Israeli Music Inspired by the Gaza War

The Hamas terrorist attack on October 7, 2023, and the Gaza war that followed produced a large outpouring of new Israeli music. A November 2023 report by Calcalist described dozens of songs already released in the weeks after the attack, spanning fear and grief, consolation and hope, calls to strengthen the people, and expressions of vengeance.[4] By October 2024, 103FM counted close to 300 songs, grouping them into themes that included consolation and mourning, prayer and hope, morale and combat spirit, homeland and unity, and songs directly about the war itself; the same article noted that by comparison, 107 songs had been counted during the Yom Kippur War.[2]

The scale of the output surprised observers. Musicologist and radio host Boaz Cohen estimated "hundreds of songs — in my opinion, over 1,000" had been written because of the experiences of October 7.[1] The Jerusalem Post reported that the response began with a period of uncertainty — artists initially did not know how to respond — before giving way to a flood of varied releases.[1] Anonymous artists were especially prominent among contributors.[2]

The National Library of Israel noted that the popular songs heard during the war reflected mourning, helplessness, and hope for a brighter future, placing the response within a longer tradition of Israeli music made during wartime.[5] Works ranged from drill hip-hop and rap to electronic dance music.[6][7] Quiet pop ballads also became prominent.[1] Liturgical arrangements and classical instrumental composition broadened the response further.[8][9]

Several songs appeared within the first days and weeks of the conflict, reflecting the immediate shock and grief felt across Israeli society. Hanan Ben Ari wrote and posted "Moledet" ("Homeland") on YouTube on October 16, 2023, dedicated to the country he hoped would be rebuilt after the war.[3][10] Its lyrics address a "beautiful sleeping" homeland with the line "someone fell asleep on duty," and conclude by calling Israel "a garden of Eden" even at "the edge of the abyss."[11] The Lookstein Center's lesson plan on the song describes Ben Ari dedicating it to "the country we will rebuild when all this is over" and connecting its imagery to grief, national memory, inherited songs, biblical language, and prophetic imagery.[10] By January 15, 2024, "Moledet" had accumulated 3.1 million YouTube views.[3]

Eyal Golan released a wartime version of "Am Yisrael Chai" ("The Israeli Nation Lives") about a week and a half after October 7, a song the Times of Israel describes as a patriotic anthem.[12] Its writing, composition, production, and arrangement are credited to Avi Ohayon, Ofir Cohen, and Shimon Yehiya, and Mako reported that it had passed half a million views within three days of release.[11] Jewish News quotes its lyrics referring to "swords of iron," the hope of two thousand years, and going into the streets to sing again.[13]

Odeya Azulai and Erez Sharon, performing as Odeya and E-Z, posted "Horef 23" ("Winter '23") on YouTube on October 22, 2023.[3] The Sefaria resource on songs of October 7 quotes lyrics describing fear, feeling abandoned, asking where God is, and concern for soldiers; the song also refers to despair, hate, sadness, and destruction while asking for help and redemption.[3] Its accumulated YouTube views reached 3.9 million by January 15, 2024.[3] Calcalist read "Horef 23" as combining pain and a plea for comfort with criticism of leaders, quoting its lines asking who was looking after the soldiers and observing that the leaders had suddenly stopped speaking.[4] Jewish News notes that the song drew on the 1994 track "Horef '73," which had reflected on children born after the Yom Kippur War and the broken promise that they would not have to fight.[13]

Lior Narkis released a version of "Acheinu Kol Beit Yisrael" ("Our Brethren, the entire House of Israel") in October 2023 — described by the National Library of Israel as one of the song's most listened-to versions — adapting a traditional Jewish prayer for captives and hostages to the context of the October 7 abductions.[8] The tune had originally been composed by Abie Rothenberg in the late 1980s and recorded on his 1990 tape "Lev VeNefesh."[8] Atara Orya's "La-tamid" was dedicated to police officers killed while fighting terrorists and defending their homes during the first two weeks of the conflict; its video, using footage of police on duty, appeared on the Israel Police YouTube channel.[11]

Rapper Izzy released "Shiv'a be'October," a melancholic but combative rap carrying a message of hope, with lyrics about people standing together and not giving up.[11] Hillel Gutman and Young Buta released the trap track "Eizeh yom," which reworked the chorus of a song by David Tasa into a message of hope.[11] Gilad Segev wrote a song in memory of Liron Barda, killed at the Nova festival, dedicating it to a young woman who could have fled but stayed to provide medical help to others.[11]

