The making of Hudeidi

Entering what was then British Somaliland from Aden, Yemen—a city that had an immense and enduring influence on the Somali cultural fabric—the Oud (lute), known in Somali as the Kabanka, has long been a fundamental instrument in Somali music. Through the Kaban, early poets and melodists reshaped and redefined the mould of nomadic Somali sounds into a song form. Given its significance in Somali music, some even assert that it was the cornerstone from which modern Somali music later emerged—a weighty claim that risks discrediting communities who had their own traditional instruments, including strings and pipes. 

However, when it comes to the Kaban, many great Somali musicians have played—and continue to play—this twelve-stringed, mystic instrument. Yet almost all of them agree that very few stand as unrivalled masters. One of those was Ahmed Ismail Hussein, known more popularly as Hudeidi and revered as “The King of the Oud.” 

Born in Berbera, British Somaliland, in 1928, Hudeidi was taken to Yemen at a young age, where he spent his early childhood. It was in Yemen that he learned to play the Oud, which would later become the hallmark of his musical career. Even before fully embracing the Kaban, Hudeidi had developed a deep passion for music. He fondly recalled how, as a child, he would drum with his tender hands as an expression of that love. 

In an interview with the Ha Noolaato YouTube channel, Hudeidi said that his musical journey was shaped by encouragement from people around him, which sparked his hope and determination. One of his most prominent supporters was Abdullahi Qarshe—the pioneering musician who is often credited as the first person to bring the Oud into Somaliland and to sing in Somali while playing an instrument. Hudeidi remembered being fascinated by Qarshe’s Oud. One day, Qarshe asked him: “What did your father buy for you when you went to school?” to which Hudeidi responded, “A book and a pen.” Qarshe then advised him to buy an Oud (Kabanka) and a pick (Riishad)—advice that lit a new path as a musician which would secure him a lofty place in Somali culture.  

In addition to mastering the Oud, Hudeidi also learned to play the violin, known in Somali as Dhexyar. He was mentored by two individuals: Abdi Handule and Hassan Nahaari, the brother of renowned Somali composer Mohamed Ali Nahaari. 

Hudeidi’s first major performance took place in Aden, Yemen, where he competed against participants from various communities. He was the only Somali contestant and stood out—not only for his authentic Somali attire, but also for his resilience when a string broke mid-performance. His solo representation of Somali culture and his performance earned him first place, marking a significant milestone in his career. 

Young Hudeidi’s passion for experimentation and his unwavering dedication helped him develop a unique style, technique, and musical sensibility. His approach to the instrument was unlike any other, captivating audiences with a distinct sound and deeply expressive melodies. His contributions to Somali music extended beyond performance—his compositions and innovations continue to shape and inspire contemporary Somali music, solidifying his legacy within Somali musical heritage. 

Qaraam tunes and Hudeidi’s masterful rendition  

Qaraam lies at the core of Somali music, providing both its structural foundation and a rich vessel for the country’s poetic and cultural expression. Emerging between the 1940s and 1960s, Qaraam songs are marked by their melodic intricacy and emotional intensity—qualities that set them apart from simpler musical styles. 

The modern era of Somali music took shape in the 1940s with the rise of the Somali Balwo Band, led by Abdi Deeqsi Warfaa, better known as Abdi Sinimo. He composed one of the earliest Somali classics, “Balwooy Hooy Balwooy”, which signalled the birth of the Balwo genre—a concise, lyrical style that later laid the groundwork for more elaborate musical forms. Abdi Sinimo’s contributions helped define the soundscape of early Somali music. 

A major artistic shift followed in the 1950s with the formation of Walaalaha Hargeysa (The Hargeisa Brothers), spearheaded by Abdullahi Qarshe. This collective transformed Somali music by combining performance, poetry, and stagecraft, introducing a multidisciplinary approach that revolutionised Somali cultural production. They didn’t just perform songs—they created an immersive cultural experience that blended narrative, music, and theatre in a way that deeply resonated with audiences and left a lasting legacy. 

It was within this creative surge that Hudeidi rose to prominence as a master of the Oud (Kaban). Revered for his expressive playing and emotive compositions, Hudeidi played a defining role in shaping the sound and soul of Qaraam. His music, both technically skilled and emotionally charged, elevated the genre’s stature and influence. 

Qaraam emerged during this period as an intentional effort to fuse traditional Somali oral poetry with structured melodic arrangements and instrumental accompaniment. The Oud became central to this new sound, and the music shifted from oral, improvised performances to composed pieces that could be repeated and reinterpreted. The songs carried the metaphor-rich language of Somali poetry while embracing trendy musical themes of longing, romance, and vulnerability. 

