Billboard Arabia
In North Africa’s vibrant and competitive pop and hip-hop landscape, Manal has carved out a powerful lane of her own—one defined by bold storytelling, cultural pride and a steadfast commitment to centering women. The Moroccan singer, rapper and songwriter has become a defining voice of her generation, and her March 2025 Billboard Arabia cover underscored her impact as both a cultural force and a fearless trailblazer. Since the launch of Billboard Arabia in 2023, Manal has been a recurring presence—an artist whose work constantly challenges norms and celebrates female empowerment.
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Women are at the heart of Manal’s visual and musical universe. In “Slay,” her hit collaboration with fellow Moroccan star ElGrande Toto (Billboard Arabia’s July 2024 cover artist), she steps into the role of a bold, rule-breaking leader. In “Makhelaw Magalou,” she shifts the spotlight to her female relatives, celebrating sisterhood and tradition as they gather dressed in vibrant Moroccan takchitas to share the iconic dish rfissa. The video’s multigenerational energy helped cement the song as one of the defining hits of modern Maghrebi pop.
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But what truly sets her apart is how early and boldly she entered spaces traditionally reserved for men. In 2014, she became one of the first female voices in Morocco’s rap and trap scene. She’s since evolved through R&B, pop and hip-hop, all while maintaining a distinct identity rooted in her Moroccan heritage and feminist perspective. Ten years later, Manal isn’t just surviving in a male-dominated industry—she’s shaping it. And she’s doing so unapologetically, on her own terms.
Arabian Heartbreak—A Personal and Powerful Turning Point
This boldness shines through in her latest album, Arabian Heartbreak, released last year. The album is raw, honest, and deeply personal—a sonic letter to women and their stories, both told and untold. “Arabian Heartbreak is the album where I tried to speak for women,” Manal tells Billboard Arabia during the interview. “We talk about things we’re often not allowed to say: about the battles we go through, the pressure, the silence.”
Each track on the album becomes a window into different female realities: the angry woman who’s been wronged in the song “Morak,” the happy woman in love in “Cabaret” and the free-spirited woman in “Mahboula.”
Hamza Lafrouji
For Manal, the real power of the album lies in speaking up about topics considered taboo in society. She makes it clear: “These messages are more important than the music itself.” Manal says, “In our society, there are red lines women aren’t supposed to cross. And honestly, I don’t think the women I know even cross them. But somehow, it’s always easier for male artists to get support, while female artists are left fighting for the same spotlight.”
Hamza Lafrouji
Raï With a Modern Twist in the “Mahboula”
Musically, Manal continues to push boundaries by blending global sounds with local influences. On “Morak,” she taps into the hypnotic rhythms of dakka marrakchia—a traditional percussion-driven music style from Marrakesh known for its communal chants and festive, trance-like beats—layering it with contemporary production. She infuses Afrobeat energy into “Baba,” her cross-cultural collaboration with Italian rapper Ghali. But the real jaw-dropper is “Mahboula,” a bold throwback to ’90s-style Raï, supercharged with Auto-Tune and dreamy keys. It’s a sonic playground where nostalgia meets reinvention—and Manal runs the show.
It’s more than a nostalgia trip. It’s her mission. “I want to take Raï to a whole new level,” she says with a spark in her eyes. “To me, it’s a unique genre and I think it can be exciting again. Maybe even trendsetting.”
Dodging the Trap of People-Pleasing
During the interview, Billboard Arabia surprises Manal with a clip from her very first appearance on Moroccan Hit Radio —alongside then-rising stars like Dizzy DROS and Small X. She smiles, unfazed by the fact that it’s been a full ten years since that moment. Why? Because her focus is on what’s next, not what’s past.
This also means rejecting the idea of sticking to a “safe” sound just because it’s popular. “I know people loved my rap days,” she shares. “But I can’t make music just to please others.”
Then comes the realest moment—spoken in her native Darija: “That’s a trap, especially for a lot of female artists. When they start saying, ‘Let’s make music people like.’ I’ve never thought that way. I’ve always said: let’s make music that represents me, as an artist, as a person, as a woman. Then, I’ll see how people respond.”
A Double Win: Motherhood and Music
Manal kicked off 2025 with not one, but two life-changing milestones. On Dec. 11, 2024, she was named Top Female Artist – Magharebi (North African) Dialects category at the inaugural Billboard Arabia Music Awards. But she wasn’t there to accept the honor—instead, she was in the final days of her pregnancy, preparing to welcome her first child, Aya.
Motherhood changed everything – and Manal is embracing it. She shares: “I see life differently now. A lot of my choices will shift, but my daughter will always be my top priority.”
Family has taken center stage in Manal’s life, but it’s not separate from her art. Her husband—who is also her longtime manager—has been a pillar of strength since day one. She dedicated the song “Ana” to him and says she’s dreaming of writing more music for both him and Aya. With a decade behind her and a new life in her arms, Manal isn’t slowing down—she’s just getting started.
Once considered a quiet season for the music industry, Ramadan is now a full-blown musical phenomenon. As Firas Abou Fakher, the vp of audience growth and strategy at Universal Music Middle East, puts it, “Ramadan is no longer a ‘break period’ for the music scene like it used to be.”
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In recent years, Ramadan has become a prime time for music releases, fueled by the rise of TV series, commercial campaigns and a growing appetite for nostalgia. But music has always been an essential part of Ramadan’s artistic memory. From the golden voices of Ammar El Sherei and Sayed Mekawy to legendary lyricists like Salah Jaheen, Sayed Hegab and Abdelrahman El-Abnoudi, paired with artistic talents like Nelly and Sherihan, Ali Al Hajjar and Assala, music has long set the stage for unforgettable Ramadan moments.
However, nothing compares to today’s musical boom, where TV series soundtracks and brand-backed anthems dominate streaming charts, transforming the Holy Month into a dynamic season for artists and production houses alike.
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So, how did we get here? Billboard Arabia sat down with top industry insiders and traced the evolution of Ramadan’s soundscape since the ’80s.
More Than Just TV Soundtracks: Music as Part of the Storyline
Lately, Ramadan has become a launchpad for hit songs, with artists strategically linking their releases to trending TV series. According to Wissam Chartouni, co-founder of Glava Holding (home to Watary and Music Is My Life), “artists now have a higher chance of success when their songs are tied to popular TV shows. Additionally, old classics are getting a fresh revival when featured in pivotal scenes.”
A perfect example? This year, Sherine Abdel Wahab’s 2018 album Nassay saw a massive resurgence after its tracks were featured in the Ramadan series Ekhawati (My Sisters), propelling her back to the top of the Billboard Arabia Hot 100 chart.
Karima Damir, the vp of artist development and repertoire growth at Universal Music Middle East, also notes a shift in how artists engage with Ramadan series: “Singers are becoming integral to the storyline itself. We’re even seeing rappers take on acting roles.” Take, for example, Abyusif, who joined Ahmed Mekky in El Ghaoui during the current season, or Shahin, who starred in Lunchbox last year. Arabic music and drama have never been more intertwined.