Several songs rose to particular prominence on Israeli airwaves and streaming platforms. A Calcalist radio airplay ranking compiled by Media Forest for October 7 through November 6, 2023, placed "Am Yisrael Chai" by Eyal Golan at the top with 604 plays, followed by "Moledet" by Hanan Ben Ari with 554, "Achenu kol beit Yisrael" by Lior Narkis with 363, "Choref 23" by Odia and Izzy with 343, "Yehye tov" with 330, "La-tamid" by Atara Orya with 276, "Halev sheli" by Ishay Ribo with 275, "Amen al hayeladim" by Hanan Ben Ari with 264, "Shkiyot adumot" by Eden Hason with 234, and "Latset midika'on" by Yagel Oshri with 229.[14]

"Harbu Darbu" by Ness Ve Stilla — Nessya Levi and Dor Soroker — was released on November 14, 2023, and became a major commercial wartime anthem.[3][1] The Jerusalem Post reports that it reached number one on the Galgalatz yearly countdown.[1] Its title derives from a distortion of a Syrian Arabic expression meaning "swords and strikes."[3] The Sefaria resource records 14 million YouTube views as of January 15, 2024.[3]

"Am Echad" ("One Nation") by Ariel Zurayev captured sorrow and hope after October 7.[13] Zurayev said the creators wanted the video to be "from the people of Israel" and not just their own song, but one for all Israelis united together; Noa Tishby and Gal Gadot amplified its message at Hollywood's Take Action, Build Hope event.[13] Walla reported that for October 7 through November 15, Galgalatz airplay recorded 31 plays for Inbal Bibi's "Af pa'am lo levado," 27 for Yasmin Moalem's "Yehye tov," and 22 for Yagel Oshri's "Latset midika'on."[15]

Subliminal's "Zeh Aleinu" ("It's On Us"), with The Shadow and singer Raviv Kaner, was on playlists by late January 2024.[12] The Times of Israel describes it as an angry anthem about a country seeking victory in a war of survival while looking to the future, with a video combining images of destruction and IDF soldiers with religious imagery; its lyrics address Gaza, the Nova party, the Golani Brigade, and Yahya Sinwar.[12]

The Hamas terrorist massacre at the Nova music festival on October 7, 2023, became a specific subject for multiple songs. "Tirkod LaNetsach" ("Dance Forever"), performed by Omer Adam and Infected Mushroom and written by Shai Horowitz (known as ShrekDiMC), was described by the Center for Israel Education as a tribute to a specific victim and to all those killed in the October 7 attacks.[16] The Jerusalem Post describes a plaintive opening that builds into rapid electronic beats, with personal lyrics including "There's no way you're leaving, how my heart is broken. Now all I have left is silence."[7] N12 describes the track as a memorial to victims of the Nova festival massacre.[17]

"Tirkedi (7.10.23)" by Osher Cohen was dedicated to those killed, survivors, hostages, and people affected by the attacks.[17] Maor Ashkenazi's "Shir Shel Noam 2" ("Noam's Song 2"), featuring Nova survivor Noam Cohen, was released in November and recounts Cohen's October 7 experience directly; its video recreates the ordeal, and the song names friends of Cohen who were killed.[12] The Times of Israel quotes lyrics about explosions, blood, escaping by luck, and the survivor's mind remaining at the scene, presenting the song as an example of popular music helping people air and regulate extreme emotions.[12]

The 103FM survey lists additional songs remembering the Nova massacre, including "Harikud ha'acharon" by Adir Getz and "Mechakim la'or" by Guy and Yahel.[2] The American Jewish Committee connected a separate piece — "Clear Test Signal Artifex Remix - Nova Tribute" — to the festival, describing it as the last track played at Nova on October 7 and noting that DJ Artifex's remix was released "in dedication to all lives lost and forever changed that morning."[18]

The abduction of hostages on October 7 prompted a distinct stream of songs focused on the longing for return. Alin Golan's "Ain Li Makom" ("I Don't Have a Place") is dedicated to Israeli hostages held in Gaza; the Times of Israel describes a video featuring Michal Lobanov, the pregnant wife of hostage Alex Lobanov, with "Dad come back" written on her stomach.[12] The title connects to the recurring Hebrew phrase "I don't have any other place," which the article says conveys anxiety about the state's failure and the attempt to regain a sense of security.[12]

"Tachzor" ("Come Back") by the Idan Raichel Project and Roni Daloomi, and Lola Marsh's "Ad ShaTachzor, Ad ShaTashuvi" ("Until You Return"), were cited in the Jerusalem Post as quiet songs about return and the idea of home.[1] N12 reported that Idan Raichel was simultaneously organizing performances for soldiers and evacuees around the country.[17] Harel Skaat and the Hostages and Missing Families Forum released "Yamim acherim," using family archival footage in its video as part of the campaign to bring hostages and missing people home.[17]

