Farbod Biglari: “I see songwriting less as construction and more as discovery—something already there that I just need to uncover”
I’ve heard plenty of great non-English songs in my time, but it’s not often one completely sweeps me off my feet like My Past. Courtesy of Vancouver-based singer/songwriter Farbod Biglari, the haunting and delicate Persian piece speaks of longing and emotional distance. It led me to explore more of Farbod's work, and I really started to appreciate his music on a profound level.
Intrigued to learn more about the artist, I was delighted when Farbod said he'd have a little chat with us. Speaking about the deep musical roots that run through his family, his love for legends like Pink Floyd, The Doors, and George Harrison, and why he would have probably owned a small bookstore-café in another lifetime, please give a warm welcome to our new friend Farbod Biglari!
Hello and welcome Farbod! Thanks so much for taking the time to chat with us!
Before we get into the nitty-gritty, please tell us a little bit about your musical journey. When did your love affair with music begin?
My love for music began when I was nine years old, starting with classical guitar. Over time, my interest gradually shifted toward pop, rock, and jazz, which I’ve continued to explore ever since.
I’m currently studying music at Vancouver Community College.
Music has always been present in my life—my family has deep roots in it. My grandfather, Ali Asghar Kordbacheh, was a renowned tar player and Iranian composer. My mother, Forouzan Kordbacheh, was a santoor player and the director of the Kordbacheh Music School in Iran. Several of my uncles and my brother are also musicians, and my father’s uncle Soheil was a singer in Iran during the 1970s.
Growing up in such an environment, I was naturally drawn to music from a young age.
Right, now, let's move on to My Past. A tune that features on your debut album Nightmare, it's also one that I've recently fallen completely in love with.
True, while its lyrics aren't in English, there's an emotional resonance to the track that shines through beautifully.
What do you want our readers to know about My Past, and how did you decide on it being the opening song for the record?
My Past is actually one of the earliest songs I composed during my teenage years. It’s a love song that speaks of longing and emotional distance—melancholic in tone, yet driven in rhythm.
I felt it would make a powerful opening track for the album Nightmare, both because of its dynamic structure and the nostalgic weight it carries. The track begins with the sound of drumsticks clashing—an idea that came to life spontaneously in the studio. My friend and drummer, Yuhan, was warming up, and the sharp click of his sticks instantly reminded me of the excitement that precedes a rock concert. I asked him to record that exact moment, and it became the opening gesture of the song, setting the tone with raw energy.
Also, I must acknowledge the support and guidance of my brother, Dr. Farsad Biglari, who has been deeply involved in the songwriting and composition process, not just on this track, but across many of my works. His insight has always helped me shape the emotional and musical core of my songs.
I know that, for My Past, you turned to legends like Pink Floyd, The Doors, and the early work of George Harrison for sonic inspiration.
Zooming out a bit, who else has shaped your sound more broadly over the years?
Over the years, legends like Pink Floyd, The Doors, and George Harrison have profoundly shaped my musical aesthetic, both sonically and emotionally. Their influence is undeniable for anyone from my generation who grew up immersed in timeless, meaningful music.
But, in truth, the very first band that introduced me to English-language rock was the German hard rock group Scorpions, along with guitarist Michael Schenker. It all began with my older brother, who used to play their concert footage and cassette albums at home. I would sit beside him as a child, watching and listening intently.
From there, I gradually discovered other bands like Camel, Deep Purple, and Queen, all of whom expanded my musical universe.
Today, I continue to write new material inspired by artists who’ve deeply influenced my identity. From Iranian icons like Farhad Mehrad, Fereydoun Foroughi, and Kourosh Yaghmaei, to the poetic sophistication of Antônio Carlos Jobim—these voices have shaped my sensibility: melancholic, cinematic, and deeply lyrical.
Now, I’m sorry to pose such a tough question, but if you could choose one song of yours to skyrocket to the top of the charts and achieve massive success, which would it be and why?
That’s a tough call—but I’d narrow it down to two: Café and Leap Year. Both carry a special weight for me. Café was actually written in 2011 and recorded in the studio by 2012—it was my first official studio production. The composition and arrangement still feel fresh to me, and despite being nearly six minutes long, the emotional piano and electric guitar solos keep the listener deeply engaged throughout.
Leap Year (Saal-e Kabiseh) is another personal favorite. It’s rich in lyricism and layered in mood, exploring ideas of time, memory, and the strange rhythm of life itself. If I could wish for one of these pieces to reach a wider audience and connect with listeners globally, it would be either of these, because they truly reflect my musical identity at its most honest and unfiltered.
What are your thoughts regarding the music industry of today? And, if you could, what changes would you make to it?
The music industry today is both more accessible and more saturated than ever before. On one hand, digital platforms have democratized music distribution, allowing independent artists like me to share their work globally without needing major label backing.
But, on the other hand, the same accessibility has created an overwhelming flood of content, where visibility often depends more on algorithms, social media trends, and marketing budgets than on artistic depth or originality.
If I could change one thing, it would be to build stronger infrastructures that prioritize artistic merit and cultural value over virality. More platforms for thoughtful curation, artist development, and fair compensation would go a long way in supporting sustainable creative careers.
Music should move us, not just market us.
When a new song starts to form, what’s your usual approach? Can you talk us through how you develop that initial spark into a fully realised piece of music?
To be honest, I don’t follow a strict or formulaic process when composing. For me, it often starts with a feeling—a sudden emotional impression shaped by my environment, a memory, or a fleeting mood. That emotional spark might lead to a melodic phrase, a harmonic progression, or sometimes even just a single word that later becomes a lyrical anchor.
From there, I try to let the piece evolve organically. I often improvise on guitar or piano, record voice notes, and revisit fragments over time until they begin to form a coherent shape. I see songwriting less as construction and more as discovery—something already there that I just need to uncover.
Einstein famously said, “If I were not a physicist, I would probably be a musician.” If you were not a musician, what would you be?
If I weren’t a musician, I would most likely be involved in cinema—perhaps as a director, screenwriter, or composer for film. The visual language of storytelling has always fascinated me, and I find deep parallels between music and cinema in the way both can evoke emotion and atmosphere.
Beyond that, I’ve always felt drawn to quiet, reflective spaces like bookstores, libraries, art galleries, or cosy cafés. Places where ideas linger in the air and creativity feels natural. In another life, maybe I would’ve owned a small bookstore-café that also hosted intimate performances or film screenings—somewhere between silence, stories, and sound.
Thanks again for taking the time to chat with us Farbod! It’s been a pleasure getting to know you better!
What comes next for you musically, and do you have any words of wisdom you'd like to leave us with?
Right now, I’m continuing my formal studies in music while also developing several creative projects—both short-term and long-term. In addition to my debut album Nightmare and the recent release of my instrumental single Waltz for Baran (The Rain Waltz), I’ve also launched an archival and historical album by Soheil, my father’s uncle, released under my own independent label. That project was Vol. 1, and I’m currently working on Vol. 2.
Soon, I’ll also be recording a reinterpretation of a beautiful Italian classic—one that I prefer not to name just yet, but I look forward to sharing it with you all very soon.
As a final thought: stay honest with your art. Sometimes the quietest, unpolished expressions carry the deepest truth.
Follow Farbod Biglari on Facebook
