jordan pulse -

​Over four decades, singer Abdul Rahim Ghazlan has managed to maintain his presence in the music scene and establish his career as one of the middle-generation artists who carried the banner of authentic song, keen to present works rooted in their environment and the hearts of their audience.
​Ghazlan, an accredited singer on radio and television, made an artistic presence that was far from fleeting; rather, it was the fruit of a long 40-year career during which he navigated national, Bedouin, and emotional genres. He delivered a musical style bearing his personal touch—one that echoes the spirit of Khaleeji music in some aspects without forfeiting his distinct artistic identity.
​Four decades of experience have turned Abdul Rahim Ghazlan's career into a living memory of a crucial phase in musical history and a testament to the shifts in the music scene, changing public tastes, and evolving modes of song delivery, all while remaining steadfast in his conviction that true art is what endures.
​In this interview, we revisit with artist Abdul Rahim Ghazlan his beginnings and the milestones of his long journey, reflecting on his relationship with Bedouin, national, and emotional songs, his influence by the Khaleeji style, his vision for the future of authentic music, alongside his memories with radio, television, and the audience.
​Q1: How do you choose the lyrics for your songs, especially since you have presented national, Bedouin, and emotional styles, alongside a style close to Khaleeji singing?
​A1: For me, selecting the lyrics is the true beginning of any song. If the words are not genuine and close to people’s feelings, it is difficult for them to reach their hearts no matter how beautiful the melody and performance are. Therefore, I am always careful to choose lyrics that carry meaning and value, with an emotion that the listener can feel and connect with.
​I love diversity in singing; I have presented national, Bedouin, and emotional songs, each with its own uniqueness and audience. As for some of my works approaching the Khaleeji style, it comes from my admiration for this genre and being influenced by its aesthetics, but in the end, I ensure the song retains my own identity and personal mark.
​Q2: How did your singing journey begin? And when did you discover that art was the path you wished to follow?
​A2: It started with a love and passion for singing. Over time, this hobby evolved into a real desire to become an artist and present something that bears my name and reaches people.
​As the years passed, I began to better understand my vocal capabilities and the musical styles through which I felt I could express myself. Radio and television were significant milestones in my career, especially upon my accreditation as an approved singer on both. From there, a long journey began where I learned a great deal, both from the artists who preceded me and from the experience itself.
​Q3: What does the Bedouin style represent to you, especially as it is linked to heritage, customs, and authentic values?
​A3: To me, Bedouin song is not merely a musical genre; it is part of memory, heritage, and identity. It embodies the vocabulary of the environment, as well as people’s stories, feelings, values, and customs.
​That is why I feel a sense of responsibility toward this genre. When an artist presents a Bedouin song, they are not just offering a melody and lyrics, but a piece of society’s culture and memory. I believe preserving this style does not mean staying captive to the past, but rather keeping its spirit alive and presenting it in a way the new generation can engage with.
​Q4: When you present a national, Bedouin, or emotional song, how do you choose the subject you want to reach the audience with?
​A4: Sometimes the topic imposes itself. Some songs start from a single word or a line of poetry, and sometimes from a feeling, a situation, or an idea we wish to express.
​What matters most to me is feeling that the song is worth delivering and carries something genuine. In national songs, for example, I try to convey a sincere sense of homeland and belonging; in emotional songs, I look for words that express people's feelings; and in Bedouin songs, I make sure to preserve the spirit and vocabulary of the environment.
​Q5: Where do you draw your artistic ideas from? Have any personal situations or experiences turned into lyrics and songs?
​A5: An artist lives among people, and everything they see, hear, and feel can turn into an artistic idea. Certainly, there are situations and experiences that leave an impact on an artist and serve as inspiration for a song, a melody, or even a performance style.
​However, I believe an artist does not necessarily present their personal life as it is; rather, they take the feeling from it and reshape it into an artistic work where the audience can find themselves.
​Q6: Your musical style is close in some works to Khaleeji singing... Were you influenced by Khaleeji artists or the Khaleeji school of performance and composition?
​A6: Absolutely. Every artist is influenced by what they listen to around them, and Khaleeji art holds a prominent position in the Arab scene, with its distinct rhythms, melodies, and performance style.
​I love this genre and listen to its various iterations, and naturally, that leaves a mark on an artist. But being influenced is one thing, and copying is another. For me, I try to draw from the aesthetics of different musical schools while maintaining my own personality and identity.
​Q7: Among your songs, which work do you consider closest to your heart and feel best represents your artistic persona?
​A7: It is difficult to choose just one song, as every song has a story, a phase, and memories attached to it. There are works associated with my beginnings and others that came during different stages of my journey, and each holds a special place with me.
​But the work closest to an artist is always the one they feel expressed them sincerely, reached people, and remained in their memory. Sometimes there is a song the audience loves more than the artist expected, and that is the most beautiful thing that can happen.
​Q8: What does Bedouin singing need today to maintain its authenticity while simultaneously reaching the youth generation?
​A8: Bedouin singing needs care and development, but without losing its identity. Development does not mean changing everything; rather, we can use modern musical arrangements and new recording techniques while preserving the words, rhythm, and spirit that characterize Bedouin song.
​The new generation is not as far removed from heritage as we might think. If we present the work well, with beautiful lyrics and a suitable melody, they will engage with it. The problem is not with heritage, but sometimes with how it is presented.
​Q9: How do you view the current state of Bedouin song amidst the widespread prevalence of modern songs and shifting public tastes?
​A9: Tastes change, and that is natural. Every generation has its preferences, and the means of listening to music have changed significantly compared to the past.
​However, I believe authentic song is capable of enduring, because good work is not bound by a specific time. The method of presenting a song or the mediums used may change, but beautiful lyrics, a good melody, and a sincere performance will always reach the audience. Therefore, I believe what is required is to keep up with the times without abandoning authenticity.
​Q10: Across four decades, what are the most prominent milestones that made a difference in your career? And what is an unforgettable moment with your audience?
​A10: Forty years is a long time, and every phase carries memories and key milestones. Among what I treasure most is my accreditation as an approved singer on radio and television, along with the opportunities that brought to meet the audience and present various works.
​As for the audience, they deserve the greatest credit for an artist's success. There are many moments I can never forget, especially when I meet someone who tells me they still remember a song I performed many years ago. When you know your voice and song have remained in someone's memory, you feel that years of hard work were not in vain.
​Q11: After four decades of giving, what do you say to your audience and lovers of Bedouin song? And what new work do you promise them?
​A11: I tell them thank you from the bottom of my heart. The audience is the true support for any artist, and without their love, an artist cannot continue.
​I still love singing and still feel I have much to offer. I hope the coming phase will be filled with new works that preserve the spirit of authentic song while keeping pace with developments in music and recording.
​My message has always been to preserve the songs that resemble us and to present art with respect for the audience and the history we belong to. As long as there is an audience that loves authentic song, we will always have a motive to continue and create.