State Champ Radio Billboard Arabia
Dystinct arrives at the shoot location, enveloped in the soft glow of the early morning light. Seated quietly and somewhat aloof, he patiently awaits the completion of preparations. Attempting to engage in light conversation to ease the anticipation, we found his responses curt and elusive, often deflecting queries by answering questions with more questions. It was as though his intrigue lay more in unraveling the stories of those around him rather than unveiling his own.
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Transitioning seamlessly to our next location for the filmed interview, Dystinct’s demeanor shifts as soon as the camera rolls, unveiling layers of his persona we had yet to glimpse. Beneath his initial reticence lay a wealth of stories yearning to be shared. With each question, Dystinct confidently embarks on a storytelling journey, tracing his roots, starting with his upbringing in Belgium, where his parents steeped him in the rich tapestry of Arabic music. From the haunting melodies of Umm Kulthum to the resonant voices of artists from Egypt and the Gulf, his childhood was a symphony of cultural immersion. He recounts his collaborations spanning the breadth of his career, from music producers to fellow artists, each partnership shaping his artistic trajectory.
Yet it was his profound connection to his Moroccan heritage that underscored his musical ethos. As he delved into his vision for his craft, Dystinct articulated a deep-seated commitment to speak to Arab audiences. His insights into the intricacies of the regional music industry, particularly the nuanced landscape of North African artists, revealed a keen understanding of the diverse influences and audience dynamics spanning Morocco, Europe and the Arab world.
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Dystinct has carved his name among the foremost Afropop artists in North Africa over the past few years, with a series of consecutive hits and collaborations, each turning into a social media trend and amassing tens of millions of streams. With the launch of the Billboard Arabia charts, the depth of Dystinct’s influence on the North African music scene becomes even more apparent. Over successive weeks, more than five of Dystinct’s hits, released at different intervals, secured prominent positions on the Hot 100 list; at the time of writing this, he held rank in the No. 5, 7, and 10 slots.
His song “La” (No) featured on his album Layali (Nights), reclaimed the top spot after the release of its music video, making it one of the few songs capable of clinching the No. 1 position on the Hot 100 list. Other releases from previous periods continue to enjoy significant popularity, such as “Tek Tek” (Tik Tok) ft. MHD, “Y Dor” with Soolking, “Ghazali” (Gazelle) ft. Bryan Mg, whose spread is linked to a unique event.
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Dystinct was taken aback after attending the match between his country’s national team and Belgium in the 2022 World Cup in Qatar, where players played his song backstage to celebrate, contributing to its exponential spread and forever associating it with the unprecedented historical achievements of the Moroccan national team in the world’s largest tournament.
Dystinct acknowledges that a significant portion of his audience became acquainted with him through “Ghazali,” but it was never his starting point. “Many new people who listen to my songs know me from the song ‘Ghazali,’” says Dystinct. “But before that, I was making Dutch music. In my mind, I always wanted to make Arabic music, but I waited for the right time. I had a song titled ‘Ya La Laa’ (Hey Ma’am) a long time ago, and it was a hit for me, but the thing is, the song was successful, but no one realized it. So, I was working on improving myself. How can I introduce myself to the world? I want to show people who Dystinct is. I said to myself that I want people to see my culture. Even if I make Arabic music, it’s not exclusive to Moroccans or Arabic speakers.”
Dystinct
@designlesss/Billboard Arabia
Born and raised in Belgium to Moroccan immigrant parents, Dystinct’s connection to his Moroccan roots remains steadfast, with his identity as a Moroccan artist paramount above all else. His mastery of Darija, the dialect of Arabic spoken in Morocco, has allowed him to channel his heritage into his music, beginning with the release of “Ya La Laa” (Hey Ma’am) in 2019, marking the inception of his artistic journey. He has collaborated with proven producers who have enveloped his musical style with refined and consistent themes, notably Unleaded, YAM, Ryder and Seno, fondly referred to by Dystinct as his brothers. While maintaining a musical style predominantly centered around Afropop, Dystinct has recently begun experimenting with blending dialects, incorporating elements of Moroccan Darija with Egyptian or Gulf dialects.