Artists like Qarshe and Hudeidi reimagined traditional themes through composition, creating songs that became timeless. One of Hudeidi’s best-known pieces, “Riftoon”, exemplifies this: a haunting love song played with aching elegance on the Oud. Though composed decades ago, it continues to be performed by new generations of Somali artists—each adding their own touch while remaining faithful to its original essence. 

This enduring relevance is a hallmark of Qaraam. Like classical or jazz standards, Qaraam songs are rarely rewritten—they’re reinterpreted, allowing space for personal expression without altering the song’s foundation. This dynamic has kept the genre vibrant and alive, adapting to each new era while preserving its historical and emotional core. 

Over time, a shift in language and perception has occurred. The term qaraami, derived from Qaraam, has come to be used more broadly in everyday speech to refer to “old Somali songs.” Today, people often refer to all music from the 1950s to 1970s as qaraami, regardless of its specific genre. While Qaraam is the precise name of the genre, qaraami has become a nostalgic umbrella term for the golden age of Somali music—a testament to the lasting power of these early innovations. 

Hudeidi’s playing captured this essence. He often performed pieces composed by Abdullahi Qarshe—works he considered among the finest in the Qaraam repertoire—with exceptional grace and precision. 

In an interview alongside his mentor Abdullahi Qarshe, Hudeidi revealed that he had composed the iconic song Raaxeeye even before fully mastering the Oud. By the time of the interview, the song had undergone four generational evolutions. Hudeidi demonstrated these stages during the conversation, offering a rare insight into his musical mind. 

Beyond Raaxeeye, one of Hudeidi’s most notable compositions is Uur Hooyo (“Mother’s Womb”), a poignant duet performed by many artists, both Somali and non-Somali. Hudeidi not only composed the music but also wrote the lyrics, dedicating the song to his brother. It remains the only major Somali song to directly explore the theme of brotherhood. 

Another iconic piece, as mentioned above, is Riftoon, composed in 1952 and inspired by a woman he fell in love with—whom he would eventually marry after fifty years. The lyrics include: 

“Ufada Roobku Ruuxda waa u Dawee, Riftoon baa Urayee, Ma Ruunbaa?”  
“The pre-rain breeze soothes the soul, I smell Riftoon—is it you, O Ruun?” 

Riftoon was a popular French perfume at the time, making the song even more evocative for those familiar with its scent. 

Why Hudeidi’s Oud playing style was unique  

Hudeidi’s mastery of the Oud was distinguished by his percussive playing style—so refined that he could produce rhythm using only the strings of the Oud, evoking the beat of a drum. This signature element allowed him to perform without the need for additional percussion; his Oud alone carried the full rhythm and emotion of a composition. 

Among the many styles he mastered, Hudeidi was particularly revered for his performance of Qaraam songs, including classics such as Ciil, Laac, and Beerdilaacshe, originally composed by Abdullahi Qarshe. His interpretations and improvisations infused these songs with profound sensitivity and emotional nuance.

One defining aspect of Hudeidi’s craft was his ability to tailor his Oud playing to suit the unique vocal tones and scales of each singer. Whether accompanying Omer Dhulle or Mohamed Moge, he adjusted the Oud’s resonance to match their distinct voices, enhancing their performances with precision and artistry. 

Throughout his career, Hudeidi collaborated with the most prominent Somali singers—Mohamed Kuluc, Mohamed Sulaiman Tubeec, Ahmed Ali Dararamle, Mohamed Moge, Halima Khalif Magol, and Khadra Dahir, among others. His accompaniment added depth and richness to each collaboration. Notably, his work with Mohamed Moge on songs like Gelbis and Haatuf—the latter inspired by the love story of Elmi Bodhari and written by the celebrated Somali poet Mohamed Ibrahim Hadraawi—remains among the most cherished in Somali music. 

Beyond his classical contributions, Hudeidi also composed for a new generation of Somali artists. One of his modern compositions, Ifraah, was performed by the Somali artist Aar Maanta. The song’s lyrics and melody are exceptionally captivating, reflecting Hudeidi’s ability to blend traditional Somali musical elements with contemporary sounds. 

Another example of his brilliance is the song Dabeecad, composed by Mohamed Ali Nahaari. Hudeidi’s rendition showcased his technical mastery, melodic intuition, and emotional clarity.

In a 2003 interview with BBC London, Hudeidi reflected on his lifelong relationship with the Oud. During the interview, he played several pieces, including the Banaadiri song made famous by Ahmadey Abubakar. His interpretation of this regional style demonstrated his versatility and deep cultural awareness. 

In 2020, alongside many monumental figures in Somali and international art who were taken by the pandemic, the final chapter of Hudeidi’s vibrant life came to a close. But his legacy—woven into the strings of the Kabanka—will never fade.