From Fawazeer to Viral Ads
For decades, Ramadan’s “fawazeer” (riddle-based variety shows) ruled the entertainment scene, with stars like Nelly and Sherihan leading the stage. Nelly dazzled audiences with standout performances in works like Al Khatba (The Matchmaker) and Arousati (My Doll), where she collaborated with iconic poet, lyricist and playwright Salah Jahin. Meanwhile, Samir Ghanem brought to life the beloved character Fatoota, accompanied by a long, comedic opening theme composed by Sayed Mekawy—one that still lingers in memory today.
In the ’90s, Sherihan reigned supreme with productions like “Hagat W Mehtagat” (Needs and Wants), penned by Egyptian songwriter Sayed Hegab and set to music by composer Moudy El Imam, who blended fast-paced rhythms with vibrant orchestral arrangements.
These productions were packed with elaborate song-and-dance numbers composed by musical giants. But as the 2000s rolled in, fawazeer faded, making room for a new powerhouse: Ramadan commercials. In recent years, brands have gone beyond simple jingles. Instead, they have invested in cinematic-style music videos with chart-topping stars, sometimes downplaying their product’s presence to ensure the song has standalone appeal.
Some of these ad songs have become cultural hits, such as “Asmar Oyonoh Samrah” (Brown-skinned, brown-eyed) and “Ramadan Fi Masr Haga Tanya” (Ramadan in Egypt is something else), performed by Hussein Al Jassmi, a staple on Billboard Arabia’s charts.
This year alone, A-list artists like Al Jassmi, Sherine, Elissa, Tamer Hosny, Angham, Wegz and Ahmed Saad (who led an impressive seven different ad campaigns) dominated Ramadan’s musical space.
Mohamed Jaber, vice president of Mazzika Group, explains this shift: “Brands are now creating songs that can live beyond Ramadan. The goal is for people to play these tracks at gatherings and celebrations, making them more than just an ad—they become part of our culture.”
The Soundtrack Lives On
Despite all these shifts, one thing remains unchanged—TV series intro songs still reign supreme. Since the 1980s, Ramadan drama intros have been a gateway for timeless hits. Legendary collaborations like Sayed Hegab and Ammar El Sherei set the foundation for this genre, creating unforgettable classics. This is evident in the iconic Layali El Helmeya (Al-Hilmiya Nights) theme song, written by Hegab, composed by Michel El Masry and performed by Mohamed El Helou in 1987.
The 1990s ushered in the golden era of intro soundtracks in both Egyptian and Syrian drama. In Egypt, poets like Ahmed Fouad Negm in Zizinia and Abdelrahman El Abnoudi with Ze’ab El Gabal penned lyrics for TV dramas, while Ali El Haggar’s performances of the songs “Bawabat El Halawani” and “El Mal wel Banoon” became iconic.
Meanwhile, in Syria, the 1994 series Nihayat Rajol Shujaa (The End of a Brave Man) marked a turning point. Featuring a fully composed original score by Tarek Al Nasser, its theme, “Ya Rouh La Tahzani,” became an integral part of the show’s identity.
Syrian drama also saw a flourishing partnership between director Hatem Ali and composer Taher Mamelli, who infused an epic musical approach into productions like “Al Fosoul Al Arbaa,” “Boqaat Daw” and “Thikrayat Az Zaman Al Qaadem.” Mamelli often unearthed local voices, adding authenticity to his scores.
The Rise of Pop Stars and the Evolution of Ramadan’s TV Theme Songs
TV series like Salah Ad Din Al Ayyubi (2002), Qasim Amin (2003) and Nizar Qabbani (2005) marked a turning point. Following their success, production companies began recruiting top pop stars for theme songs. Pop star Assala lent her voice to all three, bringing celebrated poets’ words to life and leaving a deep impression on Arab audiences. These songs transcended their series, taking on national and emotional significance.
During this era, Egypt’s Ramadan TV season changed, with more channels and bigger productions. Some lyricists preserved the ‘90s spirit, like Ayman Bahgat Kamar’s “Abbas Al-Abyad fi Al-Yawm Al-Aswad” (2004), composed by Mahmoud Talaat and performed by Medhat Saleh. However, commercial pressures meant lyricists often wrote intros based solely on show titles, leading to more generic hooks, as seen in the show El Kaboos.
New voices emerged in theme songs. Hisham Abbas performed “Yetrebba Fi Ezo” (2007), composed by Talaat. In 2010, Ahmed Mekky broke new ground by writing and performing his own hip-hop intro, a massive success in rural Egyptian dialect.
In the Gulf, Nawal Al Kuwaitia became a staple Ramadan drama voice, singing for Al Raha, Al Dereesha and Damat Omr, while Asma Lamnawar mastered Khaleeji music with Oyun Al Hob, Sara and Ahbabtak Mundhu Al Sighar.
Meanwhile, historical Syrian dramas grew in popularity. The iconic show Bab Al Hara (2006–2017) featured a legendary theme song, “Elli Beddo Yetahadda,” performed by Adnan Al Hallaq with lyrics by Osama Al Saud and music by Saad Al Husseini.
Pop stars continue to shape TV intros, making them more like standalone hits designed for viral success. This year, Syrian dramas introduced fresh voices like Ziad Bourji, Nassif Zeytoun, Rahma Riad and Abir Nehme. Rising star Al Shami debuted with Taht Sabe’ Ard, marking a strategic shift as producers capitalized on his recent fame.
The Rise of Shaabi and Mahraganat Music
By the mid-2010s, Ramadan’s musical landscape had expanded beyond traditional soundtracks. Enter the street anthems: Mahraganat and traditional hip-hop-infused tracks became regulars in TV series intros, performed by artists such as Hassan Shakosh and Bousy. In 2020, Bi 100 Wish (With a Hundred Faces) became the first show to feature a Mahragan intro song, Millionaire, performed by El Madfaagya and famed actress Nelly Karim.
Fast forward to Ramadan 2024 and 2025. Mahraganat star Essam Sasa achieved record-breaking success with his intro songs, ranking among the few to reach the Billboard Arabia charts. His track “Etnen Be Maqam Malayin” (Two Are Worth Millions), from the series Massar Egbari, landed in the Hot 100’s top 10 last year.
With Ramadan now a season of cultural significance beyond religious observance, its musical phenomenon continues to evolve, marking a unique space where nostalgia, innovation and commercial success intersect.
Speaking with Saint Levant feels like encountering two personalities at once. One moment, you hear Marwan Abdelhamid (his real name), his intimate voice carrying the warmth of distant days spent with his father in Gaza. He recalls them in detail, as if each melody holds a story refusing to fade. The next moment, the more widely known artistic persona of Saint Levant takes over, exuding charisma and absolute confidence in front of the camera. The seamless blend of personal memory and stagecraft, nostalgia and defiance, defines his presence.
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As Billboard Arabia’s February cover star, Saint Levant’s artistic journey has taken him from Jerusalem and the alleys of Gaza to global stages from The Olympia in Paris and Coachella and Lollapalooza. Born into several cultures and languages, his identity is a fusion of Arabic, English and French, shaped by his Palestinian-Serbian father and Palestinian-Algerian mother. His migration to France and the U.S. further enriched his artistic outlook, injecting his work with a globally intertwined essence. This diverse background enables him to merge different musical styles, from funk to traditional Eastern rhythms, making him a rising star in Arabic music.