“I believe we are in a new era in the Arab world, and Arabic music will no longer be exclusively for Arabs. I have said this in another interview as well, that African music is very popular now, but it has also been witnessing a growth stage. Now we see everyone listening to African music or everyone listening to Latin music even if not everyone speaks Spanish or the like. This is what I am trying to do for Arabic music.”
Dystinct realizes this fact confidently, speaking from experience gained through his personal journey. In his early days, as he attempted to present his music to event organizers and platforms during his time in Europe, he encountered the same response: that Arabic music there was confined to Arab weddings and communities with no place in public events and among Western audiences. Today, after years of hard work, Dystinct stands with a substantial roster of hits and a sold-out music tour announced in America and Europe, confirming that the era of music being confined to a specific audience has come to an end, and that in the present age, Arabic music has emerged as a dominant force, playing a pivotal role in captivating a worldwide audience.
Dystinct
@designlesss/Billboard Arabia
Sherine Abdel-Wahab’s illustrious musical career has flourished over two decades, defined by a versatile body of work that resonates deeply with audiences. With a portfolio of hits, Sherine Abdel-Wahab’s music continues to captivate hearts, dominating playlists across diverse streaming platforms and scaling the heights of the Billboard Arabia charts. Sherine’s impressive achievements and triumphs have paved the way for her to clinch a prestigious Global Force Award at Billboard’s 2024 Women in Music ceremony.
Since the launch of Billboard Arabia Hot 100 and Artist 100 charts in late 2023, Sherine has dominated the Top 100 Artists chart for eight out of 12 weeks, holding the No. 1 spot for the majority of that time and consistently ranking within the top three positions during the remaining weeks. Additionally, her presence on the Hot 100 chart has been formidable, with six of her songs maintaining a spot for a continuous 12-week period.
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The lasting success of Sherine’s tracks like “Kalam Einieh (Words of His Eyes),” which was the No. 1 song on Billboard Arabia’s Hot 100 when the chart released twelve weeks ago, and still holds the No. 5 slot, and the presence of several other tracks from her album Nassay (A Person Who Forgets), are a testament to Sherine’s ability to make timeless music. Meanwhile, her song, “Sabri Aleel (My Patience is Wearing Thin),” has persisted on Billboard Arabia’s charts and streaming platforms, where it continues to reign supreme even two decades after its debut. Meanwhile, the song has garnered viral attention on TikTok, finding new life by captivating a global audience, while transcending language barriers and cultural divide.
“I am thrilled that both my old and new songs are loved by listeners,” says Sherine. “They have embraced everything I’ve poured my heart into from day one. Seeing my tracks still topping the charts after twenty years is truly amazing! That was my dream and it feels great seeing it come true.”
Sherine’s musical journey is marked by a prolific discography and numerous collaborations. In 2005, she released her album Lazem Ayeesh (I Must Live) with Free Music Company, featuring hits like “Ala Bali” (On My Mind) and “Qal Saaban Alieh” (Everyone Feels Sorry for Him). Transitioning to Rotana, she dropped Batamenak (I Reassure You) in 2008, followed by Habeit (I Loved) in 2009 and Esaal Alaya (Ask About Me) in 2012, featuring standout tracks like “Beh Tehky Fe Eh?” (What Are You Talking About?) and “Wel Nabi Law Gani” (I Swear If He Comes to Me). Her sixth album, Ana Kteer (I’m a Lot), released in 2014, included memorable songs like “W Meen Ikhtar” (Who Chose?) and “Ya Layali” (Oh Nights!). Sherine also contributed to the soundtrack of the drama series Tareky (My Way), collaborating with poets and composers.
