Billboard Arabia
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
In one of their first performances nearly two decades ago, a modest gig along the banks of the Nile in Egypt, Cairokee played to a silent crowd – no applause, no cheers. Reflecting on this moment in a recent interview, Cairokee’s lead singer Amir Eid shared this story to illustrate the mindset that has defined the band from the start. The band didn’t interpret the audience’s silence as failure; instead, they heard the hum of something new. Rather than retreat, they pushed forward, knowing deep within that they were planting the first seeds of a new musical landscape. What began that night wasn’t just a performance. It was a turning point for Arabic indie bands, signaling the potential to rise from the underground and become charting artists with a sound that would echo far beyond the river’s shores.
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Fast forward to today. These echoes eventually reached Europe and North America, where Cairokee embarked on various successful tours. The first one, in 2019, was followed by 2022’s tour which saw them perform in cities like New York, Houston, Los Angeles and San Francisco. More recently, they completed a multi-city tour across Europe, the U.S. and Canada, which wrapped up on Sept. 30, further solidifying their global presence. Meanwhile in August 2024, at the Alamain Festival on Egypt’s North Coast, they sold out a show of upwards of 27,000 fans, suggesting their echoes have become something of a roar, reverberating globally.
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Founded in 2003, and led by singer-songwriter and guitarist Amir Eid, the Egyptian rock-pop band has maintained its original band members with Tamer Hashem on drums, Sherif Hawary on lead guitar, Adam El Alfy on bass and Sherif Mostafa on keys. While their early music carried political undertones, it was in 2011, during Egypt’s revolution, that Cairokee’s breakthrough single, “Sout El Horeya” (The Voice of Freedom), turned them into a voice of a generation, where the song became an anthem for Egypt’s youth and later found resonance with youth culture around the Arab region.
Cairokee’s Momentous Discography
In the time since, Cairokee has released six additional studio albums, each evolving musically: Wana Maa Nafsy Aaed (When I Sit Alone, 2012), Nas W Nas (Some People, and Others, 2015), El Sekka Shemal (Wrong Way Blues, 2014), Noaata Beida (A Drop of White, 2017), The Ugly Ducklings (2019) and Roma (2022), along with two compilations of their biggest hits. While every album carries with it Cairokee’s sonic fingerprint — largely driven by lead singer Amir’s Eid’s distinctive vocal quality — over time they broadened their sound to include a mix of rock, pop, elements of hip-hop and traditional Arabic sonic textures, showcasing their versatility.
In many ways, Cairokee have often been like a mirror to the times in which they exist, reflecting the sentiment of not only Egypt’s youth, but millennials and Gen Z across the Arab world. They weren’t the only band to launch at the time, alongside them we saw the rise of Massar Egbari, Jadal, Adonis, to name a few, but Cairokee have managed to achieve a level of pop and mainstream success with several songs finding a home on Billboard Arabia’s charts.
In early albums like Matloob Zaeem (A Leader is Wanted), we hear the political undertones they were first known for, particularly in songs like the title track, or “Ethbat Makanak” (Hold Your Position) and “Ehna El Shaab” (We Are the People). Musically, this album was driven by Amir and Hawary’s swirling soft rock guitar licks and riffs and sardonic political commentary. We find this sound continuing through to their follow-up album, Wana Maa Nafsy Aaed (When I Sit Alone), which sonically oscillates between heavily reverb guitar driven tracks like “Kol Youm Momken Yekoon Bedaya” to songs teetering on pop anthems like “Mestany.”
Their 2014 album, El Sekka Shemal, marked a turning point for Cairokee, presenting a more refined sound, while introducing an eclectic blend of musical references. El Sekka Shemal presented a fuller sound, both with atmosphere production and a deeper integration of Arabic textures, including the rababa and percussions, as heard in songs like “El Khat Dah Khatty.” This album sees Cairokee pushing the boundaries of genre while expanding their collaborations, as heard in “Agmal Ma Andy” featuring Souad Massi, and later the genre-bending “Ghareeb Fi Belad Gareeba” (Stranger in a Strange Land) with shaabi music icon Abdel Baset Hammouda.
In Nas W Nas, Amir Eid’s vocals come into focus, with different production elements supporting a more polished studio sound. The gentle guitar lines and keys in tracks like “Walla Ma Aayez (All I Really Want),” along with subtle Arabic textures – such as oud lines and percussions in “Geina El Dounia Fe Laffa” – create a fuller sonic backdrop. However, it’s in “Kol Haga Betaady” (This Too Shall Pass) that Eid’s pop sensibility shines, featuring Shahira Kamal. Their memorable duet presents an earworm exchange with memorable lines like “Everyone is scared of tomorrow/Tomorrow comes and they are still scared/Tomorrow isn’t a day/It’s an idea.” Amir Eid again manages to hold a mirror to the times, in 2015 reflecting the era’s political uncertainty.
Eid’s introspective lyricism drives Noaata Beida (A Drop of White, 2017), as seen in the title track featuring Abdelrahman Roshdy, which reflects a dualistic struggle playing out between the two vocal lines. Politically weary themes resurface in “Kont Faker” (I Thought) and “Hodna.” Musically, we see Cairokee embracing more eclecticism, offering diverse tracks like the rhythmic “Layla” and anthemic “Dinosaur” while nudging more into a pop sound.
This dynamism culminates in The Ugly Ducklings (2019), where a multiplicity of genres is presented, expanding Cairokee’s audience base by offering them each something. The album spans alt-rock tracks like “Benkhaf” (We Get Scared) to hits like “Ya Abyad Ya Eswed” (Either Black or White), which draws from popular Egyptian genres like shaabi and mahraganat. This cross-genre approach continues and peaks in Roma (2022). However, we see another turning point for Cairokee in the high production value, and synthpop influences as heard in the hit song “Samurai” to the beat driven “Basrah We Atooh” (Lost in My Headt), both of which continue to chart Billboard Arabia’s Hot 100. Meanwhile, seven songs from Roma continue holding ground on various Billboard Arabia lists, cementing Cairokee’s place as a pioneering force offering an alternative to the traditional pop landscape.