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When discussing the Arab artists who inspired him, Saint Levant looks back to his time in Gaza. He reminisces about road trips with his father, who played music in the car, filling the air with the voices of global stars like Lenny Kravitz and Michael Jackson. “Before any singer, my father was my inspiration,” he says. Yet, diving deeper into memory, he adds with nostalgia, “But if we’re talking about Arab singers, definitely Cheb Khaled. We used to listen to his albums, especially Sahra and Khaled, with songs like “El ‘Arbi” and “Wahran”—those are incredible. To me, Cheb Khaled is the top.”
Saint Levant’s first professional track carried his real name. In 2020, during the COVID-19 pandemic, he released “Jerusalem Freestyle,” a rap song about the Palestinian cause. “That was my first real track where I put my name —on Spotify, I was Marwan Abdelhamid.”
Hussein Mardini
What sets Saint Levant apart are his multicultural roots, which grant him a broad perspective on music. He seamlessly sings in three languages, English, French and Arabic, within a single song. Explaining his unique lyrical structure, he says, “From my very first song, I was using three languages because that’s just how I talk. The same goes for my music. Now, I’ve learned to separate them more. Before, I used to mix all three languages in one sentence, but I realized not everyone is like me—they can’t follow that. So now, I do one chorus in English, one in Arabic and one in French, which makes it easier. But it all happened naturally. I never planned to be a trilingual artist.”
This cultural foundation also influences the structure of his music. When asked to define his genre, Saint Levant explains that his work transcends classification. He blends 1980s funk with traditional Palestinian and Algerian sounds, making it difficult to stick a single label to it. His team frequently revisits this question, reflecting the fluid nature of his artistic identity. Instead, he describes his music as part of a “New Wave Arab” movement, blending futuristic Arab sounds.
Hussein Mardini
His latest project, the album Love Letters, is an open letter to love in all its forms, released in February to align with Valentine’s Day. Elaborating on the title, he says, “Each song is a love letter in its own way. ‘Daloona,’ which I did with Qassem Alnajjar, Shadi Borini and 47Soul, isn’t a romantic love letter. It’s a love letter to my country and my people. I brought together seven Palestinian artists in one track, so it’s a love letter to Palestine. ‘Diva’ is a love letter to the golden girl and to Algeria. ‘Wazira’ is a tribute to the minister of love and ambassador of emotion. And ‘Wayn Ma’addi Wayn’ is a Libyan song, a love letter to Libya, and also a song for broken hearts. So to me, they are all different love letters.”
Explaining the album’s structure, he says, “I divided it into two sides: Side A and Side B, because there’s a difference. Songs like ‘Daloona,’ ‘Wazira’ and ‘Carmentina,’ those are love letters from Marwan. But ‘Diva’ and the rest are love letters from Saint Levant, the persona. Of course, I feel more comfortable as Marwan, but I have to play Saint Levant.”
Speaking about his collaborations, Saint Levant highlights his long-anticipated project with Marwan Moussa. “I’ve wanted to work with Marwan Moussa for a while. Since 2020, in interviews, whenever they asked me which rappers I’d like to collaborate with, I always said Shabjdeed and Marwan Moussa. To me, those two played a big role in my journey. So finally meeting him and being in the studio together was an insane experience.”
Before this project, Saint Levant released his debut full-length album, Deira, in 2024, following the success of his 2023 EP From Gaza with Love. The latter gained widespread attention for its raw and heartfelt expression. Deira is named after the hotel his father built in Gaza in 2000 when their family moved there. The hotel bore witness to many tragedies before being completely destroyed in the recent war. Singing about “Deira” became a celebration of Palestinian daily life and Gaza’s landmarks through a deeply personal lens, reflecting Saint Levant’s lasting bond with his hometown and how that bond has endured over time, adding a profoundly personal and emotional dimension to his work.
In Deira, he worked with prominent artists from different musical landscapes to expand its impact and make it a shared experience. His collaboration with Cheb Bilal on “Let Her Go” and the standout track “Allah Yihmeeki” with global artist Kehlani, who has publicly supported the Palestinian cause, are among the highlights. The album also features tracks that capture Saint Levant’s mix of defiance and emotion, alongside romantic ballads like “Forgive Me” and “Qalbi.”
Saint Levant has secured a consistent presence on the Billboard Arabia Top 100 Artists chart, holding a spot for 46 consecutive weeks. His single “Wazira” released before “Love Letters” entered the Hot 100 last week, with more songs from the album expected to follow in the coming weeks.
This article was originally published by Billboard Arabia, written by Omar Bakbouk.
Perhaps the most asked question in the Arabic music landscape in 2024 was, “What’s the story with Al Shami?” Those who hadn’t tracked his rise over the past four years suddenly found themselves caught in the whirlwind of his explosive success last year, marked by hit releases, smashed records, electrifying live shows and a trove of awards. As the industry watched Al Shami’s YouTube channel soar to a billion views with just five tracks, the spotlight intensified, and his rapid ascent became a case study of unprecedented success, closely watched by both his peers and experienced artists.
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Billboard Arabia first took notice of the young star in the summer of 2023, leading to an in-depth interview at the start of 2024. In the time between, Al Shami’s rise accelerated, with record-breaking numbers and artistic milestones keeping us engaged week after week. At just 22, he became one of the year’s most talked-about artists.
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Al Shami
Patrick Mechekany/Billboard Arabia
Al Shami’s Milestones in 2024
He topped the Billboard Arabia Hot 100 after releasing the summer hit “Wein,” making our headline that week “Al Shami did it and became the youngest artist to top the charts.” His songs never left the top five in both of Billboard Arabia’s main charts, Hot 100 and Top 100 Artists, throughout the year and he remained at the top of the Top 50 Levantine Songs chart most weeks. At the end of the year, he walked away from the Billboard Arabia Music Awards with four trophies: Top Levantine Song and Top Indie Arab Song for his track “Sabra,” Best Levantine Artist, and Artist of the Year – Levantine Dialect, making him one of the most celebrated artists of the evening alongside superstar Sherine Abdel Wahab.
Alongside these pivotal achievements, 2024 marked a major milestone for Al Shami as he took the stage for the first time, officially launching his live performance career. While this might seem routine for seasoned musicians, it represents a significant shift in today’s evolving music landscape. It underscores the contrast between certain Gen Z artists—who rise to fame through platforms like TikTok and streaming services—and earlier generations, who built their careers through more traditional methods. For artists like Al Shami, performing live and connecting with an audience is a defining moment, revealing whether their art, creative process and collaboration with their teams can successfully transition into the realm of live music or remain confined to digital streams and online success.