In 2016, she teamed up with Hossam Habib for the duet “Kol Ma Aghanni” (Everytime I Sing). Sherine’s 2018 album Nassay (A Person Who Forgets) garnered millions of views with diverse tracks such as “Kazbain” (The Liars) and “Al Watar Al Hassas” (The Sensitive String). Returning to Rotana, she released hit singles like “El Hob Khedaa” (Love is a Trick) in 2019, “Mish Qadd Al-Hawa” (I Can’t Afford to Love) in 2020, and “Kollaha Ghayrana” (All of Them Are Jealous) and “Khasimt Al-Num” (I Forgot About Sleep) in 2021.
Sherine attests much of her success to the ability to keep things simple, and real, saying, “It’s all about keeping it real. I’m just me, and that authenticity is what’s helped me connect with fans. Ultimately, it’s their love and support that fuels my success.”
About a decade ago, Sherine teamed up with global hip-hop star Nelly for the duet “Just a Dream.” The song became a massive hit upon its release and recently resurfaced on streaming platforms and social media. She recalls it fondly: “To be honest, Nelly and I hit it off right away. Despite my limited English, we managed to understand each other. I remember we were backstage and I really liked his mic, so I asked him if I could borrow it when we’re singing on stage, and he gladly gave it away!”
Sherine’s virality isn’t limited to the charts. In recent years her songs have found new life on social media, particularly through the remixes of several DJs, chief among them DJamil. In July 2023, DJamil mashed up Sherine’s “Eh Eh” with Drake’s “Hotline Bling,” clocking nearly 20 million views, followed by “Sabry Aleel” mixed with Busta Rhymes “I Know What You Want” in September 2023, which went on to amass upwards of 34 million views.
When revisiting some of the pivotal moments that left a lasting impact on her journey, she reminisced about her first performance on the legendary stage of Baalbek in Lebanon, and shared some insights into her special connection with the Lebanese audience, whom she considers a tough nut to crack.
“Standing on the same stage that Umm Kulthum graced 48 years earlier as the first Egyptian artist to perform in Baalbek was surreal,” says Sherine. “It felt like the Lebanese were not just welcoming me, but also paying tribute to me, and that was an incredible feeling. It’s moments like these that make all the hard work worth it.”
Last month, Sherine dropped her latest single “El Dahab,” which serves as an exciting preview of her highly anticipated new album. Fans have been eagerly awaiting this release, especially following her last album Nassay in 2018. Sherine graciously shared some details about what to expect from her upcoming album: “The new album has some great songs all set, but I’ve decided to wait a bit with Ramadan approaching. After Eid, I’ll start releasing them one by one. Times have changed, you know – it’s all about the singles now.”
As for the Global Force award she received at Billboard’s 2024 Women in Music, Sherine said she couldn’t be happier about such a global nod to the impact of her music, especially knowing that even the younger generations, including her own daughters, have taken to listening to her songs.
“My girls go to an English school and didn’t know much about my songs,” she says. “But recently, my daughter Hana began listening to my music and it’s incredible to see that I’m striking a chord with kids their age and the young generation who listens exclusively to English-language music. It’s a real thrill knowing they’re enjoying my Arabic melodies.”
She adds: “This recognition is huge for me. Seeing my daughters witness this global honor brings me immense joy, and it means a lot to me knowing they’re proud of their mom. At the end of the day, my fans and my daughters mean the world to me.”
Sherine Abdel Wahab
Hassan Hendawi
After much anticipation and careful preparation, the “Jalsat Billboard Arabia” series has finally kicked off, featuring none other than star Ahmed Saad. In the premiere episode lasting 30 minutes, Saad treated viewers to four of his chart-topping hits on Billboard Arabia’s Hot 100 that have resonated across the Arab world in recent years.
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“Jalsat,” which translates to “sessions,” is a term used in the Arabic music community and refers to the gathering of musicians and a singer to perform in a unique and intimate setting. In this exclusive series, Billboard Arabia showcases intimate performances blending the raw authenticity of studio sessions with a vibrant set design, transforming music into an audio-visual masterpiece. In each episode, an established superstar or an emerging artist will deliver a stripped-down set, capturing the essence of their music through a production concept of their own choosing.
