Naseer Shamma is a name that resonates with people of all ages and backgrounds.
Some know him as the Iraqi Oud maestro, while others refer to him as the ‘Little Ziryab’ — a nod to the legendary medieval musician and polymath Ziryab, who lived in Iraq, North Africa, and Andalusia — but to all, Naseer Shamma is widely regarded as one of the most influential Oud players of his generation.
Born in Kut, Iraq, Naseer graduated from the Institute of Music Studies in Baghdad in 1987 and later earned a PhD in Musical Philosophy.
He has since become renowned for his distinctive compositions, which blend classical Arabic music with Western influences to create a culturally rich sound.
Over the years, he has collaborated with musicians such as Egyptian jazz pianist Amro Salah, flamenco guitarist Carlos Piñana, Kurdish daf (frame drum) player Hazhar Zahawi, and trumpeter and composer Wynton Marsalis.
Among Naseer's most acclaimed works are Viaje de las Almas (Travelling Souls), Al-Andalus Abre Sus Puertas (Al-Andalus Opens Its Gates), Rahil al-Qamar (The Moon Fades), and the timeless classic Le Luth de Bagdad (The Baghdad Lute).
In an exclusive backstage interview during this year’s Shubbak Festival — the UK’s largest celebration of contemporary Arab culture held at London’s iconic Barbican Centre — The New Arab caught up with Naseer to find out more about the man behind the music, as he returns seven years after his last performance there in 2018.
Inspired by life's stories
“Life around us has influenced me in many ways," begins Naseer.
"Whether I’m at the airport or exercising, everything around me influences my music," he shares with The New Arab, explaining where he has drawn inspiration for over 120 of his compositions to date.
"When I read a story or a poem, those impressions from the world come through. That’s why my pieces take different forms — sometimes about love, sometimes about war, and often about events happening around me.”
Take his composition, Happened in al-Amiriya, for example; this was a moving musical tribute to commemorate more than 400 Iraqi civilians killed in a US bombing raid on an underground shelter in Baghdad’s Amiriya district during the 1991 Gulf War.
It begins with gentle tones before shifting into frantic, siren-like Oud strumming that reflects the bombing raid, drawing a strong parallel to Jimi Hendrix’s iconic 1969 Woodstock rendition of the Star Spangled Banner, which protested the violence of the US war in Vietnam.
Recalling the tragedy, Naseer said, “I was there then. This is no joke; it is not something to be taken lightly. We are talking about children, mothers — so much pain surrounded me when I composed this piece. And when we performed this commemoration for the first time, you can’t imagine what happened.”
He added, “The audience connected with the pain — with love, with hope for the future, with everything.”
Naseer highlights how the Palestinian struggle has also been a central theme in his work.
Since the First Intifada in 1987, the musician says he has composed around 20 pieces focusing on Palestine, including Ya Quds — a composition about Jerusalem that has been sung by renowned singers such as Sabah Fakhri, Mayada El Hennawy, Lotfi Bouchnak, and Saadoun Jaber.
Speaking of his more recent work, Naseer explained that his latest project on Palestine was a collaboration with singer Ahmad Al-Jarrah and poet Hasan Amer for the song Baqoun. Filmed in Gaza, it documents the lives of Palestinians living under Israeli occupation and the impact of the ongoing Israeli siege and genocide.
He stressed, “I have many pieces about Palestine. This is not something I do just to say I stand with Palestine; no, this is my genuine feeling. This is exactly what I believe.”
The many sides of Naseer
Beyond his music, many other qualities of Naseer deserve attention.
First, he is a humanitarian and has held ambassadorial roles with organisations such as the IFRC, Iraqi Red Crescent, UNESCO Artist for Peace, and the Non-Violence Project, while also working on projects including the Ahluna campaign for displaced Iraqis, Alaq Baghdad focused on restoring the city and attracting investment, and TAZC, which provides medical and humanitarian aid to Iraqi children.
Second, he is the founder of Beit Al Oud (Arab Oud House), established in 1999, where he has directed and overseen the development of Oud students to an expert level, sharing his techniques and expertise.
With schools across the Middle East and North Africa — including Abu Dhabi, Baghdad, Mosul, Khartoum, and Cairo (where a second branch is set to open later this year) — and a recent launch in Riyadh, Naseer reflected on the milestones to date.
"Over 26 years, many students have graduated. When I arrived here yesterday, I met some of my students. When I travel to America, I find graduates from Beit Al Oud in every city. Now, I have many Oud players who are highly skilled and play to a high standard," Naseer said.
“I am so happy to see the Oud in the hands of very young musicians, always with new generations. Now we have children aged six, seven, and nine playing the Oud — and playing it well," he added.
"At the age of 14, students take part in a graduation concert, and today, we have hundreds of Oud players, along with musicians playing the Qanun and Ney. I always prioritise our own culture first. Once you're ready, you can open your mind and share your music with any musician, anywhere," Naseer shares with The New Arab.
"You can do what you want — but at the beginning, as a student, it's important to understand your own culture before understanding others."
Zainab Mehdi is The New Arab's Associate Editor and researcher specialising in governance, development, and conflict in the Middle East and North Africa region
Follow her on Instagram: @zaiamehdi_/@zainabmehdiwrites_