This remarkable shift in Al Shami’s career journey saw him move from preparing for his debut concerts in Beirut, as he shared in our first interview, to completing a global tour that extended beyond the Arab world to Europe, America and Canada. Along the way, we witnessed his incredible growth, including a memorable joint concert in Dubai with Levantine music legend George Wassouf. During our conversation with Al Shami, we played a clip from his previous interview and asked for his thoughts. Al-Shami reflected, “Today, after roughly 12 months, I’ve done 30 or more concerts around the world, and so many wild things have happened. When I was singing in Dubai at the Global Village, I was standing in front of almost 35,000 people trying to see the end of this crowd, thinking about how a year ago I was scared of my first concert! What’s happening?” He continued: “Sometimes I don’t know if anyone notices, but while I’m singing I freeze… thinking about how this year has been insane. After performing ‘Ya Leil W Yal Ein,’ I think about how I don’t want to be just a one-hit artist, but how I want my music to be an identity and a genre in itself.”
Future Collabs With Music Icons
Even though his 2023 release, “Ya Leil W Yal Ein,” wasn’t his first song, it was the one that officially put Al Shami on the map. Before that, he was simply experimenting with friends, blending rap and pop in tracks he uploaded to YouTube. He steadily built a fanbase within his generation through TikTok, staying connected by frequently going live, sharing his music and opening up about his dreams. Today, he commands a devoted fan army, much like global pop and K-pop icons in recent years. His rise exemplifies how the new generation of artists are rewriting the rules of success—leveraging social media to cultivate a following before stepping into the traditional industry spotlight.
Al Shami
Patrick Mechekany/Billboard Arabia
As with any new artistic phenomenon, there are voices of criticism alongside those of celebration and support. In Al Shami’s case, however, the scales seem to tip more toward appreciation. Many established artists have praised his journey, while some have taken it a step further by collaborating with him. Just weeks ago, we saw Al Shami in the studio with Melhem Zein, recording a new duet written and composed by Al Shami himself. This collaboration marks a significant moment for both artists. Melhem Zein, one of the standout voices of the Millennial generation and among the top talents from the Levant in the past two decades, chose to embrace the new wave of artists instead of competing with them or pushing them aside. Al Shami reflected on this collaboration, saying, “He was open to the kind of music I create and even encouraged me to write and compose something for us. That’s a bold move on his part because he comes from a different background.” For Al Shami, this was a meaningful acknowledgement from a great artist that what he presents is indeed “art.”
Al Shami hinted at the possibility of collaborating on a new duet with superstar Tamer Hosny, sparking excitement after a photo of the two surfaced following a private family gathering and some intriguing conversations. If this collaboration comes to life, it will be a dream come true for countless young fans across Egypt and the Levant. Nearly two decades before Al Shami’s rise, Tamer Hosny was the ultimate youth icon, seamlessly blending music and cinema, earning him the title “Star of the Generation” from his devoted audience. Al-Shami shared his thoughts on the meeting, saying, “I never show up in the media with people I don’t genuinely like. For me, I have to admire them, listen to their music, and feel a real connection to say that I am excited to meet them and work together, whether it is through writing or composing for them. And surely Tamer Hosny is one of the people I love,” he continued, explaining that he has been a fan of Tamer since the start of his fame and used to hang his picture on the wardrobe in his childhood home.
Between our first and second interviews with Al-Shami, the conversation evolved significantly. In our initial discussion, he shared his journey as a young man who fled Syria for Turkey, turning to the internet—especially TikTok—in search of his passion. Once he found it, he pursued professionalism step by step.
For this cover interview, however, we spoke with a confident star at the peak of his career, navigating a future filled with tours, awards and new artistic milestones—all while striving to maintain his mental well-being and balance. Yet, through it all, Al-Shami remained calm and humble, calling Billboard Arabia his “family.” His gratitude was evident as he reflected on the support from our platform and the media, acknowledging how Billboard Arabia’s charts and weekly data not only amplified his music and journey but also played a pivotal role in shaping his success and securing his well-deserved accolades.
Tamer Ashour’s journey to becoming a celebrated singer was marked by twists of fate far beyond his expectations or plans. In the early stages of his career, Tamer was deeply focused on his goals as a composer. He poured determination and professionalism into crafting melodies for other artists and strived to deliver his best with each composition. Before the public even knew his name, his voice began to resonate through the streets of Cairo, his hometown, capturing hearts and attention.
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Two decades ago, as a composer, Tamer Ashour recorded demo versions of songs he had written for other artists. During a time when the Internet was gaining traction in the region, forums enabled users to download audio clips directly, and Bluetooth technology allowed songs to be shared across mobile phones. Amid this technological shift, Tamer was stunned to discover that some of his demos, featuring his own voice, had been leaked on forums and websites. Songs like “Zekrayat Kadaba” (“False Memories”),” Thania Wahda” (“One Second”), “Senin El Shoq” (“Years of Longing”) and “Albak Ya Hawl Allah” (“Your Heart, Oh God”) began circulating widely, gaining popularity even though the identity of the singer behind them remained a mystery.
This unexpected turn of events left Tamer, who had never intended to step into the spotlight as a singer, feeling conflicted. He recalls a time when he closely monitored the spread of his voice, allowing it to resonate with audiences before officially stepping into the spotlight to launch his career as a singer. Eventually, he connected his face to the voice that had already resonated with the public and released his debut album, Sa’b. Success followed with albums and hits like “Leya Nazra” (“I Have Insight”), “Esht Maak” (“I Lived with You”) and “Ayam” (“Days”). Alongside his singing career, Tamer thrived as a composer, collaborating with some of Arabic music’s most prominent artists to create melodies that became unforgettable. His compositions include “Ya Reatak Fahimny” (“I Wish you Understand Me”) and “Lawha Bahetah” (“Faded Canvas”) by Angham, “Min El Aasham” (“Out of Hope”) by Amr Diab and “Hikayti Maak” (“My Life with You”) and “Ana Sekketen” (“I Have Two Sides”) by Elissa.
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In our in-depth, half-hour conversation with Tamer Ashour, the star featured on the December cover of Billboard Arabia, he consistently speaks of his career as being shaped either by destiny or a series of fortunate coincidences. Yet, if you pay close attention to his words and perspective, you will quickly see that they reflect both humility and realism. This humility shines through as he speaks with great appreciation about his fellow stars, the artists he has worked with, and the young talents he hopes to support or collaborate with in the future. Even when discussing his own successes, such as his recent hit “Haygely Mawgow” (“You’ll Come to me Broken”), Tamer remains grounded.
After nearly two decades in the music industry, marked by steady and quiet successes, “Haygely Mawgow” emerged as a turning point in Tamer’s career. The song became his biggest hit to date, as demonstrated by its impressive streaming numbers across various platforms and the enthusiastic interaction at live performances. By the end of the year, just two weeks before our interview, the song had won the Song of the Year award at the 2024 Billboard Arabic Music Awards. It also claimed the Top Egyptian Song award, with Tamer leaving the ceremony with two prestigious trophies, a testament to the song’s immense success.
In addition to these awards, the creators behind the work were also recognized for their contributions. Aleem received the Best Lyricist award, while Amr El Shazly was named Best Composer. Tamer took pride in acknowledging their contributions during our conversation, also confirming that he would continue collaborating with these talented names, as well as other diverse collaborators, for his upcoming album, Yaah, slated for release in early 2025.
