-Mazdawiya, the band founded by the renowned Libyan composer Nasser Al-Mazdawi. From the outset, he became one of the group’s most prominent members, contributing as composer, arranger and singer. Mohamed Mounir performed one of his earliest compositions, Akid (Definitely), in 1986, and he has since collaborated with such stars as Amr Diab, Mustafa Amar, Hisham Abbas, Ehab Tawfik, Samira Said, and Angham, among many others. He released over 16 albums of his own, including Qeshr El-Bondoq (Hazelnut Shells, 1995), Einy (My Eye, 1997), Ghazaly (Antelope, 2000) and Rouh El-Samara (Soul of the Party, 2006), all of which contributed to shaping modern Arabic pop music. El Shaeri is also known for landmark duets such as Batkallem Gadd (I’m Being Serious, 1990), Einy (My Eye, 1997) and Ghazaly (Antelope, 2000) with Simone, Hisham Abbas and Mustafa Qamar, respectively. “In the past, for a duet both singers had to be together in the studio, and that created a special energy and chemistry. Today, technological advances have transformed that process. Musical segments can be recorded and exchanged instantly through applications such as WhatsApp. I feel we’ve lost some of the joy of rehearsing and recording together, but the artistic spirit of the work remains intact.”
He was a pioneer of the music video, and made a somewhat more modest contribution to cinema with films like Khairy Beshara’s Qeshr El-Bondoq (Hazelnut Shells, 1995). And through it all he was careful to balance art with business. “In the studio, we focus entirely on creativity. Once the project is delivered to the production company, then that company makes commercial decisions such as release timing and distribution. Artists must remain attentive to public taste while staying true to their visions. The way people consume music has always changed,” he explains. “We moved from cassette tapes to compact discs, then to computer downloads, and eventually to today’s digital platforms. This progression is just a natural part of the industry, and we adapt to it professionally because it reflects ongoing reality.” A pioneer of the pop fusion once known as Music of the Generation, El Shaeri remains a strong advocate of cultural exchange. “Blending Arabic and Western music is extremely important because it reflects rich cultural interaction. I have always encouraged experimenting with new instruments and integrating different styles. We can see similar developments in East Asian music, where Indian, Chinese and Japanese influences often intersect.”
El Shaeri was especially proud to see his work being introduced to a new generation of listeners through a collaboration with a German company in 2022. “Some of my songs were reissued through a German company in 2022, and it was one of the most significant moments in my career. The company presented my music to international audiences in a distinctive way. What struck me most was that many listeners belonged to a completely different generation —students studying in countries such as Germany and Britain. I was especially delighted by the remarkable response to Oyounaha, which became a trend during that period.” He also reveals that a documentary project chronicling his life and career is currently awaiting release. “It’s already been produced in collaboration with a documentary channel, but it has not yet been aired. I hope it is well received.” He is as keen on rap and mahraganat as he is on his own style. “Music takes many forms,” he says, “and every genre has its audience. Rap and mahraganat have their place. I have collaborated with several artists from the younger generation, including Marwan Moussa. Diversity is always healthy.”
As a Libyan-born artist who made his name in Egypt, El Shaeri feels fortunate. “I grew up immersed in two cultures. I never experienced a sense of duality or conflict. Instead, the two cultures merged naturally and influenced my music. The result is a style that has resonated with generations of listeners.” Libyan influences remain present in his work, even when they are not immediately apparent. “Many artists, including Alaa Abdel Khaleq and Amr Diab, performed songs through which Libyan influences found subtle expression.” His passion for music has never waned. “On the contrary,” he avers, “my enthusiasm for music grows stronger every day, and I constantly seek out new developments and new sounds.” And the secret of success? “The most important thing is to be honest with yourself and genuinely believe in what you are doing. That is one of life’s most important lessons and one that composers, arrangers, lyricists and young artists must all learn. If they are sincere, audiences will sense and respond to it. That is the foundation of true success.”
* A version of this article appears in print in the 4 June, 2026 edition of Al-Ahram Weekly.
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