Renowned for his consistent presence among the top spots on the weekly list of Billboard Arabia’s Artist 100, Ahmed Saad stands as one of the foremost Arabic pop stars across the Middle East. This accolade is a testament to his enduring artistic journey spanning two decades, reaching its pinnacle in the past two years with the widespread acclaim of his hits across various music platforms.
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The session unfolds with Ahmed Saad delivering a powerhouse rendition of “Ekhtayaraty” (My Choices), the summer 2023 hit that captivated audiences far and wide. Originally featured in the Egyptian film Mr. Ex, the song soared to fame and transcended its cinematic roots to become a popular sensation, thanks to its witty lyrics by Menna Adli El Kiey and composition by Ahmed Tarek Yehia. Saad’s performance is uniquely infused with a Latin arrangement, courtesy of Spanish guitars, offering a fresh take on the original song.
Ahmed Saad transitions into “Aleky Eyoun” (You Have These Eyes), a ballad that marked his return to releasing music more frequently in early 2022. With lyrics by Mohamed Shafei, Saad personally composed the romantic melody to complement the heartfelt lyrics. However, during the session, Saad injects newfound energy and rhythm into the track, steering it in an entirely different direction.
Continuing to captivate, Saad performs “El Youm El Helw Dah” (What a Beautiful Day), originally featured in the film Their Uncle but earning recognition in its own right. Also written by Menna Adli El Kiey and composed by Ahmed Tarek Yehia, the song’s buoyant lyrics and unconventional expressions have endeared it to audiences across the region. In this rendition, the song is invigorated with lively guitar chords and dynamic instrumentation, infusing its cheerful melodies with fresh energy.
Closing the show with flair, Saad presents “Wasa’ Wasa’” (Move Out of the Way), a track that has achieved remarkable success on streaming platforms since its release in the summer of 2022. With lyrics by Mostafa Hadouta and production by Ehab Clopex, the song showcased a different side of Saad in terms of topics and lyrical approach, leaning toward the style embraced by hip-hop and festival artists.
All these selections, along with others from Saad’s repertoire, have maintained top positions on the Billboard Arabia Hot 100 chart since its release more than 10 weeks ago. By selecting these particular songs for the session, Saad underscores their significance in shaping his career trajectory and solidifying his status as a star.
With enticing arrangements and a fresh style, “Jalsat Billboard Arabia” provides the audience with an opportunity to rediscover these beloved songs. Backed by a talented ensemble including Sharif Hassanein on guitar, Badawy Badawy on bass, Mohamed Saad on piano and Ahmed El Sayed on percussion, Saad reaffirms during this session his versatility and confidence across various musical genres. Through a fusion of eastern melodies and western hues, they transform familiar songs into a fresh audio-visual experience that lingers in the memory.
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As Elyanna steps into a warehouse in downtown Los Angles for Billboard Arabia’s February cover interview and shoot, the weight of anticipation hangs heavily in the air. Despite battling nerves a mere 24 hours before her Dallas gig, the first show in her debut North America tour, Elyanna exudes a quiet determination characteristic of her rapid ascent in the music industry. With only two EPs to her name and a handful of singles, she’s already achieved the remarkable feat of selling out nearly every venue on her tour circuit – a testament to her burgeoning fanbase, undeniable talent and her unique sonic proposition, driving a future sound of global pop music unbound by language.
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Guided by her artist management team at SALXCO and her family, Elyanna navigates the shoot with a delicate balance between preparation and preservation, immersing herself in a playlist with unreleased tracks off her forthcoming LP, shuffling alongside tracks by Ice Spice, Sherine and Doja Cat. The 22-year-old artist starts to find her groove, but she does this silently. In the hush of a prescribed, pre-tour vocal rest, moments of introspection emerge – and it is in these moments of silence we hear Elyanna’s message to the world.