The Voice of Cairokee, Amir Eid
Amir Eid’s voice has a deep rasp in it, the kind of guttural texture that makes it feel like it has traveled from a far-off time to deliver a very important message. It’s not a prophetic voice, but rather one that transmits the timbre of falling in love in one song, and in another, cutting socio-political commentary. His vocal quality and lyricism have been central to Cairokee’s identity, and through his words, Eid expresses the frustrations, hope, and loneliness of a generation navigating everything from political uncertainty to personal challenges. His side passion projects, including the soundtrack for the hit series Rivo, andmhis EP Roxi (2024), have further showcased his artistic evolution.
Envisioned by Eid, Roxi’s elaborate and cinematic video rollout was presented in three chapters, where we see the artist blending his penchant for visual storytelling, distribution and a body of hit songs. Roxi takes on a different sonic aesthetic than Cairokee’s big band, rock and pop sound, where we see Amir’s songs like “Hagat Gowaya” (Things Inside Me) take on a darker, synthpop sound than what we heard on Roma’s “Samurai.” Lyrically, Amir combines his penchant for storytelling in this three-chapter cinematic story of falling in love, with lyrics bordering on existential explorations deep within himself. Shortly after the EP’s release, songs like “Esmek Eh” (What’s Your Name?), “Hagat Gowaya” and “Nasy Kol Haga” (I’ve Forgotten Everything) landed on Billboard Arabia’s Arabic Indie chart and remained in the No. 26, 36, and 44 positions, respectively. Meanwhile, Eid currently holds the No. 56 position on Billboard Arabia’s Top 100 Artists chart at the time of publishing this article.
From Cairo to North America, Cairokee’s Live Shows
It is only possible to tell the story of Cairokee and Amir Eid by also discussing the resonance of their live shows. After concluding their third multi-city North America tour, Cairokee has found an audience both at home and abroad. In August 2024, Cairokee sold out their show in Jeddah, and the very next day at the Al Alamein Festival on Egypt’s North Coast, Cairokee saw over 25,000 attendees, according to the artist’s team. Upon returning to Cairo in the aftermath of their tour, they sold out another show with upwards of 27,000 in attendance at ZED EAST in October 2024. Their concerts are riveting experiences, with iconic collaborative moments, in the past they have featured guest artists on their stage such Marwan Pablo, and later Muhab and Tult8e, highlighting their ability to blend genres and connect with a diverse audience.
After two decades of pushing boundaries and challenging the status quo, Cairokee’s journey is far from over. They continue to evolve musically while staying true to much of their original fan base, while their impact on the Arabic music scene only grows stronger with time.
Cairokee
Courtesy of Cairokee/Billboard Arabia
Billboard Arabia‘s special edition “Jalsat” (session) stands out in form and purpose. The exclusive video series “Jalsat Billboard Arabia” was launched in February 2024 and featured some of the region’s most groundbreaking artists, from Ahmed Saad to Siilawy and Saint Levant. This time, in celebration of Saudi National Day, Billboard Arabia traveled back to the 1980s to revive the voice of an icon—a trailblazer who made music history in the Kingdom of Saudi Arabia, Etab. Released on the 94th Saudi National Day (Sept. 23), Billboard Arabia deployed AI technology to bring Etab’s iconic voice and performance back, with a fresh take on her tribute to Saudi in the song, “Ya Saudi” (Hey Saudi).
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Etab’s legacy as Saudi Arabia’s first female singer and a trailblazer in Khaleeji music continues to shape Arabic music and culture. She broke down barriers in a male-dominated industry and paved the way for generations of Arab women. Her songs are deeply rooted in Bedouin cultural heritage, which still resonates today. To celebrate Etab’s milestones, Billboard Arabia has reintroduced her iconic song with a contemporary remastering of the track. With the help of AI technology, the track was reimagined to showcase how Etab might have performed on the Jalsat Billboard Arabia stage. The new version preserves the timeless essence of Etab’s classic Arabic artistry while appealing to today’s listeners.
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While many know Etab’s famous hits, “Ya Saudi” has not received the same level of recognition. Billboard Arabia aims to change that by using advanced AI and smart technology to remaster her performance and give new life to the track. The song, updated with modern elements, is designed to resonate with longtime fans and new listeners, acting as a bridge between generations. Etab’s story and music are a reminder that cultural authenticity has the power to connect across borders, and this initiative brings her artistry into the digital age for a new generation to discover.
Etab’s career began in the 1950s and continued until her passing in 2007, spanning hundreds of songs and dozens of albums. She collaborated with prominent figures from the Gulf and Egypt while remaining true to the musical styles connected to her culture and homeland. Perhaps there is no better song than her ’80s hit “Ya Saudi” to celebrate her enduring legacy and the national festivities across the Kingdom. The song stands out against other National Day songs for its jubilant lyrics, set to a vibrant, upbeat rhythm, expressing the joy of the people coming together and celebrating their homeland.
In interviews, Etab spoke about her pride in the song and its popularity. She first heard the melody in 1984; created by Talal Maddah, who is considered one of the most impactful Arabic music composers, Talal Maddah, who shared it because of how distinct it was from his usual style. Ibrahim Ghazi penned its lyrics, and Mohammad Shafiq wrote the melody. The song was released on her album Al Qarar Se’eb (Deciding is Difficult), and it also appeared as a duet performed by Etab and Talal Maddah on the album Talal Madah and Etab No. 4. Later, various versions with new arrangements were released, covered by different artists.
