Radio Hargeisa and the rise of Somali modern music

Radio Hargeisa’s enduring journey began in 1941, with its first installation in Taar-dheer, an area within what is now Somaliland’s Ministry of Communication and Technology in Hargeisa. Following the British protectorate’s recapture of Somaliland from Italian forces during World War II’s “Operation Appearance,” the station first operated as a modest 100-watt transmitter serving British police forces stationed in the city.

Within a year, the station underwent its first transformation. In 1942, while continuing tests of the station under the temporary name Radio Kudu (Idaacadda Goodir), the transmitter range was significantly increased by rebroadcasting BBC news in Somali, Arabic, and English, using this channel to convey messaging to the local population.

In 1945, it had evolved into “Hargeisa, Radio Somali,” becoming the first live Somali radio broadcaster. Its transmitter power was further increased from 600 watts to 1 kilowatt, signaling the station’s expanding influence and ambition. Senior Radio Hargeisa administration and broadcaster Mohamed Ali Weji said, “Radio Hargeisa’s building was built in 1953. At the time, the radio was initially viewed by society as something new, almost reverently, described as something one seeks protection from in prayer (Wax laga ducaysto). The station moved to its permanent facility at this time in 1953, officially adopting the name Radio Hargeisa, marking its transition from a modest installation to a cultural landmark.

Radio Hargeisa quickly established itself as a critical platform for Somali singers, poets, and musicians to perform live. The station preserved and transmitted recordings of music and love songs across generations while simultaneously promoting political messaging and public awareness.

In its early years, when radio sets were rare luxuries, Radio Hargeisa stood as the lone voice of the airwaves and the only source of live Somali programming. This scarcity transformed listening into a communal ritual: people gathered in public squares, in Hargeisa’s vibrant city center, and amid the hum of the Xero-Hadhuudha market, to share in the station’s broadcasts. Each transmission became an event, weaving together laughter, news, and song into a shared national pulse. In time, Radio Hargeisa became more than a station — it was a meeting point of voices, a vessel of belonging, and a living symbol of the new Somaliland’s emerging identity.

In the mid-1940s, the biggest artistic revolution was born—the Balwo movement. Music began to modernize, incorporating instruments beyond the traditional drums. Artists of this era struggled for the freedom of artistic expression, navigating between innovation and social conservatism. The younger generation embraced the transformation, while some community elders and religious leaders viewed it as a challenge to tradition.

This period marked a turning point. It began with one man’s voice, Abdi Sinimoo, in the Awdal region — spreading through Djibouti and eventually finding its home in Hargeisa, a city that would soon become the heart of Somali art and music. From this foundation emerged the Qaraami songs, and with them, the rise of Abdullahi Qarshe. His classical compositions shaped the Somali musical soundscape, and Radio Hargeisa became the central platform where these musicians and artists gathered to perform and share their work.

In an interview, pioneer singer and composer Mohamed Saeed “Guron-Jire,” the first artist to sing at Radio Hargeisa, emphasized the station’s unique position — no equivalent Somali-language broadcaster existed in the region. This distinction affirmed Radio Hargeisa’s role as the region’s first dedicated Somali-language media outlet and a central hub for modern Somali music and culture.

Guroonjire reflected on this artistic revolution, noting that while young people welcomed and celebrated the new emerging music scene, some elders initially viewed it as contrary to Islamic values. Over time, however, Radio Hargeisa played an important educational role, helping its audience appreciate the cultural and social value of music — transforming what was once seen as a challenge to tradition into a respected form of national expression.

Once fully operational, Radio Hargeisa filled a crucial cultural void, establishing itself as the cornerstone of modern Somali arts and the guardian of the nation’s musical heritage. Singers and musicians flocked to its studios, and an artistic movement formally began with the Hargeisa Brothers Band (Walaalaha Hargeysa) in the mid-1950s. This iconic band was founded by the pioneering Abdulahi Mohamed Mahmoud “Qarshe,” who is regarded by some as the father of modern music in Somaliland and the first person to actively compose and play Somali music with the oud (kaban).

The founding members of this band also included Mohamed Saed Guron-jire, Hussein Aw-Farah and other distinguished artists. While the first wave of Somali modern music is sometimes traced back to the Balwo genre, earlier musical instruments were often performed in the region by artists who were Arabs or Indians.

Even though Radio Hargeisa played an integral role in the revolution and the rise of purely Somali-led music — nurturing fresh, indigenous talent and serving as the platform where Somali art and music evolved, including the first Somali stage play — it suffered greatly during the civil war. The station’s facilities, main transmitter, and countless irreplaceable archived recordings were destroyed. Yet, despite these devastating losses, Radio Hargeisa remained steadfast in its commitment to its audience.

In a 1994 interview, Mohamed Mohamoud Hassan, Director of the Ministry of Information, described the severe challenges Radio Hargeisa faced in the post-war period. He explained that the station was forced to operate on a mere 700-watt transmitter, drastically limiting its coverage, as the older 10-kilowatt transmitter had become unusable due to infrastructure damage and the lack of spare parts. In the same interview, Mohamed Saeed Mohamoud, then Director of Radio Hargeisa, noted that the station had shifted its focus to peace-awareness programming amid the devastation of war. Remarkably, the station’s archives — containing thousands of valuable and culturally rich music cassettes — survived the war. These hardships, however, proved temporary. Through sustained efforts, Radio Hargeisa was gradually restored, its broadcasting power upgraded, and it reemerged as a progressive, far-reaching voice serving all regions of Somaliland and beyond.

