Billboard Arabia

In a studio hangar just outside Cairo, weeks before the release of his new album The Man Who Lost His Heart, Marwan Moussa sits with a resolve that only grief teaches. The kind shaped by someone who’s been to the depths of loss and carried back not just a song, but 23. The album wasn’t built overnight, Marwan Moussa explains to Billboard Arabia in his exclusive May cover interview. It was carved out of grief and shaped with intention. Each track, he says, was sculpted from the turbulent, shifting emotions he experienced during the long and winding journey of healing after the heartbreak of losing his mother two years ago.

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The album, he says, was “a kind of therapy.” Like writing a journal, sleeping on it, then reading it with fresh eyes to look at his life from a different perspective.

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The Man Who Lost His Heart doesn’t open with a bang; it opens like a dream taking shape. “Try to remember” is the first line we hear, fighting its way through an ethereal sound design. Structured in five parts, the album mirrors the five stages of grief – denial, anger, bargaining, depression and acceptance – but more than that, it charts the long, slow work of survival. Moussa doesn’t just document his pain; he invites you into it, offering a guide and companionship with each track.

“It isn’t a linear journey, of course,” he explains. “You could be angry, then suddenly find yourself depressed, and then all the way back in the denial stage.”

But the album isn’t merely a chronicle of grief. It’s a sonic deconstruction of Moussa’s process. Blending trap-shaabi (a genre he helped popularize that combines trap beats with various textures found within Egypt’s popular folk music), heavy synths, tender melodies and deeply personal sound bites – including audio lifted from childhood VHS tapes of him and his family – he crafts a layered, emotional landscape.

The Man Who Lost His Heart isn’t just a collection of songs. It’s a reckoning.

Take his track “BOSAKBER,” which spirals through memory and misfire. His flow isn’t clean; it’s distorted and fractured like a freshly broken heart. In the accompanying video, directed by Youssef Haridy, Moussa appears alone beneath a wide, empty sky. He fights his own reflection. The imagery is both surreal and stark, but not hopeless. It’s not the portrait of someone broken – it’s the portrait of an artist in the whirlwind of putting themselves back together, even if the pieces no longer fit the way they once did.

“We wanted to create a surreal imagery that feels deeply rooted in oriental aesthetics; something distinct,” Moussa says.

Moussa is not new to transformation. Over the last several years, he’s become one of the most influential voices in Arabic hip-hop – not only as a rapper, but as the producer behind dozens of hits, including “Brazil,” and more recently “Kebda” for longtime collaborator Afroto. He’s also been a constant on Billboard Arabia’s Artist 100 chart for over 55 consecutive weeks.

Moussa first set foot on Egypt’s hip-hop scene in 2016, releasing his early tracks on SoundCloud. The following year, his collaborations with Abyusif on “La2 Mafeesh” (No, There Isn’t) and “Zaghzaghto” (Tickling) brought him into the spotlight, and his skills as both rapper and producer began to further solidify.

In 2018, he released his first music video for “Kiki,” which marked his production breakthrough. Then came “Fr3on” (Pharaoh) in 2019, with its unpredictable rhymes and sharp wordplay over a solid beat and advanced production techniques.

Marwan Moussa

Amina Zaher/Billboard Arabia

Marwan Moussa

Amina Zaher/Billboard Arabia

After experimenting with several genres, Moussa’s 2019 track “El Bosla Da3et” (The Compass Is Lost) marked a turning point not only for his career, but for Egyptian trap as a whole. It was one of the first tracks to experiment with fusing shaabi and trap, paving the way for the rise of trap-shaabi, as it became known subsequently.

His 2021 album Florida cemented his reputation as an innovator, blending regional rhythms with experimental production in a way few dared to. From songs like “Tesla” and “Sheraton” to shaping his own catalog to producing for Egypt and North Africa’s most respected MCs, Moussa has always known how to bend sound to feeling.

But The Man Who Lost His Heart, released in full on May 5, is different. If Florida was Moussa pushing his craft’s limits, this album is what remains when all else falls away – just music, message and the strength found in the breaking.