As his new album is set to be released independently, Tamer Ashour shared his recent experience with independent production, a trend we have seen grow over the years and discussed with many Arabic artists, including Angham, Elissa, Nassif Zeytoun and others. Ashour expressed a unique satisfaction in working outside of major production houses, as it gave him full control over his creative direction. This autonomy allowed him to take responsibility for his decisions and vision, and with that, the credit for his successes, which he feels are sometimes stifled by larger production houses. When talking about releasing independently, he says, “The production experience has been the best of my life in the last ten years. It means you are responsible for yourself, without anyone telling you that you failed or undermining your success. Production houses have always done that, and that was the assurance they offered.”
When discussing his songs and his most notable hits, Tamer Ashour refrained from labeling his songs as “sad” and instead preferred the term “drama,” a description he used frequently, as if it were an artistic genre in its own right. “The Arab audience generally gravitates toward songs with a sense of sadness. They do not necessarily have to be sad, but the songs that endure and make singers successful have always been dramatic – not cheerful or upbeat hits. What lingers in the listener’s mind is the emotion of sadness and drama, across all genres, even with popular singers,” he said. He goes on to explain: “Even popular artists during their peak success, like Mr. Hassan Al Asmar, for instance, had the world dancing to songs like ‘Kitab Hayati Ya Ain,’ a dramatic song. There are many examples from that era. The songs that helped them rise to fame and establish their names in the industry were all dramatic in nature, but they were crafted in ways that suited the style they were presenting.”
Tamer Ashour
Mazen Abusrour/Billboard Arabia
Tamer speaks extensively about the concept of the dramatic song and how it has become deeply intertwined with his artistic identity, shaping the path he follows. While he releases emotional and romantic songs, he understands the expectations his audience has of him. He also emphasizes that crafting a dramatic song is not something that happens effortlessly; it requires a solid foundation, with careful attention to the lyrics, melodies and performance style. When we jokingly ask if his success in this genre means he has discovered the secret to the perfect formula, he responds: “It is not the secret to the mix. This is from Allah. There are no specific things I do to make the song come out the way you hear it. People just love my voice in dramatic songs.”
Tamer Ashour
Mazen Abusrour/Billboard Arabia
With a career spanning over four decades, Abdul Majeed Abdullah has become a cornerstone of Arabic music, and his influence shows no signs of fading. Revered as “The Prince of Tarab,” Abdullah continues to captivate audiences with his unparalleled artistry, bridging generations and defining the sound of Khaleeji music while shaping the broader Arabic music landscape.
For Abdullah, 2024 was yet another landmark year, as the inaugural Billboard Arabia Music Awards in Riyadh, Saudia Arabia, honored the iconic artist with multiple awards. At this groundbreaking event — a milestone for the region that took place at King Fahad Cultural Center on Dec. 11 — he received artist of the year in the Khaleeji dialect genre and top male artist in the Khaleeji dialect, alongside a prestigious lifetime achievement award, which recognized his profound and lasting impact on the Arab music world and on Khaleeji music in particular.
The ceremony celebrated the rich diversity of Arabic music, showcasing a wide array of subgenres, including the winners from Billboard Arabia’s various dialect charts: Khaleeji, Egyptian, Moroccan and Levantine. The awards also highlighted distinctive local cultural genres such as Mahraganat, a progressive and energetic contemporary iteration of Egyptian shaabi (popular folk) music, and Shelat, an evolving genre that has transformed from a poetic tribal chant to drive a new wave of Khaleeji music. In addition, the event spotlighted the dynamic rise of Arabic hip-hop and Arabic indie sounds, where global musical influences merge seamlessly with Arabic lyricism, creating a vibrant fusion of styles that reflects the evolving regional landscape. Sherine Abdel Wahab, recognized as a Global Force honoree at Billboard’s Women in Music event in March, was named artist of the year at the Billboard Arabia Music Awards.
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Since the launch of the Billboard Arabia charts in December 2023, Abdullah has consistently appeared on both the Billboard Arabia Hot 100 and Billboard Arabia Artist 100 charts. His track “Ya Ibn Al Awadam” from the 2021 album Aam Mouazy marked his debut on the charts, where it remained for nine weeks. Later in the year, he returned to the charts with songs from his latest album, including “Haki Wajid” and “Ya Meniti,” and with his pre-album single, “Lak Saqni Al Rab.” Throughout 2024, his presence on the Artist 100 chart was particularly remarkable: He only missed one week on the list, underscoring his enduring popularity and influence, and cementing him as the artist for Billboard Arabia to spotlight for this year’s Global No. 1s series.
With the launch of Billboard Arabia’s subgenre charts in August, which featured various musical genres and dialects, Abdullah quickly emerged as the dominant force in the Khaleeji category. He made an impressive debut, securing 11 songs on the Top 50 Khaleeji dialect chart in its first week. His record peaked at 12 songs in a single week, and throughout the year, the number of his songs on the list never dropped below seven — remarkable consistency and dominance that earned him the artist of the year - Khaleeji dialect award in 2024.
It’s noteworthy that Abdullah’s songs featured on Billboard Arabia’s Top 50 Khaleeji chart span four different decades. His track “Sahit Jamra,” from the 1990s, made an appearance, as well as “Insan Akthar” from the early 2000s. Additionally, his song “Ruh Al-Ruh” from the 2010s, along with multiple tracks from his album A Parallel World and his latest release, reflect his continued relevance and influence in the current decade. Meanwhile, Abdullah’s recognition with the inaugural lifetime achievement award honored his extraordinary career and lasting impact on the Khaleeji and Arabic music landscape. Over the past four decades, he has remained influential, continuously releasing music and performing to sold-out audiences. His most recent album, Abdul Majeed Abdullah 2024, further cemented his legacy, achieving widespread popularity and showcasing his ability to innovate within his genre. The honor celebrated Abdullah not only for his artistic excellence but also for his profound and enduring influence on the cultural consciousness of the Arab world.
The first-ever Billboard Arabia Music Awards (BBAMAs) lit up the stage on Wednesday (Dec. 11) at the King Fahad Cultural Center in Riyadh, Saudi Arabia. This landmark event celebrated the incredible talent shaping Arabic music, honoring artists who dominated Billboard Arabia’s charts throughout the year, alongside several honorary awards, including Icon of the Year, Lifetime Achievement and the Cultural Impact Award.
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This event underscores the growing significance of Arabic music on the global sound map, as it joins K-pop, Latin and African music among the fastest-growing music markets worldwide. Arabic music is echoing across the globe through a surge in international concerts, cross-cultural collaborations and a celebration of its rich and diverse sounds—all under the trusted Billboard umbrella.
Winners of the BBAMAs were determined based on their performance on Billboard Arabia’s diverse charts: the Hot 100, Artist 100, dialect-specific charts (Khaleeji, Egyptian, Levantine and Magharebi) and genre-specific charts such as Arabic Hip-Hop, Arabic Indie, Shelat and Mahraganat. These categories reflect Billboard’s signature approach to celebrating music that resonates globally.