“At Billboard Arabia, our goal is to spotlight Arab voices and MENA’s growing music industry, providing a platform and infrastructure to help both established and new artists reach wider audiences,” says Rami Zeidan, Managing Director of Billboard Arabia. “It was only befitting to celebrate Saudi sensation Etab. She was more than just a singer; she was a cultural icon. Her music reflects the rich culture of Saudi Arabia and the Gulf, and her fearlessness as a female artist in a male-dominated industry continues to inspire generations of Arab women in music. By using AI to revive ‘Ya Saudi,’ we are not only celebrating her legacy but also highlighting modern Saudi Arabia – where tradition and innovation come together in harmony.”
Etab and her direct family members have all passed; a surviving relative was informed of this project, however. The song rights for this performance have been secured through the appropriate label.
Central Hall Westminster was alive with the energy of cross-cultural musical exchange as the Saudi National Orchestra and Choir took to the stage alongside the Royal Philharmonic Orchestra to present an evening of musical dialogue. This conversation culminated when both orchestras were joined in concert together in several key moments, chief among them, their rendition of Adele’s “Rolling in the Deep” mashed up with Saudi classic “Adeet fi Marqab” (I Passed in Marqab) to the stunning medleys of iconic Saudi music presented with a Western twist.
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On Sept. 28, London became the fourth stop in the Saudi National Orchestra and Choir’s “The Marvels of Saudi Music” performance alongside the Royal Philharmonic Orchestra in celebration of the 94th Saudi National Day. Under the patronage of Prince Badr bin Abdullah bin Farhan Al Saud, Minister of Culture and Chairman of the Music Commission, the concert was a vibrant tribute to Saudi heritage and cultural diversity, blending authentic Saudi music with top-tier international performances at the iconic Central Hall Westminster, featuring a hundred talented Saudi musicians. Here are some standout moments from the concert.
Tribute to the Late Poet Badr bin Abdul Mohsen
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The concert opened with a heartfelt homage to the late Saudi poet, His Royal Highness Prince Badr bin Abdul Mohsen. The orchestra performed “Ana Min Hal Ardh” (I Am From This Land) , a song originally penned by Prince Badr and sung by the legendary Mohammed Abdo. Abdo was celebrated as Billboard Arabia’s first cover in December 2023, with an interview about the artist’s 60-year legacy and deep impact on Arabic music. In the Saudi Orchestra and Choir performance in London, the tribute of his famed song “Ana Min Hal Ardh” (I Am From This Land) elegantly captured the poetic legacy of the late Prince, serving as a significant gesture of appreciation for one of Saudi culture’s most beloved icons.
Samri Art and Esmahili yal Gharam
The Saudi National Orchestra and Choir delivered a captivating rendition of Samri art, a traditional Saudi folk art, set to the enchanting melody of “Esmahili yal Gharam” (The Wound of Betrayal), another iconic Mohamed Abdo song. This intricate blend of traditional art with a contemporary interpretation stood out as a remarkable moment of the concert, highlighting the rich artistic heritage of Saudi Arabia.
Yanbu Art and Hana Talabana Allah
A highlight of the evening was the performance of the Yanbu art through the song “Hana Talabana Allah” (We Ask God), which showcases the depth of Saudi cultural heritage. This performance underscored the importance of traditional arts in preserving cultural identity and demonstrated the orchestra’s commitment to presenting authentic Saudi music to a global audience, celebrating the richness of the 13 regions that the orchestra has been working to present in the “Marvels of Saudi Music” show.
Saudi Twist on Adele’s “Rolling in the Deep”
In a bold and innovative move, the Saudi National Orchestra and Choir concluded the concert’s first half with a unique Saudi rendition of Adele’s “Rolling in the Deep.” This mash-up creatively fused Adele’s song with the Saudi classic “Adeet fi Marqab,” generating exceptional moments showcasing the orchestra’s talent blending international music with an Arab twist. The song was a breakthrough moment in the performance, when the Saudi Orchestra and Choir entered into a contemporary dialogue with the Royal Philharmonic Orchestra.
Royal Philharmonic Orchestra Plays Zarqa’ al-Yamama
In the concert’s second act, the Royal Philharmonic Orchestra showcased a selection of Western and Arabic classical music pieces, including the composition Zarqa’ al-Yamama. The renowned opera singer, Dame Sarah Connolly, added a special touch by singing in Arabic, enhancing the cultural fusion. The opera originally premiered in Saudi Arabia in April 2024, featuring Dame Sarah Connolly performing alongside Saudi opera singer Sawsan Al Bahiti and Italian soprano Serena Farnocchia.
Collaboration with the Royal Philharmonic Orchestra
In the final act, the Saudi National Orchestra and Choir collaborated with the Royal Philharmonic Orchestra to present medleys of songs by some of Saudi Arabia’s musical icons. They collectively performed various medleys by famed Saudi musicians including Mohammed Abdo, Talal Maddah, Rashed Al Majed, Fawzi Mahsoun, Abdel Majeed Abdullah, Khaled Abdul Rahman and Ayed.
Concert Finale with Ashginag
The concert concluded with Rashed Al Majed’s “Ashginag” (We Loved You), released in honor of the 90th Saudi National Day on Sept. 23, 2020. The song’s lyrics celebrate the beauty and diversity of Saudi Arabia, making it a fitting choice to close the event, spreading the enchantment of Saudi music and culture from the heart of London to the world. It was in these closing medleys that the conversation that was promised between British and Saudi culture culminated with a sense of possibility.
This London concert marked the fourth stop in the “Marvels of the Saudi Music” series, following successful performances in Paris’ Théâtre du Châtelet, Mexico City’s Grand Teatro Nacional and New York’s Metropolitan Opera House. The Saudi National Orchestra and Choir plans to continue its journey, bringing its art to additional locations around the globe. Their mission is to introduce the international community to the masterpieces of Saudi music and foster cultural exchange worldwide.