That strength is amplified by a slate of carefully chosen collaborators. The album features standout moments with producer El Waili on “Yamma” and Afroto, as well as verses from Lege-Cy on “Klameny Belel.” But it’s Donia Wael’s contribution that Moussa calls essential to the record’s emotional core. “I want Donia Wael’s voice on the album to be interpreted by each listener in his or her own way—as a girlfriend, friend or therapist,” he says.

“The reason the album came out this way,” says Moussa, “is that I thought if I give through the five stages of grief, maybe it helps you get through what you’re dealing with or get past a tough time in your life or your current period of depression.”

In that way, The Man Who Lost His Heart is more than an act of expression. It’s an offering. A hand on your shoulder there to remind you that no stage of sadness lasts forever, even when it feels like it might.

For Moussa, producing an album this emotional, meant risking everything: the cool detachment of a hardened rapper. What he’s delivered instead is something harder, and far more lasting. A document of heartbreak. And perhaps, in doing so, he has found his heart again, and his voice.

Marwan Moussa

Amina Zaher/Billboard Arabia

Before the fame, before the crowds, a young Marwan “Nordo” would sneak into Tunisia’s legendary Carthage Festival, hiding near the venue walls just to hear his idols perform. Nearly two decades later, he returned to that same stage—not as a fan, but as a headliner, selling out his debut show days in advance.This month, as he drops his debut full-length album Cotinga, the Tunisian star lands the cover of Billboard Arabia, bringing with him a story of resilience, ambition, and pure love for music.

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For Nordo, his rise to stardom wasn’t just unexpected, it was nearly impossible. Not because he lacked talent, but because of the hardships he endured growing up. The real struggle wasn’t about breaking into music—it was surviving a childhood where even the basics weren’t guaranteed.

In an exclusive Billboard Arabia interview in Dubai, the Tunisian star opens up about it all. “I struggled just to get by. Just to survive. To eat. To sleep without feeling hungry. That’s what wore me down,” he says. “Making music didn’t wear me down. Music was love. Even when we had nothing to eat, I sang.” Over time, he learned to channel that pain into the studio, turning life’s toughest moments into songs that resonate with millions.

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His musical roots run deep: an aunt who taught him Tarab classics, school days spent reciting Qur’an, and a rap crew that gave him the name “Nordo” and shaped his early sound. Though rap launched his career, Nordo refused to be boxed in, absorbing influences from across genres.

Perhaps the most evident mark his hip-hop origins left on his music is his passion for collaboration, even after his solo career took off. Nordo is a people person, driven by emotion and deep bonds. Over the years, he’s teamed up with big names like Sanfara, Blingos, Stormy, Didine Canon 16 and others from across North Africa. His reach even expanded to Egypt, thanks to “Ya 3arraf”—his collaboration with Ahmed Saad and Zaeem, which introduced him to a whole new audience and climbed the Billboard Arabia charts.

But working with Nordo isn’t just about sharing a mic—it’s about real connection. “We’ve got to be friends first,” he explains. “When I collaborated with Didine or Stormy, it wasn’t business. It was brotherhood. We talked, we bonded. That’s how music becomes real. If it’s not honest, it doesn’t work.” He’s got one firm rule: “The thing I hate most? When people hit me up like: ‘Hey, Marwan, let’s make a hit.’ That’s not how it works. It never has.”

Nordo gets that the music industry has its own playbook, but his approach is different. “I need to see the soul behind the song,” he says. “If I don’t believe in the person, the music won’t speak.”

Nordo

Chady Kal/Billboard Arabia

His approach to music mirrors his approach to life: authenticity first. Nordo writes and composes every track himself, determined not to be just another pop act delivering other people’s words. His voice, a smoky, distinctive blend that immediately stands out among hundreds of voices, echoes Turkish vocal tones mixed with North African raï-style soul. Best exemplifying this musical amalgam that’s unmistakably Nordo is “Ya Denya,” which achieved great commercial success and garnered over 100 million views on YouTube.

Now, with Cotinga, Nordo is leveling up. The six-track EP is a kaleidoscope of sounds—flamenco riffs, R&B grooves, Afro-trap beats, Moroccan gnawa rhythms and acoustic pop—all written and composed by Nordo.

The album’s title nods to the cotinga bird: rare, vibrant and fiercely protective of its flock. “Kind of like me,” he says with a laugh. “I care about my people. I want them close, safe.”

