Habibi Funk

What is Habibi Funk?

A common misconception about Habibi Funk is that it is a genre; those who are familiar with Habibi Funk often think of it as a type of music, a genre, or a subgenre of funk or jazz. However, that is not the case, even though the term may suggest otherwise. Habibi Funk is the name of a German record label based in the capital city of Berlin. The Habibi Funk record label is dedicated to reissuing and rediscovering rare or lesser-known songs from the 1970s and 1980s, produced in the Middle East and North Africa. These songs blend traditional Arab music with Western jazz, funk, soul and psychedelic rock music. So although it's not considered a genre, but rather a movement, a similar sound and requirements had to be met for these songs to be republished by the German label. Most of the popular Habibi funk songs were by Egyptian artists like the notable Hamid Al Shaeri. However, the movement popularized artists from Libya, Algeria, Lebanon, Sudan, Morocco and more. This group of artists, spanning Africa and the Middle East, incorporated many genres into their music, resulting in a diverse catalogue of songs that range from Zouk music to disco. Today, Habibi funk is defined by three main requirements: i) it showcases the artists' local heritage mixed with western influence as well as their native language being Arabic, ii ) A focus on music released between 1960 to 1980, and iii) the blend of multiple genres, though the title of the selection is "funk" the songs fall into and mesh together a large subset of musical genres leading to its unique and almost timeless sound.

Image from Habibi Funk Website

The creator of Habibi Funk Records was a German man named Jannis Stürtz. After visiting the Casablanca region of Morocco, he fell in love with the local music. Stürtz visits “most countries that you can currently go to” (The Vinyl Factory) to source his music. He finds old tapes, records and recordings and digitizes them back in Berlin. Stürtz and his label have an aim, however, to avoid stereotypical representation and exploitation of the artists and their cultures. In his interview with The Vinyl Factory Stürtz said, “If you’re a European or Western label and you’re dealing with non-European artists’ music, there’s obviously a special responsibility to make sure you don’t reproduce historic economic patterns of exploitation, which is the number one thing when it comes to the post-colonial aspect of what we are doing.” Stürtz also acknowledges Habibi's level of popularity in Arab-speaking communities, ensuring they make an effort to communicate with the public in both English and Arabic.

“On Facebook, at least for the most important posts, we try to translate them into Arabic as well. Not because I think that the people who follow us from the region don’t also speak English. It’s more of a symbolic thing, communicating in a way that is inclusive.” (The Vinyl factory)

I have written to Habibi Funk to confirm their publication process and profit distribution for artists and the record company. However, from what I could find, it appears that artists (or, if deceased, their families) receive 50% of the record's profit.

The acquisition of these records is no easy task; depending on the country Sturtz visits, he faces obstacles. In Sudan, the industry is monopolized, and one man decides whether or not to release a record to the public. In Somalia, due to political conflicts and the actions of Al-Shabaab (a local religious extremist group), much of the local music has been destroyed, along with all but one of the radio archives. Beirut, Lebanon, has a nice collection with a few record shops around the city. Seeming to be a hotspot for record stores, even 8 years after the article on Stürtz's visit was published. However, most popularly, Egypt is where Stürtz collects his most prized records. The island of Zamalek in Cairo is a cultural hub, home to the Cairo Opera House, theatres, and more. There, Strütz discovered four women running record shops with seemingly an unlimited and diverse catalogue of local music that fit the Habibi Funk sound. Strütz has noted that, although local traditional music is the inspiration for what he collects, it is the specific niche blend of traditional music with genres like funk, disco, rock, and jazz that he is most interested in.

As almost anywhere else in the world, the rise of vinyl mixing, listening, and collecting seems to be on the rise for the younger generation. Strütz does admit that it is perhaps more challenging to find a working player when sourcing in the Middle East or Africa than in Berlin. Still, the local younger generation's music scene is becoming increasingly interested in listening to and collecting music on physical media.

Habibi Funk's first release was a song named al-Zman Saib (الزمان صعيب) by a band called Fadoul (فضول), which was a cover or reinterpretation of the British band Free's song "All Right Now"

"Needless to say it sitting in the living room of Fadoul’s family was an emotional moment for for all of us. For his sister and family who would have never thought that Fadoul’s music gained this much attention outside of Morocco and who hadn’t heard his music for 30 years due to the absence of a record player in the house. And obviously also for me as the 3 year search came to an end. I was more than happy that they loved the idea to re-release Fadoul’s music. So here we are: "Azmanah Sa'Ib (Time Is Hard)“, Fadoul’s first LP 45 years after his music was originally released. " - Jannis Strütz, 2015.