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Elyanna aims to elevate Arabic pop music onto the global stage while using her art to depict her homeland and culture beyond the lens of conflict. Born in Nazareth, Palestine, and moving to L.A. with her immediate family at the age of 15, she seeks to showcase her culture’s beauty in its entirety – its layers, textures, multi-colors and history – countering the media’s portrayal, dominated by the specter of war and destruction.
This carries into every one of her songs and live performances. Whether expressed through her instrumentation, lyrics or Arab-inspired fashion and accessories, we see Palestine through Elyanna’s eyes but also through that of her family. One cannot tell the story of Elyanna without also talking about how each family member plays a pivotal role in her career. Her sister Tali is her stylist, her brother Feras is her co-producer and video director, whereas her mother Abeer contributes to her songwriting. Meanwhile, her father, Amer, is the glue that holds the operations together.
“I would say that takes people who believe in you,” says Elyanna. “So I just surround myself with people that believe in me…. Like my family, like my friends, the people that believed in me and put time in me.”
It is not an exclusively Arab thing to keep your family close by, but it is very Arab to tell a story of generations in one song. We hear this in many of Elyanna’s tracks, first with the ambitious cover of Abdel Halim Hafez’s “Ahwak” (I Love You), a song that consistently permeated every generation since it was released nearly six decades ago. Elyanna’s rendition of “Ahwak” is a mesmerizing homage that breathes new life into the classic by setting the original lyrics against an acoustic piano, as her reverent vocals feel as though they are coming from another time.
“I know it’s a cover,” she says. “But I felt I brought it into my own world. I think that was the point where I knew what I should do next.”
On her 2019 debut original release, “Oululee Leh” (Tell Me Why), Elyanna unveiled her sonic potential to the world. Co-written by her mother Abeer Margieh, her brother Feras Margieh and songwriters Nasri Atweh, Sari Abboud and Martine Sinotte, the song delves into the profound loneliness born from loss and distance. Its poignant lyrics and haunting instrumentation evoke an intimacy that resonates with anyone who has ever felt like a stranger, offering solace in shared experience through a chorus that sings, “Ouloulee lee” (tell me why).
When I asked Abeer, her mother, whether the song was about the loss of a place or a person, she quickly responded with “a place.” But for Elyanna, it has a double meaning, one that the listener is left to decode independently. It is in this co-writing with her mother and brother that Elyanna’s songs cut across the temporal spectrum, collapsing past, present and future in a single note.
In 2020, Elyanna released her debut album, a self-titled body of work made up of six songs, including “Ouloulee Leh,” “Ahwak” and viral hit “Ana Lehale” (I’m on my Own) feat. Massari, showing an artist on the brink of finding her voice. Two years later, Elyanna dropped her follow up EP, Elyanna 2, driven by hits like “Ala Bali,” also featured in Mo Amer’s Netflix show, and “Ghareeb Alay” feat. Balti, which went on to amass over 50 million views on YouTube with its blend of Latin rhythms and relatable lyrics. With a steady flow of singles, including Elyanna’s 2023 release of “Sokkar,” an Arabic cover of the song by Zubi and Anatu, followed by “Mama Eh,” she continued to underscore her budding pop prowess.
In a short time, the artist managed to land a coveted spot in Coachella’s April 2023 lineup, where she performed the first ever complete Arabic set in the festival’s history. In another milestone moment, Elyanna’s heart-wrenching original song “Olive Branch” (co-written with her brother Feras) was performed live at the 2023 edition of the El Gouna Film Festival. It spotlighted the artist’s unique ability to use her music to drive awareness, while celebrating the richness and beauty of Palestinian culture.
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When asked about her role as an Arabic artist, Elyanna articulates a pressing imperative: to disseminate her culture worldwide. While such inquiries often provoke polarizing responses, she gracefully infuses each of her songs with glimpses of cultural richness of her heritage, but she does so in an accessible way.