Intriguingly, Radio Hargeisa was much more than a news outlet or simple entertainment source; it was a cohesive artistic institution, where every program possessed a unique musical identity. The station’s distinctive use of original, purpose-composed music for its segments highlighted its role as a cultural hub, not just a broadcaster. For instance, listeners tuning in at 7:30 AM would be immediately captivated by the voice of Mohamed Ahmed Kuluc singing the iconic wake-up call “Wallee Nin Hurdoow, Hallowday Dantaa, Hadhawna dib looma helo karo e’” translated to (Oh sleeping man, wither goes your gain, never to be found again.)

Equally memorable was the station’s timeless signature sign-off song, “Waan Hoyanayaaye, Habeen Wanaagsan” (Oh people, I am going home, good night). This short yet lyrically rich and enchanting verse— performed by the pioneering violinist and vocalist Rasheid Bullo, or Baaluu — was chosen as Radio Hargeisa’s official closing song following a station-wide competition in the mid-1950s.

The practice of assigning theme songs was the core of the station’ programming philosophy, demonstrating how music served as the central pillar of public engagement. The Mother and Child program, for example, featured Abdulahi Qarshe and his group singing, “Hooyada Wanaagsan, Ubadka wey hagaajisaa” (The Good Mother, raises good children). Similarly, the economic program featured Kuluc singing, “Dhaqaalaheenna in aynu dhawrnaa, Nolosheenu ku dhisantee” (protecting our economy is what our life depends on).

Even the health segment had its own unique, compelling music. These examples illustrate the fundamental interdependence between Radio Hargeisa, Somali art, and its artists. The station pioneered the live broadcast of meaningful, socially conscious music — a public awareness tool unparalleled elsewhere.

Unlike modern media, often criticized for divisive nature, Radio Hargeisa provided a constructive platform where Somali art took its first bold steps and contributed to the artistic awakenings that swept Somali scene in the mid-twentieth century. Furthermore, the station was a powerhouse of classic, educational music, notably featuring Hassan Shiekh Moumnin’s timeless song, rendered by Mohamed Moge, “Waxan ahay waadiga Dugsiyada,” and Qarshe’s timeless anthem, “Aqoon La’aani Waa Iftiin La’aan” (To be without knowledge is to be without light). These songs carried powerful educational messages that inspired generations. Each morning, Radio Hargeisa encourages listeners to value learning, using the voices of Moge and Qarshe to instill a deep respect for education as the foundation of social progress.

Additionally, the musical dedication reached its peak during the holy month of Ramadan, when Radio Hargeisa broadcasted a unique collection of Rich-themed songs. These segments were exclusive to the month, lending the fasting period a distinct and spiritual sonic backdrop. On the very first day, listeners would hear the king of vocal voice, Mohamed Sulaiman Tubeec, singing, “Bishii Ramadaaneey, Salaama Calaykum” (Oh Holy Ramadan, Peace be upon you). Tubeec would then return at the month’s ending to bid farewell with the poignant melody, “Socotee, Soctee Yaa Ramadaan, Salaama Salaama yaa Ramadaan” (Oh Ramadan, you’re departing, goodbye, goodbye, Oh Ramadan).

Other notable segments encouraging devotion included Osman Gacanlow and his Walaalaha Hargeisa team singing “Bisha Soon Xurmeeyoo” (Oh people, respect the holy month of Ramadan). There was also the evocative plea from Mohamed Yusuf Abdi, “Soonka Doobirtiisa, Noogu danbi Dhaaf” (Oh Allah, forgive us for the sake of the holy month’s fast). Most charmingly, just at the breaking of the fast (Iftar), the voices of Guduudo Carwo and Mandeeq would ring out with the advice-filled song by Mohamed Omer Hussien, “Huryo” (Eat, eat, eat, drink and eat; it is for health). This entire repertoire of rich, relevant, and classic music, heard exclusively during Ramadan, underscores Radio Hargeisa’s profound connection not only to national identity but also to the daily spiritual and cultural rhythm of Somali life.

At the end of Ramadan, Radio Hargeisa marked the Eid celebration with special musical segments, including Rasheid Bullo’s “Annaguna Ciidnee, Idinkuna Ciida” (We Celebrate on Our Side, May You Also Celebrate), Mohamed Yusuf’s timeless song “Waa Ciid” (Oh People, It’s Eid), and Tubeec’s popular piece “Alla Maanta Ayaanta & Ciidda Wanaagsan” (Today’s Celebrations and the Happiness of the Eid). These songs reflect the joyous spirit of the occasion.

Another remarkable collection broadcast by the station centered on national and Independence Day songs. Hargeisa has long been known as a city that celebrates every form of music, particularly patriotic and freedom songs associated with June 26, Somaliland’s Independence Day. One such classic was “Aan Maalno, Hasheenna Maandeeq,” composed by Sahardeid Mohamed, known as “Jebiye.” This song stands among the most iconic independence anthems in Somali music history, alongside Mohamed Yusuf and Walaalaha Hargeisa’s celebrated composition “Dharaartaan Waxyeeladdii Dhaq-dhaqay, Calankaan Dhidbay saw ma soo dhicin.

Through such broadcasts, Radio Hargeisa played a monumental role in the evolution and revival of modern Somali music. It provided a platform for artists to perform live and reach audiences across terirtories, helping shape a musical legacy that continues to inspire generations — songs that not only entertained but also reflected social life, contributed to collective social awakening, and memory.