Sherine’s music and voice continue to leave an undeniable mark on the Arabic music landscape, as she swept five awards, reflecting her continued ability to resonate with fans across the region. Not far behind was Al Shami, who claimed four awards, and ElGrande Toto, who took home three trophies, while Abdul Majeed Abdullah was given the Lifetime Achievement Award, in addition to Artist of the Year – Khaleeji Dialect and Top Male Artist – Khaleeji Dialect. Meanwhile, the Cultural Impact Award was posthumously presented to the late and iconic singer Etab by Paul Pacifico, CEO of the Saudi Music Commission, honoring her enduring legacy and profound influence on Arabic music.
The evening was marked by electrifying performances from regional and global superstars. Elissa delivered an unforgettable medley of some of her greatest hits against a cinematic, visually stunning set design, proving why she took home the coveted Icon Award. Tamer Ashour performed his chart-topping anthem “Haygeely Mawgoa,” which earned Song of the Year, while Elyanna dazzled the audience with a vibrant medley, including her hit “Ganeni.” Elyanna’s remarkable year was further celebrated as she took home Top New Artist and Top Arabic Indie Female Artist.
The coveted Top Dueto of the Year went to Ahmed Saad and Assala for their heartfelt collaboration “Sab Farhety.” Saad also set the stage ablaze with performances of his fan-favorite hits, including “Wasa Wasa” and “El Youm El Helw Dah.” The Khaleeji medley was another highlight, featuring breathtaking performances from Hams Fekry, Ayed and Oumaima Taleb. Ayed’s standout track earned him Top Khaleeji Song, while Oumaima was crowned Top Female Artist – Khaleeji Dialect.
Adding to the night’s significance, the BBAMAs coincided with Saudi Arabia’s historic announcement of winning the bid to host the 2034 FIFA World Cup. In a special segment, Ayed, Ghada Sherri and Fahd Bin Fasla debuted the first official songs for the World Cup, making the awards’ debut ceremony truly unforgettable.
Who else made their mark at the inaugural Billboard Arabia Music Awards? Check out the full list of winners below to see who’s shaping the future of Arabic music.
Billboard Arabia
Song of the Year
“Haygely Mawgow” by Tamer Ashour
Artist of the Year
Sherine Abdel Wahab
Top Male Artist
Amr Diab
Top Female Artist
Sherine Abdel Wahab
Top Band
Cairokee
Top New Artist
Elyanna
Highest Gainer
TUL8TE
Top Arabic Dueto of the Year
Assala Nasri and Ahmed Saad – “Sabb Farhety”
Top Khaleeji Song
Ayed – “Lammah”
Artist of the Year – Khaleeji Dialect
Abdul Majeed Abdullah
Top Male Artist – Khaleeji Dialect
Abdul Majeed Abdullah
Top Female Artist – Khaleeji Dialect
Oumaima Taleb
Top Egyptian Song
Tamer Ashour – “Haygely Mawgow”
Artist of the Year – Egyptian Dialect
Sherine Abdel Wahab
Top Male Artist – Egyptian Dialect
Amr Diab
Top Female Artist – Egyptian Dialect
Sherine Abdel Wahab
Top Levantine Song
Al Shami – “Sabra”
Artist of the Year – Levantine Dialect
Al Shami
Top Male Artist – Levantine Dialect
Al Shami
Top Female Artist – Levantine Dialect
Nancy Ajram
Top Magharebi Song
Saad Lamjarred, Shreya Ghoshal and Rajat Nagpal – “Guli Mata”
Artist of the Year – Magharebi
Dystinct
Top Male Artist – Magharebi Dialect
Dystinct
Top Female Artist – Magharebi Dialect
Manal
Top Arabic Hip-Hop Song
ElGrandeToto – “Blue Love”
Artist of the Year – Arabic Hip-Hop
ElGrandeToto
Top Arabic Hip-Hop Male Artist
ElGrandeToto
Top Arabic Hip-Hop Female Artist
Khtek
Top Indie Song
Al Shami – “Sabra”
Artist of the Year – Arabic Indie
Cairokee
Top Arabic Indie Male Artist
Muslim
Top Arabic Indie Female Artist
Elyanna
Top Mahraganat Song
Eslam Kabonga – “Aywa Ya Habibty Wahashtiny”
Artist of the Year – Mahraganat
Essam Sasa
Top Male Mahraganat Artist
Essam Sasa
Top Shelat Song
Abdullah Al Farwan – “Jamalek Gheer”
Artist of the Year – Shelat
Mohammed Bin Garman
Top Male Artist of the Year – Shelat
Mohammed Bin Garman
Best Composer
Amro El-Shazly & Mehdi Mzayen
Best Songwriter
Aleem
Best Music Producer
Tareq Hjeily
Riyadh is gearing up for a transformative moment in its cultural history with the launch of Riyadh Music Week, a landmark initiative by the Music Commission in partnership with MDLBEAST and SRMG.
Spanning Dec. 5-14, 2024, the spotlight shines bright on the first-ever Billboard Arabia Music Awards (BBAMAs)—the pinnacle of Riyadh Music Week and a historic moment for the regional music industry.
Taking place across multiple venues in Riyadh, the week kicks off on Dec. 5 with the fourth edition of XP Music Futures, featuring workshops, panel discussions and networking opportunities along with an evening program driven by regional party brands, promoters and record labels, showcasing emerging talents from MENA and beyond. On Dec. 8, the Global Music Makers Summit marks its first edition, where it will bring together leaders and global policy makers from the music sector’s international bodies.
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The week-long event will also host the Music Cities Convention and Awards, taking place Dec. 8-10, bringing this prestigious global event to the Arab world for the first time. This achievement highlights Riyadh’s growing reputation as a leading global destination for music and arts, with the Convention focusing on the pivotal role of music in urban development and its potential to shape the future of modern cities.
With the BBAMAs taking place on Dec. 11, the ceremony aims to not only celebrate artistic excellence but also expand upon the growing global Billboard network. The Billboard Arabia Music Awards represents a regional first, adopting a pioneering approach entirely based on listener opinions and data. This year’s awards will honor over 40 categories, celebrating achievements such as Top Artist, Song of the Year, Best in Dialect Charts and Top New Artist of the Year, among other standout recognitions.
Riyadh Music Week will close out with the MDLBEAST’s groundbreaking Soundstorm music festival, the loudest in the region, mixing international superstars on the same stages as homegrown local and up-and-coming artists. The week will also host a range of fringe events and performances by various artists taking place across several venues throughout the city.
As Riyadh Music Week unfolds, the series of events stand as a testament to the region’s vibrant music scene and its aspirations as a burgeoning global music hub.
The first-ever Billboard Arabia Music Awards (BBAMAs) will take on Dec. 11 at the King Fahad Cultural Center in Riyadh, Saudi Arabia. After a year of tracking trends on the Billboard Arabia charts, this landmark event will celebrate the most talented artists from the Arab world and North Africa – those who have made waves on the charts and dominated streaming platforms worldwide. Throughout the year, Billboard Arabia’s 10 charts have spotlighted listening trends across four key dialects and four musical genres, in addition to the flagship charts: Artist 100 and Hot 100.