Much like the intricate stitches of “tarteez” (Palestinian embroidery), Elyanna’s music weaves various influences into a harmonious whole. Each musical passage is akin to uncovering a hidden image as if each thread holds a story waiting to be explored, inviting listeners around the globe to find the patterns that speak to them while resonating with the whole. Now, on the brink of releasing her debut LP, Elyanna continues to blend her multiple cultural influences, be it the Latin textures inherited from her Chilean grandmother or the power of her Palestinian grandfather’s pen, all the while creating an entirely new pop sound.
“It’s really just taking things from life that I love, and now I want to do it in a project that I would call a piece of art,” says Elyanna. “And this project is really experimental.” Lead single “Al Sham” from her upcoming album embodies various cultural elements from the region, showcasing her spirit of experimentation. Fueled by electronic-dabke rhythms, she ingeniously interprets lyrics from Syrian singer Sabah Fakhri’s classic “Khamrat El Hob.” In Elyanna’s version, we dive into the song’s iconic line, “A life without love is like a river without water.” But it’s somewhere within the music video where we get a sense that Elyanna is not a victim of unrequited love or anything else. Instead, she is a formidable force, surrounded by her crew and imagery evoking empowerment, marking a pivotal moment in the lead-up to her debut North America tour.
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“I’m on a Billboard cover, and we have a sold-out tour, and I have an album coming,” says Elyanna. “It feels insane to me. I’m doing things I dreamt of my whole life.” She goes on to mention that the tour has the ability to gather Arabs in America together, which is something she looks forward to most.
After postponing her debut tour due to the war in Gaza, Elyanna eventually announced new dates, with 10 stops through the U.S. and Canada. Within 20 seconds of watching her perform, Elyanna’s star potential is undeniable. It’s not just her voice, message or rich influences, but the combination that shapes her artistry, its impact and the future sound of Arabic pop.
This is a translation of a cover story that originally appeared on Billboard Arabia.
Elyanna
Billboard Arabia
Sony Music Publishing, the world’s largest music publisher, is expanding its operations across the Middle East and North Africa with a new office in Dubai. The region will be led by managing director Dounia Chaaban, who will report to SMP senior vp of international Dan Nelson.
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Chaaban began her career at Anghami, the leading music streamer in the Middle East. After working there for seven years, serving as the Arabic indie community lead, Chaaban then became an artist relations manager at Believe Music. “I look forward to working hand in hand with the incredibly talented team at Sony Music Publishing to propel the MENA music industry to new heights,” says Chaaban of her new appointment. “Together, we will create an environment that nurtures creativity, fosters innovation, and unlocks the boundless potential of the region’s musical landscape.”
The news arrives just a day after Universal Music Group announced the opening of a new Capitol Studios location in the UAE as part of a collaboration with DGMC, a local music organization. The two say they will work together to build a “Music City” that will serve as a regional hub for local and global recording artists and songwriters in the MENA region.
Other music companies have also expanded more into the MENA region in the last year. In October, Warner Music announced its investment in HuManagement, a Dubai-based talent agency; In the last twelve months, Reservoir Media joined with PopArabia to acquire Lebanese music company Voice of Beirut, Egyptian label 100COPIES, and Saudi Arabian label Mashrex; In May, BMI partnered with Music Nation, a UAE music rights management organization.
Billboard also expanded into the region with the launch of Billboard Arabia in June. A partnership with media giant SRMG, Billboard Arabia is a region-specific editorial site, featuing two new global charts to track the success of music from the MENA region.
Nelson says: “We are excited to welcome Dounia to the Sony Music Publishing team. Dounia’s extensive experience working with local talent will be invaluable as we expand opportunities for new and established songwriters and artists across the region. There couldn’t be a more opportune moment to launch our business, and we look forward to growing our presence in the MENA region.”
Billboard Arabia sat down for an exclusive one-on-one with Grammy-winning producer, rapper, songwriter and DJ Kasseem Daoud Dean — known professionally as Swizz Beatz — for an interview about his work in Saudi Arabia. These days, the 45-year-old musician-turned-businessman spends his time hyping up one place in particular, and that’s the Kingdom of Saudi Arabia.