Throughout the interview, Nordo oscillates between raw energy and quiet reflection. He shares stories from the studio grind, and how he created Cotinga on little sleep and pure adrenaline. At one point during our conversation, his eyes shifted, gazing into the distance. He told us about the days when making music wasn’t even an option; it was a luxury. The days when he had nothing… except his drive.

Today, as a father of two, he says every lyric, every show, every late night is for his boys – to give them the life he never had. But there’s a catch: “They have to be kind,” he insists. “They have to care about people. Share. Give back. Be there for their friends.”

There’s no manufactured redemption arc here. Nordo’s story is real, and so is his music. It’s driven by real growth. The kind that shapes not only his lyrics and melodies, but also his friendships, his fatherhood, his vision. Above all, Nordo’s mission is simple: to make music that’s honest, tell stories that matter, and remind people they’re not alone.

Nordo

Chady Kal/Billboard Arabia

When Moroccan-Belgian artist Dystinct announced his upcoming third album with a debut single featuring French Montana, the moment didn’t just mark a major milestone in his career—it signaled his arrival on a much broader stage.
The single, titled “Ya Baba” and released on April 18, should be seen as a high-profile collaboration that reflects the convergence of languages, identities and sonic worlds. It’s also a meeting point for two diasporic stories: French Montana was born in Casablanca and grew up in the Bronx; Belgium-born Dystinct also traces his roots to the same Moroccan coastal city.

With 18 Billboard Hot 100 hits over the past decade-plus (including standouts like “Unforgettable” and “Pop That”), French Montana has cemented his status as a powerhouse in U.S. hip-hop and pop. In “Ya Baba,” however, we hear French Montana rapping in Moroccan Darija (Moroccan vernacular Arabic) for the first time. It’s a full circle moment for an artist who left Morocco at age 13 but never lost touch with his roots. For Dystinct, this collaboration marks a major milestone in his global rise—joining forces with a U.S. pop heavyweight signals a new level of international recognition and reach.

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Shot in Morocco, the music video for “Ya Baba” combines the celebratory and the sobering: children playing in the alleyway, elders sipping tea, the hustle and bustle of everyday life. Its combination of Moroccan textures with Afropop grooves, and lyrics that toggle between English and Moroccan Darija, illustrates Dystinct’s ethos of musical diversity. “More money, more problems, ya habibi,” he sings—echoing one of the most iconic lines in hip-hop history, while capturing the emotional paradox of success and the generational weight that comes with it.

But Dystinct’s journey to this moment didn’t happen overnight.

Born and raised in Belgium to Moroccan immigrant parents, Dystinct has long been immersed in Arabic music, as Billboard Arabia wrote in its cover story last year. Yet his ascent to stardom started first through Dutch-language tracks before making his mark in Arabic. That moment arrived in 2023 with LAYALI, an album that passed 500 million streams and supported a sold-out world tour.

Dsytinct

Moise Donkers/Billboard Arabia

Songs like “Tek Tek” with MHD and “Y Dor” with Soolking positioned him at the heart of the MENA Afropop wave. The viral success of “La”—which soared to No. 1 on Billboard Arabia’s Hot 100—and the hit “Wala 5,7,10” cemented his status as a chart-topper, propelling him to No. 2 on Billboard Arabia’s Artist 100. Meanwhile, his track “Spider,” with French artist GIMS, reached new heights, earning multiple Diamond certifications, and is currently approaching 200 million streams. The versatility in dialects in these tracks—from Moroccan to Khaleeji Arabic—reflects his fluency, not just linguistically but musically, across several continents.

French Montana’s career paved the way for this kind of ambition, though from a different era and scale of global success. From his breakout mixtapes in the late 2000s to major label success, Montana represents an earlier wave of diasporic success—one that had to Americanize first, then reconnect with its roots. With “Ya Baba,” the script flips: Dystinct doesn’t compromise his sound for global appeal; he elevates it on his own terms, and French Montana meets him there.

In a world where music is increasingly borderless, this collaboration signifies more than a co-sign—it’s a recognition that cultural identity, when channeled authentically, has the power to travel. As French Montana raps in Darija and Dystinct carries Arabic textures across languages and platforms, “Ya Baba” becomes a symbol of the present moment: one in which artists don’t have to choose between global and local but can be both.

Dsytinct

Moise Donkers/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.

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