Some Other Artists and Works

Hamid Al Shaeri

Hamid Al Shaeri is a Libyan-Egyptian artist who currently resides and works in Egypt. Perhaps the most well-known Arabic pop artist, he is most known for pioneering Al Jeel music - an alternative response to the rise of foreign popular music in Egypt and neighbouring countries - making him one of the first to blend Western music with traditional Arab music. He continues to work as a singer, composer, songwriter, and musical producer at 63 years old today. Before his solo career, Al Shaeri was part of a Libyan musical group called The Sons of Africa, which was quite successful; however, due to political tensions and the anti-Western music movements in Libya at the time, Al Shaeri relocated to Egypt. His solo record Ayonha was featured on Habibi Funk's seventh compilation release and became the label's most popular re-release. In its original release in 1983, the record did not take off really well. Al Shaeri waited many more years for his later albums (such as Raheel) and Ayonha's re-release to receive critical appraisal and general popularity. Well-known for his contributions to the Arabic pop scene, Hamid Al Shaeris' music and influence live on today everywhere in the world! (I'd also recommend Al Shaeri's song "Reet"!)

Sharhabil Ahmed

Known as the Sudanese "King of Jazz", Sharhabil Ahmed is one of Sudan's most prolific musicians, known for his combination of Sudanese and Western influences and for pioneering the Sudanese jazz scene. Born in 1935, his musical career took off in the 1960s with his goal to re-popularize Sudanese music by modernizing it and "bringing it together with western influences and instrumentation" (Habibi Funk). He draws his local inspiration from Haqiba music, Haqiba is a traditional Sudanese musical genre which draws on the original genre of music called Madeeh (which was a way to praise the Prophet Mohamed in song). Haqiba is a vocal-heavy musical genre that uses minimal instrumentation and multiple voices simultaneously. This music spread all over Sudan in the 1930s-1940s. Ahmed grew up on this music and wanted to modernize it to reintroduce it to younger generations and western influences. “Haqiba music, you know, was traditional vocal music with little accompaniment beyond a tambourine. When our generation came in the 1960s, we came with a new style.

"For this, the guitar seemed like the best instrument. Western instruments can approximate the scales of Sudanese music very well. After all, a lot of Western music is originally from Africa. I have absorbed different influences, from traditional Sudanese rhythms to calypso and jazz, and I hold them together in my music with no difficulty.” - Sharhabil Ahmed, 2004.

Image from Wikipedia. Sharhabil Ahmed page.

Maha

Although perhaps lesser-known, Maha is a hidden gem featured on Habibi Funk's 20th release. Egyptian-born vocalist and musician Maha was largely unknown until Habibi Funk released her album Orkos in 2021, after tracking her down and obtaining her blessing. Habibi Funk had received a collection from the Egyptian record label Sout El Hob, and one of their albums in their collection was Orkos. The album stood out due to Maha's “strong and energetic voice equally grounded in jazz as well as Egyptian vocal traditions” (PAM). Maha had stopped her musical career in the 1980s due to personal issues related to her music, a common situation for female artists at the time. However, she had been a part of an array of bands and solo career releases throughout her short-lived career. Orkos was initially released on cassette and combined traditional Egyptian vocal music with jazz, soul and Latin music! However, the project's success did not materialize, and it took a re-release nearly 50 years later for Maha's name and music to gain public recognition.

Habibi Funk has re-released many more amazing songs and artists in the Arab pop world! I've linked a playlist here for some more! Enjoy, and thank you for reading.

Sources Used and Cited

Nazif, Perwana. “Habibi Funk: Tales from Digging in North Africa - the Vinyl Factory.” Habibi Funk: Tales from Digging in North Africa - The Vinyl Factory, 11 Oct. 2017, www.thevinylfactory.com/features/habibi-funk-digging-north-africa-interview

“Jannis Stürtz (Habibi Funk).” Polyafrica, 1 June 2025, polyafrica.gr/jannis-sturtz-aka-habibi-funk/.

Stürtz, Jannis. “Habibi Funk 002: Al Zman Saib, by Fadoul.” Habibi Funk Records, habibifunkrecords.bandcamp.com/album/habibi-funk-002-al-zman-saib. Accessed 24 Sept. 2025.

Strǔtz, Jannis. "Habibi Funk 013: The King of Sudanese Jazz." Habibi Funk Records,https://habibifunkrecords.bandcamp.com/album/habibi-funk-013-the-king-of-sudanese-jazz. Accessed 24 Sept, 2025.

“Hamid El Shaeri.” MDLBEAST, mdlbeast.com/performers/hamid-el-shaeri. Accessed 24 Sept. 2025.

Strütz, Jannis, "Habibi Funk 020: Orkos." Habibi Funk Records, https://habibifunkrecords.bandcamp.com/album/habibi-funk-020-orkos Accessed 25 Sept. 2025.

Orkos: 70s Cassette of Egyptian Vocalist Maha Resurfaces, pan-african-music.com/en/maha-orkos-habibi-funk/. Accessed 25 Sept. 2025.

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