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“Why Saudi?” seems to be the question on everyone’s mind. “Why not Saudi?” Swizz Beatz answers assertively. “It’s so amazing and has so much heritage.” Speaking with the same passion you would find in locals of Jeddah and Riyadh arguing over which city they think is cooler, Swizz Beatz’s advocacy for Saudi creativity runs deep and started way before the kingdom decided to leverage celebrity influence as part of its global tourism campaign.
“It’s amazing to see where everything is going, from when I started coming to Saudi, to what I see today,” explains Swizz Beatz, who has been visiting the country since 2006 and supporting its talents even before that, such as in early 2000, when he crossed paths with a young kid from Jeddah who had big dreams of rapping about his homeland internationally.
“Skinny was the first Saudi artist I produced. His last album, I executive produced. I got him his deal, I structured his deal, and to see him on [the MDLBEAST] stage in front of all of those people, singing those songs that we were sitting in the studio with, it just shows you that Saudi is not far off at all!”
In March 2022, Skinny released the bass-laden track “Saudi’s Most Wanted,” produced by Swizz Beatz, accompanied by a three-minute video set to a montage of scenes throughout the kingdom.
“I think the creative community here is thriving! I have a compilation with some local artists called MOYA, including Jeed, Shaolin and Ntitled. All of those guys are family to me. When I came here and was listening to their music and their stories, I said to myself, ‘You know what? I want to give everybody music.’” A few months later, those same artists debuted at the region’s biggest music festival, Soundstorm.
Having worked with legends such as DMX, Jay-Z, Kanye West, Drake, Mary J. Blige and his wife, Grammy-winning singer/songwriter Alicia Keys, Swizz Beatz has always had an eye for creative talent. Much like an unofficial brand ambassador for the kingdom, Swizz Beatz can often be seen publicly commenting on his celebrity friends’ Instagram posts with Saudi flag and red heart emojis. “I’ve been telling them for years! I’ve been saying, ‘You have to come to AlUla! You have to see the development of The Line and NEOM. Go visit JAX!’” In the time since, Saudi Arabia has continued to boom with artists visiting through performance opportunities, or on their own accord. In the 2023 edition of Soundstorm, major headliners from the global hip-hop community came through including Will Smith, 50 Cent and Travis Scott, to name a few.
“See, I’m kind of biased about Saudi. For me, it’s like being home. It’s like asking me about my own home when you speak about Saudi. I feel like it’s going to be the number one place in the world, period. Especially when you look at all the new places being built, the energy the region has in general.
“I just recently went to the Noor Festival [in Riyadh] and there were a lot of amazing artists in that particular show,” he says. “There’s Ahmed Mater, who is a great friend.”
An avid collector of art, Swizz Beatz admits he’s constantly inspired by the many talents he meets in the kingdom. “I’m getting them [Saudi artists] into my museum show in New York at the Brooklyn Museum. That’s coming soon insha’Allah, so their work can be seen abroad as well. But the art scene [in Saudi] is super booming. There’s a lot of talent here on all sides of art — fashion, music and visual photography. To see all of these doors open has been amazing to watch.”
Swizz Beatz is much more than a spectator. His latest endeavor, the new headquarters of his Riyadh-based company, Good Intentions, is less office space and more incubator-like venue that can easily be transformed into an interchangeable setting, ideal for all facets of creativity.
“I’ve seen so many styles in Saudi already now. It’s not just one particular style,” he explains. Swizz Beatz admits Saudi is a melting pot of influences and aesthetics, and exporting its culture is just as important as the country opening up to the rest of the world.
When closing out the interview, Swizz Beatz gave a final testament to his excitement about the progress in Saudi, stating, “The thing that I like is that everybody’s in their own vibe and everybody’s supporting each other.”
