Sudan has a rich and unique musical culture that has been through chronic instability and repression during the modern history of Sudan. Sudanese most prominent poet, like Mahjoub Sharif, and artist, like Mohammed el Amin, and Mohammed Wardi. find more a bout Sudanese music , listen to the music!

Sudan is very diverse, with 4 hundred plus ethnic groups spread across the country's territory, which is the largest in Africa. The country has been a crossroads between North, East and West Africa for hundreds of years, and is inhabited by a mixture of Sub-Saharan Arabs and Africans.

Sudanese has a tradition of lyrical music that utilizes oblique metaphors, and has historically been used as part of the Sudanese independence movement and in other political movements.

In the 1930s, a number of music companies opened in Sudan, the early pioneers were mostly singer-songwriters, including Karoma, author of several hundred songs, the innovative Ibrahim al-Abadi and Khalil Farah, who was active in the Sudanese independence movement. Al-Abadi was known for his style of fusing tradition wedding poetry with music. Other songwriters of the era included Mohammed Ahmed Sarror, Mohamed Wad Al Faki and Abdallah Abdel Karim.

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Sudanese popular music evolved into what is generally referred to as a style dominating in the 1940s, 50s and 60s. This period was marked by the introduction of tonal instruments from both East and West, such as the violin, accordion, oud, tabla and bongo. A big band style came into existence, mirroring trends in the West.

The 40s saw an influx of new names because of the rise of Omdurman Radio and World War II. Early performers included Ismail Abdul Mennen, Hassan Atya, Ibrahim Al Kashif and Ahmed al Mustafa. One of the most famous pioneers of this era was Ismael Abdul Queen, who was followed by Ahmed Ibrahim Falah and Ibrahim Alkashif (father of modern singing).

In this respect Ismael Abdul was a pioneer who adapt to the new conditions and desert the old style. He was followed by a poet-singer called Ahmed Ibrahim Falah. But both were soon overtaken by Ibrahim Alkashif who became known as the "Father of modern singing". Al Kashif began to sing under the influence of Mohamed Ahmed Sarour and relied on what Karouma had started, but he renewed singing in three main facets:

The 1960s saw the importation of American pop stars, which had a profound effect on Sudanese musicians like Osman Alamu and Ibrahim Awad, the latter becoming the first Sudanese musician to dance on stage. From the 1970s to the present, Northern Sudanese music saw a further Westernization, with the introduction of guitars and brass instruments; guitars came from the south of the country, from the Congolese guitar styles. Congolese music like Soukous, as well as Cuban Rhumba, exerted a profound influence on Sudanese popular music.

An important shift in modern Sudanese music was introduced by the group Sharhabil and His Band - formed by a group of friends from Omdurman - namely Sharhabil Ahmed, Ali Nur Elgalil Farghali, Kamal Hussain, Mahaddi Ali, Hassan Sirougy and Ahmed Dawood. They introduced modern rhythms relating to popular and soul music using for the first time electric guitars, double bass, and brass instruments, with the emphasis on rhythm section. The lyrics were also informal and popular. Now Sharhabil's band is one of the leading establishments in Sudanese music.

For the first time in the 60s, female singers became socially acceptable with the rise of Mihera bint Abboud, Um el Hassan el Shaygiya and Aisha el Fellatiya, who became famous for performing in front of the Sudan Defence Force during World War 2. In the 1960s, a wave of female duos became prominent, including Sunai el Samar, Sunai Kordofani and Sunai el Nagam, while a few women with highly-charged erotic images found audiences, including Gisma and Nasraa. Later prominent female musicians include the band Balabil, who formed in the early 1970s and became very popular across East Africa. The 80s also saw the rise of Hanan Bulu-bulu, a singer whose performances were sensual and provocative; she was eventually detained by the authorities and beaten.

Introduced genres have had a profound effect on modern Sudanese music, especially British brass military bands, which attracted many young recruits who carried the model to recreational music. The result was a kind of dance music referred to as jazz, though unrelated to the American style of jazz, similar to analogous styles throughout East Africa. Prominent big band leaders in the modern era include Abdel Gadir Salim and Abdel Aziz El Mubarak, both of whom have achieved some international fame.

Mahjoub Sharif, a poet and songwriter who continued writing even in prison. The singer Abu Araki al-Bakheit was banned from performing political songs in the early 1990s, but he claimed to prefer remaining silent than not performing the objectionable material; the news of his retirement, prompted intense reactions from his fans, which eventually led him to continue performing in defiance of authorities. Southern Sudanese popular music was important in the 1970s and '80s, with the capital Juba hosting nightclub bands like Rejaf Jazz and the Skylarks.

Other popular imported musicians included reggae superstar Bob Marley and American pop singer Michael Jackson, while the funk of James Brown inspired Sudanese performers like Kamal Kayla, to adopt the same style. Other modern popular performers include Abdel Karim el Kabli, with a notably long and diverse history of performance, Mohammed el Amin and Mohammed Wardi.