Esther Shamir wrote and recorded "Chazara habayta" as a prayer for the hostages' return, setting it to the melody of "Halicha le-Keisarya."[17] Ariel Horowitz wrote "Ani ma'amin" a few days after October 7 and recorded it after performing for evacuees, soldiers, and wounded people.[17] The 103FM survey lists additional waiting songs, including "Ha-balada la-mechakot" by Narkis, "K'shehashemesh shuv" by Nunu, and "Bring Them Home" by Dikla.[2]

Aviv Gefen's "Zeriha Shehora" ("Black Sunrise") features Mia Leimberg, who had been held hostage in Gaza before her release after 51 days during a November ceasefire; the Times of Israel describes the 1980s-inspired pop song as having been prompted by the Gaza war after Gefen spoke with Leimberg.[12]

Alongside hostage songs, a substantial body of work mourned soldiers and civilians killed in the war. "Ke'ev Shel Lochamim" ("The Pain of Warriors") by the Revivo Project, led by singer-songwriter-arranger Reviv Ben Menachem, addresses post-traumatic stress among IDF combat soldiers and the effects of trauma on relationships; the Jerusalem Post quotes its lyrics about nightmares, screams, blood on a uniform, and a person who "haven't been me for a long time."[7]

"Ten li Rega" ("Give Me a Moment"), written and produced by Tom Benoudiz, assembled more than 30 vocalists from the young Mizrahi music scene — including Naor Cohen, Liav Morhi, David Ilay, Noga Dahari, and Korin Gamliel — in connection with the For the Unity of Israel Project.[7] Its lyrics ask, "What needed to happen for us to be united?"[7]

The 103FM survey names several songs dedicated to specific individuals killed in the war: "Mal'achit levana" from an Odia Azoulay EP, in memory of Mai Naim; "Mapal" by Miri Mesika, in memory of Mapal Adam — written by Maayan Adam for her sister who went to dance at the Nova festival and did not return; "Kanfei ruach" by Berry Sakharof, in memory of Yotam Haim; and Ethnix's "Dvarim shekatavti," in memory of Itai Shoham.[2] N12 says Miri Mesika performed "Mapal" as an elegy.[17]

Moshe Feld's "Aremot Ga'agu'im" ("Stacks of Longing"), dated November 12, 2023, is quoted in the Sefaria resource as promising: "I will still write a song about us, and the words will express consolation."[3] Odia wrote "Dam shel giborim" in memory of soldiers killed in the war, a song Calcalist describes as combining longing, grief, anger, and criticism, including the lines "In what country do children protect their parents?" and "What did you always dream of when you grew up? / Why did you dress up as a soldier every Purim?"[4]

Yuval Dayan's "Tishmeri al halev" emerged after a bereaved mother asked Dayan for a song about the situation and national togetherness; the 103FM survey places it among songs about the people's sense of unity.[2][17] The 103FM article also names "Yesh od olam" by Dudu Aharon as dedicated to those killed in the war.[2]

Music played a role not only in Israeli civilian life but within the experience of soldiers serving in Gaza itself. After the Nahal Brigade's 931st Battalion lost Major Shai Shimriz and Captain Shauli Greenglick on December 26, 2023, soldiers gathered in a darkened house four days later, after another day of fighting, and sang "Acheinu" during an improvised meal — an ancient prayer for captives and hostages that had taken on new resonance since the October 7 abductions.[8]

Composer and soldier Uri Bar-Or worked in the final weeks of his life on a classical composition of three-minute melodies for the four seasons while serving in Gaza.[9] He completed "Autumn," "Spring," and "Winter," and the first two minutes of "Summer"; its final minute remained unwritten.[9] Bar-Or was killed on May 28, 2024, during a raid on an UNRWA clinic in Rafah.[9] His family used a QR code on his memorial sticker to link to his earlier composition "Heartbeat."[9]

Noam Tsuriely, a rapper and active army reservist, wrote and performed "Another Day in Gaza" while on leave from his unit, offering a direct first-person soldier's account in popular music form.[6] Yehoram Gaon filmed a video for "Lo tenatzchu oti" in Gaza during the war, and Maariv reports that soldiers sang "Ya'akov hatamim" ("Al tira Yisrael") at assembly areas.[19]