A new generation of artists are pushing the envelope in Arabic music, striving to explore new ground. Among them is Ayed, who humbly claims no desire to be a pioneer. Instead, he insists that his work merely carries forward the rich legacy established by the many artists who came before him. This young talent has achieved remarkable success in Khaleeji (Gulf) music while becoming the most-listened-to artist among his peer group. As of this publication, he holds the No. 1 position on the Top 50 Khaleeji Songs chart with his hit, “Lammah” (Hints), and ranks No. 9 on Billboard Arabia’s Artist 100. Despite these significant strides, he embodies the humility of the Khaleeji music legends that preceded him, utilizing modern production tools and techniques, which he credits for expanding the reach of his music.
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When asked about his musical style, one that combines the rhythms and melodic structure of Khaleeji music but delivered through a sound that is very much Ayed, he says, “I don’t think I’ve done anything that different. It’s just a continuation of the music of my predecessors; I’ve followed in their footsteps. But let’s say we’re in the digital age now, and maybe that’s what has changed [regarding the sound]. But that aside, it’s the same kind of music.” Ayed aims to continue enriching the Khaleeji pop landscape, hoping to make a lasting contribution to its history. As a fan of the genre, nothing is stopping him from cementing his contributions to the genre as he strives for the excellence of the artists that inspire him be it Mohamed Abdu, Abdel Majid Abdallah, Rabeh Saqr or Rashed Al Majid.
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The year 2024 has been remarkable for Ayed, who graces the cover of Billboard Arabia’s September issue. It started with a bang: he netted the “Male Musical Artist of the Year” at the 2024 Joy Awards, a ceremony organized by the General Entertainment Authority that honors achievements in the Arab artist community.
Following this accolade, Ayed collaborated with Khaled Al Muthafar, a Kuwaiti performing artist, in the song “A’lam al-U’shaq” (The World of Lovers). Initially composed for Al Muthafar’s play, “Al’uwl Min Nweih” (The First of its Kind), the duo recorded it together when Ayed heard the song. The song proved a hit, finding virality across social media platforms and climbing the ranks of Billboard Arabia’s Hot 100 and the Top 50 Khaleeji Songs chart.
“I expected the song to be successful, but I didn’t expect this overwhelming success all over the Arab world,” says Ayed. “We were meant to collaborate on a project long ago and thank God I was able to work with him on this project and I hope this is the start of many successes for us together.”
Hot on the heels of this success, “Lammah” (Hints) also went viral a month after its release, quickly climbing to the top of Billboard Arabia’s charts. As of this article, it has held the No. 1 position on the Top 50 Khaleej Songs chart for eight consecutive weeks. It has broken into the top 10 on Billboard Arabia’s Hot 100, prompting Ayed’s return to the top ten on Billboard Arabia’s 100 Artists chart. Ayed always believed in the song’s potential, and its performance on the charts has validated his assumption.
Ayed’s artistic journey began at a young age, with the 2015 launch of “Nasitini” (You Forgot Me) on Instagram. It was remastered and rearranged in January 2016, tallying upwards of 16 million views on YouTube at the time of publishing this article. The song remains close to Ayed’s heart, as he’ll rarely forgo an opportunity to mention it: “It’s special,” he says, “because it marked my beginning. I think your first song always has a special place, regardless of what else you make. It’ll never be a disappointment. If my work ever comes up, that song’s inevitably mentioned, too.”
Ayed continued to evolve his craft in the next eight years. This evolution can be traced through the EP Bel-Mout Ja (A Hard Time Coming), then the two LPs, Thaman Al-Alam (The Price of Pain) and Kol Al-Khata (All the Mistakes), as well as several singles like “Rdy” (transliteration for “Inferior”), a late 2023 release that achieved remarkable success and propelled Ayed to the top of the charts. “Rdy” landed him his debut on Billboard Arabia’s Hot 100, landing the No. 4 spot in the week of Dec. 11, 2023. “Rdy” sparked curiosity about the artist’s love life, prompting Ayed to reaffirm on social media at the time that he keeps his personal life separate from his professional one.
In an exclusive reveal to Billboard Arabia, Ayed says that he is preparing to release an album, “The album will feature songs that, God willing, you will enjoy,” says Ayed. “The composers are diverse, with noted composer Rakan taking the lion’s share, followed by Yasser Buali and Saham. Most lyricists involved are part of a new generation of talent.” The composers Rakan and Yasser Bou Ali have been key to Ayed’s journey, shaping his sense of sound over the years. They’ve allowed him to deliver the essence of the voice of the generation preceding him, like Abdul Majeed Abdullah and Rabeh Saqer, while allowing it to take on a contemporary and dynamic style. Their continued collaboration on Ayed’s upcoming album reflects his commitment to the partnerships he has established and his belief in repeating his successes by drawing on the talent that enabled it.
Ayed
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From the very first notes of the Saudi National Orchestra and Choir’s rendition of Frank Sinatra’s “Fly Me to the Moon” at New York’s Metropolitan Opera House, a remarkable dialogue emerged. This unique blend of cultures unfolded within a single iconic melody, brought to life by the ornamentation of the ney – a traditional and widely cherished Arabic reed instrument. In harmony with the timeless lyrics, the Saudi choir members added a rich layer of depth, creating a captivating conversation that bridged musical geographies.
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Launched in 2021 under the patronage of Saudi’s Minister of Culture and Chairman of the Music Commission, Prince Badr, “The Marvels of the Saudi Orchestra and Choir” series has successfully iterated three global performances — Paris (2022), Mexico City (2023) and New York (2023) — each time collaborating with a renowned cultural institute from its host city. Now, in 2024, The Saudi Orchestra and Choir will travel to London for a performance on Sept. 28 at the iconic Central Hall Westminster in London, alongside the U.K.’s Royal Philharmonic Orchestra.
In a press conference in Riyadh, Saudi Arabia, on Sept. 8, Paul Pacifico, CEO of the Music Commission, emphasized the orchestra’s capability to achieve multiple outcomes simultaneously, chief among them “to show the world how Saudi music can sit alongside any music from anywhere in the world on the grandest stages with the most renowned cultural institutions globally,” he says. In this way, Saudi can take its “place with pride” as it continues to pull from traditions and influences across the 13 regions in the Kingdom.
