Sasson Shaulov's popular song released earlier this year, "Something Real in the Eyes", became "7.10 That Was" a few weeks ago, with new lyrics written by Tal Ben Gigi, and has already received many covers. One of them, by Orel Rahamim, was even recorded about a week ago. The Iron Sword War soundtrack replicates at a very fast pace, and it doesn't sound or look like anything we've known before.
Many songs come out while the soldiers are in the field. Izzy's "October 7," Ness and Stilla's "Sword Darbo," Omer Adam's "Dance," Hanan Ben Ari's "Homeland" and more become the soundtrack to the videos soldiers upload from the battlefield. Soldiers with their faces covered perform Yasmin Muallem's "Barefoot," with her or alone with a guitar, moments before entering Gaza. In spontaneous blackouts on the conference grounds, singers improvise pieces that become cult. At the bases, soldiers dance techno with the international Hasidic singer Lipa Schmelzer, who came to Israel in particular. The music of the war is created this time outside the established music industry, capturing the Israeli experience in an unprecedented way.
Hamas cruelty has succeeded in harming everything sacred to human beings. Perhaps that is why this war especially needs spirit. The music not only raises morale, it delves deeper into the increasingly Middle Eastern national identity, connecting to it a Jewish identity that has undergone a deliberate attack. Non-Jews also take part in this work, recognizing Israel as their state and homeland, but also as a Jewish state of which this identity is an inseparable part. Druze and Muslim soldiers are full partners in the fighting spirit, as well as in the music that embodies it. A quick glance at TikTok reveals treasures like Louai Ali, who performs Idan Amedi's song "Pain of Warriors" in front of soldiers, and a one-off performance by a Druze artist of Zehava Ben's "Salamat."
In contrast to the music written in previous wars, this time you can clearly see the "orientalization" of war music. Almost all the songs have Middle Eastern tones, and many of the melodies are Arabic. Music connected to the place. Surprisingly (or not), there is no reluctance or withdrawal from Arabism, but a greater adoption of it, as embedded in Israeli culture. The feeling is that after what happened on October 7, everyone should be who they are and what they are. Without getting confused.
One can clearly see the "orientalization" of war music. Almost all the songs have Middle Eastern tones, and many of the melodies are Arabic. Music connected to the venue
War songs in Israel were almost always of a certain shade. Sad, poignant songs, with an ethos of noble heroism, personal pain and friendship. During the Six-Day War, the songs were a bit more warlike, but also maintained a fair, European-style countenance. On Yom Kippur, the style tended more towards inner soul-searching, restraint and deep sadness, and during the Lebanon War there were mainly protest songs. This time we seem to be in a different world. Alongside songs of shock and heartbreak, there are countless songs of strength and victory as well as songs of direct dialogue with the enemy. Maybe in the past we were afraid to be strong, to show determination, willingness to attack, even feelings of revenge - but now there is no fear. Music has it all.
Leading the war music movement are popular, mostly young, artists in the hip-hop, pop and Middle Eastern genres. This is their generation, both those who have been hurt and those who are fighting. Music has become the best, most comfortable language for everyone, not just for great artists or creators. On the contrary - the most popular songs today are by unknown artists. If there are no words left, then maybe it is possible to sing. Sing together to remember, sing together to feel shared pride, to get stronger, to succeed in fighting. If in the past there was a separation between civilians and the army, between singers and soldiers, this separation no longer exists. Everyone feels part of the same big story.
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