Not all music associated with the conflict was newly composed. A significant portion of the wartime repertoire consisted of existing songs that took on fresh resonance in the context of October 7 and the ensuing fighting. The Jerusalem Post reported that Yagel Oshri's "Latzet MeDekayon" ("To Get Out of Depression") and Yasmin Moallem's "Yeheyeh Tov" ("It Will Be Good") predated the war but gained listeners and significance afterward; a radio host called Moallem's track a significant anthem during the war.[1] N12 described "Yehye tov" as having topped Spotify's 50 most-listened-to songs during the period, while Oshri's "Latset midika'on" reached second place.[17] Adi Agai's "Trauma," written about her own experiences unrelated to the war, resonated with listeners and was sung at concerts by soldiers who told her they felt understood.[1]

Maariv's October 2024 review noted that songs from earlier Israeli wars returned to circulation, including "Ein lecha ma lid'og" by Uzi Fox, "Mi yada shekach yihye" by Boaz Sharabi, "Lu yehi" by Naomi Shemer, and songs by the Air Force band.[19] Radio stations chose to play Shula Chen's "Bo'i habayta" every day at 5 p.m. until the hostages returned, while Yardena Arazi's "Habayta," previously associated with the First Lebanon War, took on new significance.[19] The song "Perachim bakaneh" became newly topical when the IDF entered Rafah, in part because of its lyric "the sun will be silent between Gaza and Rafah."[19] "Hinei yamim ba'im" by Ilanit went viral after a dance on the television program "Rokdim im kokhavim," its optimism contributing to its renewed popularity.[19]

An updated "Tefilat Haderech" ("Travelers' Prayer") functioned as a plea for soldiers' safe return, and older songs about coming home gained renewed resonance amid the hostage crisis.[1] The teacher trio Morat Ruch released "October '23" as a tribute to students' bravery, using the melody of "Horef '73" with new words.[13] Jewish News also notes Izzy Erez Sharon's "Seventh of October," a rap released days after the attack, as reaching 200,000 views within a week.[13]

Analysts and journalists identified a broad arc in the emotional character of songs released over the course of the conflict. Yoel Finkelman of Tradition Online argued that three songs successively dominated Israeli airwaves in the first seven months, expressing a progression from confidence and anger, through appreciation mixed with sadness, to more explicit fear, grief, and uncertainty.[6]

The middle work in Finkelman's progression was Hatikva 6's "A Nation of Superheroes" ("Giburei Al"), a soft, reggae-inspired song honoring the everyday heroism of Israeli soldiers, especially reservists who left ordinary jobs and studies to serve. Finkelman noted that its sad minor key suggested loss and that, unlike "Harbu Darbu," it neither promised victory nor explicitly named or cursed the enemy.[6]

The 103FM survey organized the songs into five thematic clusters: consolation and mourning; prayer and hope; morale and combat spirit; homeland and unity; and songs about the war itself.[2] Calcalist's November 2023 analysis noted that protest was notably scarce among the early releases, in contrast to the varied emotional terrain being expressed.[4] The Jerusalem Post's later retrospective distinguished newly written war-related songs from older songs that gained new meaning or listeners during the war.[1]

The National Library of Israel framed the response within a longer tradition, noting that popular songs during wartime have historically reflected mourning, helplessness, and hope for a brighter future.[5] For Finkelman, the progression from "Harbu Darbu" through "A Nation of Superheroes" to "Another Day in Gaza" tracked a broader transformation in Israeli public mood as the war extended and its costs became clearer.[6]

The most prominent controversy in the wartime music landscape surrounded "Harbu Darbu" by Ness and Stilla. The song's lyrics call for military action, name IDF units, and invoke "Amalek"; its title derives from a distortion of a Syrian Arabic expression meaning "swords and strikes."[3] Finkelman characterizes its depiction of war as a "militant fantasy" — fast, one-sided, and victorious — with little attention to the price paid by Israel and its soldiers, and notes that its vengeful tone was criticized in the international press.[6] Maariv reports that Al Jazeera accused the song of calling for genocide, and that its lyrics were cited in South Africa's genocide case against Israel; those are reported allegations, not legal findings.[19]

The 103FM survey also identified more explicitly militant songs: "Mi s'sone otcha yamut" by Rotem Cohen, which prompted an IDF spokesperson to ask Cohen to remove the song because of its content; "Aza balagan" by Tsukush and Jusu, whose lyrics include a call to "erase Gaza from the map"; and "Kovshim et Aza" by Daniel Saadon.[2]

Eden Golan's Eurovision entry generated international attention of a different kind. The European Broadcasting Union required changes to the title and lyrics of her original song, "October Rain," because of political messaging; the lyrics were understood as referring to people killed on October 7.[20][13] The revised version, "Hurricane," was performed at Eurovision 2024; CAMERA reports that Golan placed second in the popular vote, while Jewish News records her fifth-place overall finish and describes the song as becoming an anthem for a country in mourning.[20][13] A Mosaic listing argued that the intervention helped make Golan a cause célèbre.[21]