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He highlights music’s unique power to “transcend cultural and linguistic barriers”, enabling musicians to connect and audiences to experience diverse sounds. This ambition is evident in their global exchanges, including performances with the International Philharmonic Orchestra of Paris, the Carlos Chavez Orchestra in Mexico City and the Dizzy Gillespie All Stars in New York.
Through world premieres that reached far beyond the live audience, the orchestra has left an enduring mark on Saudi culture. While hundreds attended in person, more tuned in to livestreams, resulting in the comment sections of these broadcasts buzzing with pride and enthusiasm as Saudis celebrated their artists shining on historic stages.
Stage 1: Paris, France – Saudi Melodies Dazzle Amidst the “City of Lights”
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Their journey on the road commenced with a noteworthy performance in Paris on Oct. 7, 2022, titled the “Masterpieces of Saudi Music,” in part with the International Philharmonic Orchestra of Paris. This historic event saw the Saudi orchestra – featuring 22 musicians and 40 vocalists – embark on a classical musical dialogue celebrating the depth of Saudi folklore and modern heritage. In a reciprocal gesture, the International Philharmonic Orchestra of Paris premiered “Jeddah City,” composed by Antonio Bernardi. The exchange of performances unfolded as a compelling historical narrative, with each musical piece eloquently articulating its own chapter in the story.
Unlike Western orchestras, the Saudi National Orchestra and Choir integrates various traditional instruments that hold a notable place in the lineage of Saudi music, be it the ney, the oud or the rebab. Despite the challenge of integrating instruments like the rebab, which doesn’t have standard tuning, the orchestra is dedicated to pushing these “traditional instruments forward into a more contemporary setting,” says Pacifico. We see this play out in the exchange between the Saudi Orchestra and the French Philharmonic in their joint rendition of “Habanera,” from the famed opera Carmen.
Stage 2: Mexico City, Mexico – Ballet Folklórico de México and “Above the Clouds”
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In June 2023, barely a year after its debut, the orchestra and choir performed remarkably in Mexico City. This grand performance featured 33 musicians, 39 singers, and 40 performers from the performing arts troupe, all under the baton of maestro Riab Ahmed, who succeeded the late Mohammed Amin Qari. The concert was a vibrant celebration of Saudi musical heritage, featuring iconic compositions from revered artists such as Tariq Abdul-Hakim, Mohammed Abdu and Bashir Shanan. These classic works were delivered with a masterful blend of classical elegance and energetic rhythms, capturing the essence of traditional and popular Saudi art.
The Saudi National Orchestra and Choir were joined by the Mexican Carlos Chávez Orchestra, conducted by Maestro Roberto Renteria Yrene, and the Ballet Folklórico de México de Amalia Hernández. This collaboration resulted in a musical experience that bridged the two cultures and languages, instead proposing a collective narrative through song and performance. They concluded the evening with a heartfelt rendition of “Above the Clouds,” with lyrics by poet Badr Bin Abdul Muhsin and music by Mohammed Abdu. The song, imbued with a deep affection for Saudi Arabia since the late 1980s, has transcended time and geography to be performed by new generations on the other side of the world in this historic moment.
Stage 3: New York, N.Y. – “Fly Me to the Moon” and the Dizzy Gillespie All Stars
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On Sept. 17, 2023, the Metropolitan Opera House in New York City hosted the orchestra and choir, a performance that achieved a remarkable level of sophistication in a remarkably short time. The show featured a grand ensemble of 80 musicians from the Saudi National Orchestra and Choir, complemented by 60 performers from the Theater and Performing Arts Commission. Viewers enjoyed engaging representations of various art forms, including Liwa, Dana, Khatwa, Majrour, Samri, Rabash and Yanbuawi.
The presentation included a keen display of local costumes, reflecting the region’s rich geographical and historical aesthetics. Notable moments included the performers rhythmically interacting with a green barrel, which carried political and economic symbolism, and the concluding presentation of the song “al-Mujded,” which celebrated the visionary who brought Saudi creativity to the international stage.
The orchestra embraced the opportunity to honor New York City’s unique charm and rich history by presenting a memorable performance to the Metropolitan Opera audience. Collaborating with the legendary American jazz ensemble the Dizzy Gillespie All Stars, they delivered an integrated jazz segment infused with Saudi instrumental ornamentations and expressions. The standout of the evening was the exceptional young Saudi soprano Reemaz Oqbi, with her multilingual performances of iconic arias in English, French and Italian. The concert concluded with a medley celebrating contemporary Saudi music trailblazers such as Mohammed Abdu and Etab, highlighting their significant contributions that have shaped the country’s music landscape over the decades.
Stage 4: London, England – A New Stage and Fresh Horizons
This year, marking the 95th Saudi National Day, the orchestra and choir will embark on their fourth international iteration, taking the stage at Central Hall, Westminster, in the heart of London. This version, which includes 98 Saudi musicians, aims to showcase additional layers of the Kingdom’s diverse musical heritage. The concert will continue to offer a compelling blend of classical and contemporary interpretations of Saudi Arabia’s musical traditions. Notably, this performance will feature a collaboration with the Royal Philharmonic Orchestra and the world-renowned opera singer Dame Sarah Connolly, adding an anticipated cultural dimension to the evening.
On Sept. 28, the Saudi National Orchestra and Choir will continue exploring new symphonic directions, discovering its unique voice and the confidence to spark conversations rooted in harmony. As the orchestra and choir showcase their latest work, all eyes are on London this month in anticipation of the vibrant melodies that will usher in a captivating new chapter of the “Marvels of Saudi Music.” This celebration of creativity and collaboration promises to inspire while connecting audiences through the universal language of music.
The first edition of the Billboard Arabia Music Awards (BBAMAs) is set for Dec. 11 at the iconic KAFD in Riyadh, Saudi Arabia. The awards show is part of the first-ever Riyadh Music Week, an initiative bringing together the global music community for a series of music festivals and events.
