War, much like love, leaves an indelible mark on the human soul. And songs of war, much like love sonnets, live within their own set of constructs – as anthems and rallying cries to boost morale, expressions of longing and sorrow to release pain, and even as pure escapism in the attempt to retain sanity.
If in times of war, the Israel of old would have been united by songs heard over the radio – for example, Naomi Shemer’s “Yerushalayim Shel Zahav” (Jerusalem of Gold), which, though written prior to the Six Day War, became an emotional anthem for soldiers and the nation, especially after the reunification of Jerusalem – the Israel of new is navigating life under increasing existential threat, mired in the chaos of wartime trauma and political rifts and on the receiving end of an influx of new and quickly changing music released on TikTok, Spotify, YouTube, and other platforms.
“Every year has the musical or cultural trends that characterize it,” says Maya Alkulumbre, the host of Ha-asiriya (The Ten) on KAN 88 and Israel’s spokesperson for the last Eurovision.
While 5783 could be characterized as a year of pop headliners such as Noa Kirel, Anna Zak, and Agam Buhbut, Alkulumbre says, “This year, there were trends that very much characterized a year of war.” The nation turned to quiet ballads. “Textually, they could talk about some kind of loss – not necessarily related to the war but even unrequited love; for example, Osher Cohen and his songs about breakups.”
This was also a time for nostalgia, says musicologist and radio host Boaz Cohen, noting that Arik Einstein was broadcast more than ever before. “There was this longing, this sentiment for the Land of Israel of old, perhaps the fear or feeling that we may have lost it or we really miss it... Hundreds of songs – in my opinion, over 1,000” were written due to the experiences of October 7.
As the country and the music community digested the situation, they began to release songs relating to the events themselves. Alkulumbre lists examples, including “Tachzor” (Come Back) by the Idan Raichel Project and Roni Daloomi and “Ad ShaTachzor, Ad ShaTashuvi” (Until You Return) by Lola Marsh. “Songs that referred to a return and some concept of home, and of course, they were very, very quiet,” she explains.
Alkulumbre notes a final trend: songs released before the war with no connection to it gained new significance and a surge in listeners due to the events of the day. “Latzet MeDekayon” (To Get Out of Depression) by Yagel Oshri and “Yeheyeh Tov” (It Will Be Good) by Jasmin Moallem are examples, she says, adding that “with the war, ‘Yeheyeh Tov’ became a very significant anthem.”
Looking for new ways of expression after Oct. 7
After the initial shock had worn off and the country began pulling together, people were looking for ways not only to express themselves but also to uplift others. Adi Agai is a singer and rapper with an online presence and a loyal Gen Z/millennial following. Her song “Trauma,” which speaks of her own experiences unrelated to the war, came out during the year and became an anthem to her listeners, who sing along at concerts. “The song connected to many people who probably went through trauma this year. Soldiers wrote to me saying the song touched them, that they suddenly felt as if someone understood them,” she says.
RETURNING TO creative endeavors following October 7 has not been easy for the music industry. “I have put out works since the war that are not related to the war, and there was a side of me that was almost ashamed that as an artist, I was doing things that were progressing,” says music producer Guy Moses. But he feels differently about his new album, Ptakem (Notes), released on October 6, 2024. The album centers around texts commissioned from actors, musicians, poets, and writers, written in the year following the war and wrapped in music. “I’m very proud to publish this. We released it the day before the seventh of October, which is not an easy day,” he says. Since then, “many people have written me that they listened to the entire album. People held listening rituals on the seventh of October to experience it.”
While there were several notable moments in Israeli music over the last year, hip-hop duo Ness and Stilla were the standout act. Their song “Tik Katan” (Small Purse) took off on social platforms and then on radio in April 2023, but it was the rallying cry of “Harbu Darbu” (Swords and Strikes), which came out in November 2023, that became the war anthem of the country, reaching number one on the Galgalatz yearly countdown.
According to Noy Alooshe, a musician and co-host of the Studio 99 music show, “That this thing (Ness and Stilla) managed to exist this year and actually grow all their songs – this actually reflects the generation.
“On the one hand, news of war, dead and killed, and everyone caught up in their own thing; and on the other hand, a virtual world where, after a few months of encouragement, we suddenly return to less serious things,” he explains, referring to follow-up songs like “Migdalim (Towers)” and “Bumpers.”
It’s a trend also noted by rapper and internet personality Ofiri. “You have the radio playing sad songs that are reflective of the situation. Then, all of a sudden, TikTok comes up with all kinds of songs that are a total escape from reality.”
Here is Israel’s year in music by the chart toppers: Galgalatz – Ness and Stella with “Harbu Darbu”; Kan Gimel – “Hurricane,” sung by Eden Golan; and Mako Hitlist – “Menagen Ve-Shar” (Playing and Singing) by Osher Cohen.
“There was lots of excellent music this year,” says Alkulumbre. “Despite the difficulty and the fact that there was some kind of silence at the beginning because artists didn’t know how to react to the situation, lots and lots of beautiful songs were released, each different than the other.”