Winners of the BBAMAs will be determined based on their performance on Billboard Arabia’s flagship charts, such as the Hot 100 and Artist 100, as well as its four dialect-specific charts — Khaleeji, Egyptian, Levantine and Maghrebi — and genre-specific charts, including Arabic Hip-Hop, Arabic Indie, Shelat and Mahraganat. These charts are built on the trusted methodology that has defined the Billboard brand.
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Beyond celebrating the year’s leading artists and tracks, the BBAMAs will highlight the region’s rich talent pool with an exciting lineup of live performances and unexpected collaborations. The event will feature a mix of established and rising stars from across the Arab world and its diaspora.
With over 40 award categories already revealed, the BBAMAs promise to be a comprehensive tribute to the region’s vibrant music scene. Below is the full list of finalists for these awards. Stay tuned; more categories will be unveiled soon.
Song of the Year“Fouq” by Assala Nasri“Guli Mata” by Saad Lamjarred, Shreya Ghoshal, and Rajat Nagpal“Ya Leil W Yal Ein” by Al Shami“Haygely Mawgow” by Tamer Ashour“Sabran” by Al Shami
Artist of the YearAmr DiabAl ShamiNancy AjramSherine Abdel WahabAhmed Saad
Top Male ArtistAl ShamiDystinctAhmed SaadAmr DiabTamer Ashour
Top Female ArtistNancy AjramElissaAssalaSherine Abdel WahabElyanna
Top BandCairokeeMassar EgbariMiami BandSharmoofersAl Massrieen
Top New ArtistDystinctElyannaTUL8TESiilawyAl Shami
Highest GainerAmr DiabTUL8TEAnghamAl ShamiTamer Ashour
Top Arabic Collaboration of the YearAmeen Khattab and Essam Sasa – “Ehna Say’ Monharifin”Assala Nasri and Ahmed Saad – “Sabb Farhety”Nassif Zeytoun and Rahma Riad – “Ma Fi Leil”Saint Levant and MC Abdul – “Deira”Tawsen and Ayoub Anbaoui – “Dawini’
Top Khaleeji SongAdel Ebrahim – “Dl’nak”Ayed – “Lammah”Ayed – “Rdy”Fouad Abdulwahed – “Kel Ahebek”Fouad Abdulwahed – “Thaag El Ghamaam”
Artist of the Year – Khaleeji DialectAbdul Majeed AbdullahMajid al-MuhandisAyedRashed al-MajedHussain Al Jassmi
Top Male Artist – Khaleeji DialectAyedHussain Al JassmiRashed al-MajedMajid al-MuhandisAbdul Majeed Abdullah
Top Female Artist – Khaleeji DialectAssala NasriBalqeesAseel HameemShamma HamdanOumaima Taleb
Top Egyptian SongWael Jassar – “Koul Waad”Tamer Ashour – “Haygely Mawgow”Assala Nasri and Ahmed Saad – “Sabb Farhety”Assala Nasri – “Fouq”Elyanna – “Ganeni”
Artist of the Year – Egyptian DialectAhmed SaadNancy AjramAmr DiabTamer AshourSherine Abdel Wahab
Top Male Artist – Egyptian DialectTamer AshourRamy SabryAhmed SaadMohamed HamakiAmr Diab
Top Female Artist – Egyptian DialectAssala NasriElyannaNancy AjramElissaSherine Abdel Wahab
Top Levantine SongAli Saber – “Dawaat Ommi”Al Shami – “Sabran”Nassif Zeytoun and Rahma Riad – “Ma Fi Leil”Al Shami – ‘Wein”Al Shami – ‘Ya Leil W Yal Ein”
Artist of the Year – Levantine DialectAl ShamiElissaMahmod AlturkyNassif ZeytounNancy Ajram
Top Male Artist – Levantine DialectAl ShamiSiilawyNassif ZeytounWael KfouryMahmod Alturky
Top Female Artist – Levantine DialectNancy AjramMyriam FaresElissaAbeer NehmeRahma Riad
Top Magharebi SongSoolking and DYSTINCT – ‘Y Dor’Lartiste – “Zarzour”Cheb Hichem Tgv – “Fatou Liyam”Saad Lamjarred, Shreya Ghoshal, and Rajat Nagpal – “Guli Mata”Lazaro – “Mahboul Ana’
Artist of the Year – MagharebiZouhair BahaouiSaad LamjarredDystinctCheb KhaledSamara
Top Male Artist – Magharebi DialectZouhair BahaouiSaad LamjarredDystinctCheb KhaledSamara
Top Female Artist – Magharebi DialectManalHind ZiadiKawtarMarwa LoudChaama
Top Arabic Hip-Hop SongMuhab – YazmeelyDraganov – 3dabiElGrandeToto and Hamza – DellaliStormy – PopoElGrandeToto – Blue Love
Artist of the Year – Arabic Hip-HopSamaraElGrandeTotoMarwan PabloStormyWegz
Top Arabic Hip-Hop Male ArtistSamaraElGrandeTotoMarwan PabloStormyWegz
Top Arabic Hip-Hop Female ArtistRaja MezianeHalaPerrieJaraKhtek
Top Indie SongTUL8TE – “Mateegy A’ady Aleiky”Al Shami – “Sabran”Hamza Namira – “Reyah El Hayah”TUL8TE – “Habeeby Leh”Elyanna – “Ganeni”
Artist of the Year – Arabic IndieSiilawyMuslimTUL8TEElyannaCairokee
Top Arabic Indie Male ArtistAl ShamiTUL8TESiilawyMohammed SaeedMuslim
Top Arabic Indie Female ArtistZeyneEmel MathlouthiDana SalahGhaliaaElyanna
Top Mahraganat SongEslam Kabonga and Kalosha – “Elli Nefso Feya Beti Maytawehsh”Eslam Kabonga – “Aywa Ya Habibty Wahashtiny”Reda El Bahrawy and Muslim – “Lafena El Donya”Hamada El Leithy and Amr Salama – “Tarek El Andal”Reda El Bahrawy – “Aal Doghrey”
Artist of the Year – MahraganatMuslimEssam SasaHassan ShakoshAmeen KhattabEslam Kabonga
Top Mahraganat ArtistHassan ShakoshMuslimEssam SasaEslam KabongaAmeen Khattab
Top Shelat SongMohammed Bin Grman – “Ma Gelt Lak”Mohammed Bin Grman – “Alek Akhaf”Abdullah Al Farwan – “Jamalek Gheer”Nawaf Fraih – “Thalath Ayam”Asad Albathari – “Makhboob Khelli”
Artist of the Year – ShelatNader AlsharariMohammed Bin GrmanGhareeb Al MokhlesBadr AlezziAbdullah Al Farwan
Top Shelat Song“Alek Akhaf” by Mohammed Bin Grman“Jamalek Gheer” by Abdullah Al Farwan“Thalath Ayam” by Nawaf Fraih“Al Makhoob Khelli” by Asad Albathari
Interviewing an artist of Angham’s caliber presents a unique challenge and a thrill, merging anticipation with the weight of her legacy. Angham is, after all, a towering figure in Arabic music, an extraordinary voice whose career bridges the classical foundations of Arabic song with its modern evolution over two dozen studio albums. This was not just an interview – it was an exploration into the journey of authentic art that has shaped contemporary Arabic music.