Billboard Arabia has become the ultimate destination for discovering Arab artists, with the awards show celebrating a year of music milestones and achievements, including the launch of its flagship charts and other initiatives. The BBAMAs will honor trailblazers and rising stars with awards across a wide range of categories, including top artist, female artist and male artist, along with the year’s hottest songs and more.
Unlike other music award shows, BBAMA winners will be selected based on their ranking on Billboard Arabia’s flagship charts, including the Hot 100 and Artist 100, as well as the newly launched dialect charts – Khaleeji, Egyptian, Levantine and Magharebi – and genre-specific charts – Arabic Hip-Hop, Arabic Indie, Shelat and Mahraganat. Billboard Arabia’s Charts follow the well-established parameters set by the Billboard brand over the last eight decades.
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In addition to recognizing the top artists and music of the year, the BBAMAs will showcase Saudi Arabia and the region’s diverse talent through live performances and surprise collaborations, featuring both established and emerging artists. It will also include performances from some of the biggest international artists.
“In just one year, Billboard Arabia has become the fastest-growing music platform that truly reflects the preferences of millions of music fans and followers across the globe,” Jomana R. Alrashid, CEO of SRMG, said in a statement. “Through the support of the Saudi Music Commission, part of the Ministry of Culture, and SRMG’s strategic partnership with Billboard, this significantly strengthens our ability to spotlight Arab artists to bring their work to global audiences and grow the region’s vibrant music industry.”
Rami M. Zeidan, managing director of Billboard Arabia, said: “I am proud to announce the first edition of the Billboard Arabia Music Awards. As one of the fastest growing music hubs, Riyadh is the perfect location to celebrate the achievements of Arab artists around the world. Audiences will experience the diversity of Arab music firsthand through live performances. They will see their favorite artists like never before. This is what BBAMAs are all about: ensuring that Arab artists, their music and their stories receive the well-deserved recognition both regionally and globally.”
Billboard Arabia, a pioneering platform at the intersection of culture and music, celebrates the artistry and diversity of the Middle East and North Africa (MENA). Launched as a partnership between SRMG, the largest integrated media group from the MENA region, and Billboard, the world’s most influential music media brand, its mission is to redefine the global music landscape.
Mike Van, president of Billboard, stated: “We are proud to bring the Billboard Music Awards (BBMAs) to Riyadh. The show remains the preeminent music event worldwide. The BBMAs celebrate and recognize musical talent and chart achievements and we’re thrilled to extend this legacy and vision to the MENA region, highlighting the musical excellence of Arab artists. This show will not only celebrate artists’ commercial success, but also highlight their real impact on the music industry. The focus is on spotlighting artists and the evolving music landscape. Winning at the Billboard Music Awards is not just about one night; it represents an important moment elevating artists toward sustained success in their careers. This year, with the launch of the Billboard Arabia Music Awards, we are applying the same metric-based methodology to showcase Arab artists who have resonated most with music fans worldwide.”
Billboard Arabia was launched in June 2023 to spotlight Arab artists and their stories on a global stage. Since then, it has introduced several iconic Billboard franchises to the MENA region, including Billboard Arabia News, Women in Music and Charts. These initiatives have established the necessary infrastructure to help both established and new artists reach wider audiences. Billboard Arabia has also developed several unique IPs that further highlight the Arab voices, including its exclusive studio session series, Jalsat Billboard Arabia, and its groundbreaking initiative, Sounds of the Land.
Performances and ticket information will be announced in the coming weeks. For more updates and news, visit billboardarabia.com.
Under the embrace of the afternoon sun in Diriyah, a city known as the birthplace of the first Saudi state and a symbol of the Kingdom’s rich history, Billboard Arabia meets August cover star Ghareeb Al Mokhles for a photoshoot and an interview. In this captivating setting, Ghareeb’s enthusiasm and radiant smile reflect his deep connection to his roots. From the outset, it was clear that Ghareeb was fully at ease in this atmosphere, ready to share his insights into Shelat – a music genre known for its rhythms and vibrant melodies, with lyrics built upon colloquial Bedouin poetry.
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After the photo session, the artist moves to the interview location with a calm and composed demeanor. Ghareeb is calm albeit passionate about his work and the genre of music he performs. He proudly identifies as a son of “Najran” and a devoted Shelat enthusiast, passionately discussing his lifelong love for music. He credits his inspiration to his older brother Talal and iconic artists like Mohammed Abdu and Khalid bin Abdulrahman, fondly recalling his early artistic experiences, including performing national anthems and songs during his school years.
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As he shares these memories, it is clear that his deep-rooted connection to his heritage and his unwavering passion for Shelat continue to shape his artistic journey. Delving into the origins and essence of Shelat, Ghareeb explains that it is “an ancient folk heritage that has evolved into an artistic form distinct from conventional songs, marked by its Bedouin influences.” Traditionally, Shelat consists of poetic verses sung to specific melodies, often performed a cappella with echoes, originally by camel herders and during special occasions like weddings. Over time, this tradition expanded with the addition of music and instrumental arrangements, evolving into the Shelat genre we recognize today. “We’ve added rhythms and beats to it, we’ve added instrumentation.”
Ghareeb’s foray into producing Shelat began as an experimental project shared on social media in the mid-2010s. To his surprise, the overwhelmingly positive response and high demand for his work in this genre ignited a deeper passion within him. Reflecting on this, Ghareeb notes, “The audience’s enthusiasm fueled my passion for Shelat, turning it into a genuine talent. I fully embraced this art and continued to pursue it.”
Nearly a decade later, Ghareeb has established himself as a leading figure in the genre, amassing millions of views across various platforms. His 2021 release of the Shelat “Kheeba” (Disappointment) exemplifies this success, garnering nearly 240 million views on YouTube alone. He describes it as a defining moment in his career: “It marked a significant turning point for me. I was able to truly showcase my talents, and I’m deeply grateful for the success it brought. This Shelat song holds a special place in my heart, and each of my works has built upon the foundation laid by the previous ones.”
