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| Farah wears a Burma necklace with a dress by Juozas Statkevičius. |
Farah Nakhoul’s voice carries the discipline of Oriental music, traces of Byzantine chant and the unmistakable emotional weight of Lebanon. Raised on the classics of the Arab golden age, she learned those songs almost instinctively, long before technique and interpretation became conscious choices. Later, her years performing alongside the late Ziad Rahbani deepened her understanding the responsibility of making music with integrity.
Today, Nakhoul finds herself at a point of transition. Her recent releases reveal a more contemporary sensibility, while her performance of “Mtaaeb Albi” reached a wider audience. What makes her compelling is the honesty with which she speaks about still searching, for the right songs, the right balance and an identity that feels entirely her own.
In conversation with Arabian Moda, Farah Nakhoul reflects on technique, heritage, her first steps into acting and the complicated love she continues to feel for Lebanon.
Fashion Editor & Stylist: Victor Concepto
Photographer: Sandra Fourqui
Location: Les Etages Rivoli, Paris
AM: Your relationship with music began very early, through church and Byzantine chant. When you look back now, do you feel that sacred music still lives somewhere inside your voice?
Farah Nakhoul: Yes, Istill listen to Byzantine chants. I sometimes warm up my voice by singing one because it helps a lot, especially with breath control.
AM: You studied Qanoun, Oriental chant, and music education. How important is technical discipline for a singer who also needs to sing with emotion?
Farah Nakhoul: I personally believe that once you learn the technique, especially early in life, you never lose it. You will always respect and apply it without having to focus on it too much. By technique, I also mean correct pronunciation, which, unfortunately, is disappearing from many performances today. Artists now tend to focus more on emotion and drama than technique. Emotion is very important; otherwise, the message will not be conveyed. Unfortunately, however, very few artists in the industry still respect technique.
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| Earrings, Chadia Hamati. Dress, Offset. |
AM: You have often revisited classics and golden-age songs. How do you approach a beloved song without imitating the original?
Farah Nakhoul: I have been listening to golden-age songs since I was four years old. When you are a child, you absorb everything like a sponge. I did not learn these songs by studying them, so I sing them freely, in my own way, using the full capacity of my voice while still respecting the original.
AM: You shared the stage with the legendary Ziad Rahbani and collaborated with him. What did that experience change in your career?
Farah Nakhoul: Ziad is timeless. If there is anyone who truly represents respect for music in our region, it is him. I feel incredibly lucky and proud. Being part of his journey for so many years has been the highlight of my career. Now, after his passing, I understand that things will never be the same without him. We lost our protector, the person who protected music by creating good music.
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| Jewelry, Trois Soeurs Casanera. Dress, Gaby Charbachy. |
AM: Your recent releases show a more contemporary side of you. How do you balance preserving your musical roots while still sounding current?
Farah Nakhoul: Honestly, I am still trying to find that balance. I am confident that all my songs are musically well produced, especially in terms of their arrangements. When it comes to the lyrics, however, I think I am still searching for the right balance and the right songs.
AM: In 2026, you sang “Mtaaeb Albi” for the series Lobby El Gharam. What made this song emotionally close to you?
Farah Nakhoul: First of all, its success made it even more special to me. More importantly, it reflects how I feel. The song had been sitting in my files for years, and then, quite by chance, I sent it to Joe, the director, so he could listen to it. The next day, it became a hit! It deserves that success.
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| Ring, Burma. Dress, Vivienna Lorikeet. |
AM: You also made your acting debut in the series as Dalal. What did acting allow you to express that singing perhaps does not?
Farah Nakhoul: Acting is completely different from singing. However, it can support a singer by improving their body language, stage presence, and movement.
AM: Do you feel that Lebanese artists today are expected to carry both beauty and pain at the same time?
Farah Nakhoul: Yes. Just look at how we have been living all these years. My own journey began in 2006, when I came to Beirut to study, and since then, there has been pain in everything. Sometimes, I wonder how there can still be any beauty left. Yet there is still so much light in Lebanon.
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| Top and trousers, Offset. |
AM: There is a new generation of Arab singers mixing heritage, indie sounds, pop, and regional dialects. Where do you feel you belong within this new Arab music landscape?
Farah Nakhoul: I am still trying to find my own unique identity. I am producing and creating songs, some of them I do not like, while others make me feel that I could do better. I love this kind of fusion, but I do not necessarily see myself as belonging to it.
AM: Do you have a dream collaboration, Lebanese, Arab, or international?
Farah Nakhoul: I dream of collaborating with Raye or Bruno Mars.
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| Left: Earrings, Burma. Bag, Judith Leiber. Dress, Offset. Right: Necklace, Burma. Dress, Vivienna Lorikeet. |
AM: What can listeners expect from the next chapter of Farah Nakhoul?
Farah Nakhoul: I will be releasing two or three songs very soon, and I also hope to take on more acting roles.