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As expectations filled the air, they quickly dissipated when Angham appeared in white, radiating a captivating smile. Angham takes in all opinions and comments with a calm demeanor, soothing the room’s tension. When she begins to speak, the atmosphere transforms: her words reflect a powerful personality, expressing complex ideas with simplicity and an undeniable charm that enchants her audience.
There’s no doubt that Angham has emerged as one of Egypt’s most impactful modern voices. Her journey began in the late 1980s, nurtured by her father, the renowned musician Mohamed Ali Suleiman, whose guidance and influence helped unlock her early talent. With training in music and piano, she developed a solid foundation in the musical arts, initially singing traditional Tarab (classical Arabic music) pieces that bore her father’s distinct artistic signature, such as the album Ila Ana (Except Me), in parallel with her collaborations with classical composers of Khaleeji music such as Talal Maddah, Suleiman Al Mulla and Sami Ihsan. Yet, in the late 1990s, after professionally parting ways with her father, Angham redefined her path.
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She embraced a modern style closer to Arab pop and reached a major milestone with the 2001 album Leih Sebtaha (Why Did You Leave Her?), marking her first collaboration with composer Tarek Madkour and Sherif Taj. The early 2000s also saw Angham experimenting with Latin pop, in the release of one of her most prominent hits, “Sidi Wasalak” (Why Aren’t You With Me?), and with it she established her new artistic identity, which she continued to grow and develop while absorbing new musical trends, and integrating them into the context of her own musical experience and identity. Through these works, she expanded her reach to a broader audience, solidifying her status as a central figure in the Arab music scene and maintaining her role as a bridge between Arabic music’s rich history and its present.
While it is difficult to pin any one of Angham’s albums over the other, another massive success for Angham was her album Hala Khassa Gdean (A Very Special Case) with hit songs “Ya Retak Fahemny” (I Wish You Understood Me), where we hear her nuance for emotional complexities of love develop more with each work, in addition to her vocal delivery and performance. With 29 studio albums under her belt, Angham’s prolific body of work has found a home in the hearts of her listeners year after year, where she has come to be known for her unique ability to sing a range of emotional experiences found in each stage of love.
Billboard Arabia’s conversation for the October cover began with her latest album, Tigi Neseeb (Let’s Leave). Each song, a journey into the depths of emotion, allowed Angham to share pieces of herself and the untold stories embedded within the lyrics. She describes the album as a story, explaining, “This album is like a story with a beginning and an end. It’s filled with stories of people and situations – very real and relatable. What ties it all together is the music, the expressive kind I resonate with.”
Angham’s musical expertise shines through as she discusses her talent for weaving stories from real-life experiences — narratives that listeners might recognize from their own daily lives or even feel personally connected to. She notes, “The album is like a drama; it’s as if you’re witnessing the stories of many people around you. Sometimes, you see yourself in the narrative, or you recognize two or three others whose stories you’re familiar with. It’s that simple, yet it’s a core reason for my success.” Angham unveils that the key to her songs’ success and uniqueness lies in her deep connection with her audience and the relatable stories they share. Each song she performs embodies a sense of authenticity, forging a personal bond between the music and the listener, as though she shares in the daily experiences.
She approached her latest album, Tigi Neseeb, not as a fixed blueprint but as a dynamic journey filled with transformations and experiences. “I wouldn’t lie to you and say I knew exactly what I was going to do; the album developed gradually, with changes in lyrics and musical arrangements. There was a plan, but it evolved for the better.”
After discussing her latest album, Angham elaborates on her artistic choices and musical collaborations. With dozens of albums under her belt, she articulates her philosophy regarding song selection, highlighting the stage’s pivotal role in her decisions: “I’m always focused on how a song will translate on stage; my choices are guided by this aspect because the stage is my essence. My concert is my soul.” Angham expressed her enthusiasm for direct audience interaction, an essential element in her creative process. “When I choose a song and its arrangement, I consider how it will start, end, and engage the audience; I’ll re-record as many as two or three times to reach that perfect ending that commands applause.”
For Tigi Neseeb, Angham maintained a thoughtful balance between longtime collaborators and fresh names she worked with for the first time. She sustained her successful collaborations with producer Tarek Madkour and lyricist Amir Teima, with whom she’s worked for over 20 years, crediting these long-standing collaborations with upholding her distinctive musical identity. At the same time, she brought in new, unexpected collaborations. In her conversation with Billboard Arabia, Angham highlights the album’s surprise: collaborating with Akram Hosny, initially an Egyptian comedian, who contributed songs like “Khalik Ma’aha” (Stay With Her) and the title track.
Angham
Sharbel Boumansour/Billboard Arabia
On her album, Angham also introduced new vocabulary into her piece with lyricist Mostafa Hadouta, whose background in mahraganat music added a fresh layer to the song “Mowafaqa” (l Agree). Unpacking the album’s rich collaborations, she also praises three poets she worked with for the first time on Tigi Neseeb, including Hala El Zayat, whose song “Howa Enta Meen” (Who Are You Anyway) achieved remarkable success, landing in the No. 9 position on Billboard Arab Hot 100. Tigi Neseeb’s performance on the Billboard Arabia charts proves its remarkable success, with 10 out of 12 songs finding a home on Billboard Arabia’s Hot 100.
But Angham isn’t just a singer, performer and classically trained musician — she is also a businesswoman. In her interview, she unveils her most ambitious endeavor to date: her own production company, Sowt Masr (The Sound of Egypt), which launched with its debut album, Tigi Neseeb. Established between 2014 and 2015, the company initially aimed to produce her personal projects, yet Angham’s vision extends far beyond her own artistic ambitions. She expresses, “Deep down, I aspire to nurture new voices, and with time, I will make that happen.” Angham emphasizes that her role as a producer is not merely to finance projects but to guide emerging talent on the right path. Her insight highlights a transformative view of the producer’s role – one that encompasses organizing and creatively directing rather than just providing funding.
Looking ahead, Angham was unequivocal about her commitment to continuous innovation. “As I speak, I’m actively engaged in new projects. Music constantly flows through my mind, inspired by the words I hear and read, along with new songs and fresh collaborations,” she shared. Her boundless ambition drives her to enhance her artistic repertoire through collaborations with new composers and artists who can add their flair to her work.
Angham is not just an artist; she embodies a modern classic Arabic voice and serves as a vital link between musical generations. With her album Tigi Neseeb, its diverse collaborations and her production venture, Sowt Masr, she demonstrates her remarkable ability to adapt and innovate while remaining true to her artistic roots. The interview concluded on an inspiring note, envisioning a bright future not only for Angham but also for emerging artists who may find her label Sowt Masr a springboard to new horizons in the music industry. As she continues to pave the way, Angham’s legacy promises to illuminate a path for the next wave of talent and Arabic music at large.
Angham
Sharbel Boumansour/Billboard Arabia