Together with a growing population of a migrant background from Arab descent, three seminal Arabic musical instruments have entered Swedish society; the Oud, the Qanoun and the Darbukkah. These instruments were introduced in different ways, by professional Arabic music players to Swedish audiences, at local music schools and educational institutions, but also in specific musical instrument shops. This paper reflects on the symbolism of these instruments for the post-migrant condition, providing a vehicle to fuse Swedish and Arabic musical cultures and heritage. The paper describes, how these instruments. entrenched in Arabic culture, provide Arabic-speaking Swedes with a sense of home, while at the same time changing the musical landscape in Sweden. The study is based on participant observation, semi-structured interviews with Arabic musicians who play these instruments professionally within the Swedish cultural production sector, as well as auto-ethnography following the pedagogical application of these instruments, how they are introduced to, and taken up by, Swedish people without Arabic background. Understanding postmigration as a transient concept, marked by continuous transformation, the three instruments and music-making are used analytically as a lens to disentangle how negotiations of identity, belonging, culture and heritage take place within the context of increasing diversity in society (Gebauer et al, 2019, p.35).