This success culminated in a record-breaking milestone, with his YouTube channel surpassing one billion views. Ghareeb credits this achievement to the widespread popularity of his Shelat, stating, “This figure reflects the audience’s appreciation of what I offer.”
Capitalizing on this record-breaking moment in the world of Shelat, we ask Ghareeb about his reaction to reaching his first million views, “It was an incredible joy,” he says. “I was in the south (of Saudi Arabia), eagerly waiting for that million. I stayed up all night.” This milestone has solidified Ghareeb’s status in the Shelat industry. Not only has he advanced the genre, infusing it with new musical and artistic dimensions, but he is also frequently cited on social media as a trailblazer in the field. His lyrics, known for their simplicity, are a key part of his appeal. During our conversation, Ghareeb emphasizes his commitment to choosing clear and straightforward lyrics to connect with a wider audience.
Ghareeb Al Mokhles
Hayat Osama/Billboard Arabia
Each artist is distinguished by their unique use of color and thematic elements in their music and lyrics, and this is particularly evident in Ghareeb’s work. His standout tracks, such as “Kheeba” (Disappointment) and “al-Boad Motei” (Distance Is My Demise), vividly capture the themes of separation and sorrow that often follow farewells. In the interview, Ghareeb talks about his preference for “melodies and tranquility in melancholic compositions” and shares his deep-seated admiration for Khalid bin Abdulrahman’s work since childhood. When asked if his life was marked by sorrow, Ghareeb responds, “No, thank God. May God keep sadness away from us and you. I just have a deep affinity for melancholic moods.”
Contrary to the belief that Shelat is reserved for specific occasions or exclusive to Gulf listeners, Ghareeb explains that Shelat is versatile, performed across various settings, and resonates with audiences beyond the Gulf and the Arab world. Ghareeb elaborates on the multifaceted nature of Shelat encompassing a range of themes such as expressions of reproach and sorrow, tributes to distinguished camels, celebratory pieces for weddings, and renowned tribal Shelat that convey praise and pride at family events. He also makes note of his fan base spanning South Asia, including India and Southeast Asia, including Indonesia, underscoring the genre’s broad appeal.
The rising success of young Shelat artists like Ghareeb Al Mokhles signifies that this art form is far from a transient fad; it is a dynamic and evolving genre. Its increasing popularity is reflected in the growing streaming numbers and a steadily expanding audience, and the launch of Billboard Arabia’s Shelat chart.
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Hiba Tawaji has been turning heads since she debuted her stage career in 2008 as the protagonist in the musical The Return of the Phoenix. Written by the late Mansour Rahbani and composed and directed by his sons, Oussama and Marwan, the musical was the latest addition to the Rahbani Brothers’ established legacy in musical theater. Hiba cemented her position as a pillar of this legacy, starring in the last four musicals made by the Rahbanis.
In parallel with her theatrical debut, she launched her solo career in 2011 with the release of her first album La Bidayi Wala Nihayi (Neither the Beginning Nor the End), which was followed over the years by three other albums: Ya Habibi (My Darling) in 2014, Hiba Tawaji 30 in 2017, and her most recent Levanting pop album Bad Sneen (After Years) in 2023. Armed with a fierce passion for her work throughout this journey, Hiba Tawaji found herself celebrating one milestone after another, not least of which was her impressive participation in the French version of The Voice in 2015. Meanwhile in 2017, she made history as the first female singer to perform on a public stage in Saudi Arabia, after the announcement of the Kingdom’s 2030 Vision in 2016. Another milestone was achieved in 2019, when Hiba was selected by Disney to dub Princess Jasmine’s speaking and singing voice in the French version of the blockbuster Aladdin. The film’s success in topping the French box office for several weeks propelled Hiba beyond her established roots in the Lebanese music scene, helping her make a significant mark on the global market.
Billboard Arabia caught up with Hiba Tawaji after her first concert at Paris’ legendary L’Olympia theater in May, and she told us about the profound and memorable moments that she experienced during the concert, revisiting the milestones of her career that eventually brought her to this world-renowned stage. One such moment during her concert at L’Olympia was sharing the stage with her husband, trumpeter Ibrahim Maalouf, who has been a great support for her throughout her musical career, as well as knowing that her son was in the audience. This strong connection to her family and their continuous support made that night one of the most meaningful and impactful of her career, which Hiba believes was paved with the support of her partners and her personal vision of art, experience and passion.
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In her interview, Hiba speaks at length about her long professional partnership with Oussama Rahbani and its significant role in the development of her musical and theatrical career, providing her with a strong foundation that allowed her to unleash her creativity and excellence over the past 17 years. Rahbani, who directed the L’Olympia concert, played an instrumental role in bringing Hiba to where she is today.
Hiba recounts how their special partnership began, saying: “I met Oussama in my first year of university studies in acting and directing in Beirut. A friend of mine was a dancer in the Arabesque troupe, which performs the choreography in most of the musicals that Oussama Rahbani produced and wrote, and she knew that I have a passion for music and a lifelong dream to sing. She also knew how much I admired Oussama and everything he does, so she arranged for me to audition for him. That’s how it all started, and to this day our partnership continues. We are hand in hand on this journey, sharing the same vision, dreams and ambitions. We share our commitment to what we do, our loyalty, and of course we have great communication, because that’s the key to a long-running professional relationship like ours, where good communication and the space to express yourself are crucial. Throughout all these years – 16 or 17 years now – Oussama has been a huge support, and he keeps pushing me to challenge myself and go further.”
With all these years comes great experience, but Hiba never lost her passion. Despite her numerous achievements, her focused mindset and motivation are always pushing her toward bigger and better things on the horizon. “Of course, with experience, you are more capable to act better in certain circumstances and to know yourself better – where you stand, who you are,” she says. “You truly understand your capabilities, you become more mature in your choices and decisions, in the way you express a feeling or speak your mind without fear, in the way you express yourself, really. Experience is definitely key in our field of work, but the one thing we must not lose sight of is the spontaneity, the passion that drives us. I still have this passion, and if anything, it keeps growing. I’ve never felt that because of my experience, my art or work has become routine. On the contrary, I believe an artist’s passion grows with experience, dreams go further, and the efforts and responsibilities increase because you start asking yourself: after all I’ve done, what better things can I do now? I always challenge myself so I can reach further.”
Yet the road to success needs more than a focused and positive mindset. Hiba believes a positive and supportive entourage is key to an artist’s success. “I think artists alone cannot do everything. It is very important to be surrounded by the right people who support you and care about you and your image, people who give you good advice and know when to give advice. Not everything is always perfect or good.” She added: “I always try to be surrounded by people who truly love me and whom I love, whom I’ve known for years, because I like to maintain relationships on the long term. I like to form connections that last. This is how you attract positive energy; when you are spontaneous and natural and your relationship with art and people isn’t just for personal gain.”
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–This story was written for Billboard Arabia by Omar Bakbouk
Billboard Arabia caught Nassif Zeytoun at a pivotal moment in his life. The singer has been in the spotlight across the Arab world since announcing his marriage to acclaimed actress Daniella Rahme on July 1. Alongside this significant personal milestone, Zeytoun is also experiencing a major professional shift with the tremendous success of his hit duet with Rahma Riad and a slew of upcoming projects, all of which he shared in this exclusive interview with Billboard Arabia.
We met Nassif in the brief window between his wedding and honeymoon. He and Daniella had kept their love story a secret for five years, away from the inquiring eyes of the press and fans. The news of their wedding only began to spread in the days leading up to their intimate ceremony in Jbeil, Lebanon, attended only by close family. Eventually, Nassif and Daniella shared their wedding pictures on social media, much to the delight of their fans across the Arab world. But for Nassif, his private life has always remained his own, while his work life is open to the public. “My personal opinion, and I don’t impose this on others, matters of the home are personal, whereas work matters are up for discussion,” says Nassif. Many of Nassif’s fans over the years were eager to learn more about his romantic relationship, particularly as a result of his penchant for love songs, including “Bel Ahlam” (In Dreams), which has found an eight-week placement on Billboard Arabia’s Hot 100.
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Early on in his career, Nassif captured the hearts of the Arab public by winning season 7 of Star Academy, an Arabic reality television show, with his self-contained vocal quality, performability, and a notable level of professionalism he brought to the program. Even in those early days, Nassif made a significant impact on the Arabic music scene, sharing the stage with the legendary, late Wadiah Al Safi, who praised Nassif’s talent and predicted a bright future for him.
From that point on, Nassif’s ascent in the world of Levantine pop was rapid and remarkable. He consistently delivered hit after hit, each song showcasing his unique musical identity and becoming fan favorites. His breakthrough song, “Mich Aam Tezbat Maii” (It’s Not Working), released in 2014, has gone on to receive upward of 209 million views on YouTube, laying the perfect foundation for his debut album in 2013, Ya Samt(Silence), to flourish. In 2016, Toul Al Yom (All Day), marked the release of his follow-up album, with all 13 tracks becoming a setlist of summer anthems across the Arab world, and particularly the Levant.
Nassif Zeytoun for Billboard Arabia
This success was followed by several more acclaimed albums, including Bel Ahlam, with its title song continuing to hold strong in Billboard Arabia’s Hot 100. And with his songs reverberating across the Arab world, Nassif has become a highly demanded performer from reputable festivals such as Tunis’ Carthage International Festival, to concerts in Riyadh and Dubai, while making his way to international stages in Berlin and Sweden.
Nassif’s latest hit was his duet with his close friend Rahma Riad, who was his fellow contestant in Star Academy. Their friendship flourished over the years, culminating in April with the duet “Ma Fi Leil” (There Is No Night), which landed the No. 1 slot on Billboard Arabia’s Hot 100 the week it was released. Commenting on the duet, Nassif says: “Throughout my entire music career, everything has always been planned. But frankly, the one thing that was not planned was the duet with Rahma. Rahma and I started together and evolved together. It just so happened that we were in the same place, under the same management company. The stars were aligned, to be honest. I was offered a good song, and I suggested doing it with her. She liked it, and that’s how the song was made.”
Within hours of its release, “Ma Fi Leil” became one of the most-streamed songs in the Arab world. After the song landed on Billboard Arabia’s Hot 100 chart, it remained there for 12 consecutive weeks as of the time of writing.
Building on his music career, Nassif has recently launched his own production company called T-Start, where he explains the vision for this company: “I have an aspiration, not a fully defined vision. I have a personal aspiration for this company to produce my personal songs and the songs of several individuals who deserve to be in the music scene. I assure you that all the songs the company produces will be of the highest level, whether in terms of vocals, lyrics, melody, or execution.” He adds: “I’m currently producing my own songs. We worked on my first production with Rahma outside the company with the duet ‘Ma Fi Leil,’ and recently, a young woman with a very beautiful voice joined us. Her name is Luna Karam, and hopefully, in the coming days, she will release a song produced by T-Start. I have high hopes for her.”
Regarding his upcoming releases, Nassif shares insights: “I will hopefully release several songs soon…. I am now filming a new duet at the moment. I hope people will like it, the way it’s presented and the combination between me and the other artist. It’s a new idea, a new method, and I hope people will like it.”
As Nassif Zeytoun embarks on this new chapter in both his personal and professional life, it’s clear that his journey is far from over. With his marriage to Daniella Rahme and the immense success of his recent projects, Nassif continues to capture the hearts of fans across the Arab world. His dedication to his craft, coupled with his vision for his production company T-Start, promises an exciting future filled with innovative music, new collaborations, and contributions towards building the next phase of Arabic stars.
Nassif Zeytoun for Billboard Arabia
Lara Zankoul
–Written by Dima Hijazi for Billboard Arabia