At the turn of the millennium, the Arabic pop scene was flourishing and looking for its next big hit. In came Elissa with “Aayshalak” (Living for you), which became an instant hit in the Arab world and put the singer on the path to stardom. Elissa immediately left an imprint, and not only because she had found the perfect song for her vocals and personality. The ambitious singer had studied other hits with sharp precision and refined taste, and she made sure to have a say in the music production process until she got the perfect electronic beat for the song.
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Elissa quickly sparked interest – and controversy. When her first music video was released, the young singer was immediately labeled as “bold.” But time would prove that she was never a talent who stumbled upon success by chance. From the outset, she had had her own vision, as evidenced by her introduction of house music to Arabic pop with master composer Jean-Marie Riachi.
Ahead of the release of her new album, the 13th of her musical career, we took a trip down memory lane with the singer to trace back all the milestones she has celebrated since her first album.
Some 32 years ago, Elissa clinched the silver medal at the Lebanese music competition Studio Al Fan. A record deal was supposed to follow, but her contract was shredded to pieces – she lacked talent, Studio Al Fan creator Simon Asmar told her. But Elissa did not give up on her dream. Even after that setback, she kept trying. If anything, she was even more determined.
In 1998, she released “Baddi Doub” (I Want to Melt), her first official song and title of her first album. With the track, Elissa began shaping her identity as an artist, paying no heed to what’s “popular” or “needed.” She confidently blended Arabic music and lyrics with Spanish melodies, and the black-and-white music video for the song was seen by the audience as bold. Right from the start, Elissa forged her own unique path.
Successful as it was in establishing her presence on the music scene, this first milestone left her with a drive to work even harder. In the summer of 2000, she released her second album W’Akherta Maak (What Should I Do with You), which would compete amongst the leading Arabic albums of the year against Abdel Majid Abdallah’s Enta Al Aziz (You’re the One), Hani Shaker’s Garhi Ana (My Wound), Muhammad Munir’s Fi Ishg El Banat (When it Comes to Loving Women) and Amr Diab’s Tamally Maak (Always with You).
The album featured “Betghib Betrouh” (Whether You’re Away or Gone), which propelled her from amateur status to professional. That Ragheb Alemeh would choose to make this duet with Elissa and feature it on his own 2001 album Saharouni El Leil following the collaboration’s resounding success spoke volumes about Elissa’s talent. Even for the singer herself, the success of “Betghib Betrouh” was a turning point in her quest for her identity as an artist. “I told myself at that moment: the talent I see in myself, Ragheb also sees it in me.”
With her first successful collaboration, Elissa saw herself climbing the ladder to stardom two steps at a time. The release of her third album, Ayshalak (Living for You), cemented her position as a pop star. “Ayshalak was not only a giant leap for me, but also for the whole music scene – pop music precisely.”
The song was not originally as fast-paced as the released version. The rhythm was accelerated upon Elissa’s request, who deeply admired another pop hit of the time. “‘Ayshalak’ came to life because I adored Amr Diab’s ‘Habibi Wala Aala Balu’ (My Lover Doesn’t Care) and wanted a similar song. Eventually, it turned out to sound nothing like it, but ‘Ayshalak’ was finally released.”
Besides perfect timing, a farsighted vision and a unique audacity, something else helped Elissa maintain her stardom after the first hit. Throughout the following years, the singer retained the same discipline and determination that helped her launch into the world of music. She was not the kind of pop star who chose from ready-made song projects. Instead, she participated in the song making and production processes and fostered partnerships with composers and songwriters who understood her points of strength. She insisted on getting involved in even the tiniest details – an insistence that can hardly be seen in a negative light if one were to look at the success she achieved, one album after another.
In 2004, she released her fourth album Ahla Donya (The Most Beautiful World), which, along with the titular song, laid the foundations for the path of romantic music that she subsequently followed, earning her the nickname “Queen of Emotions.” Recorded using the Super Audio sound technology – still a new innovation at the time – the album achieved worldwide success, earning Elissa a World Music Award for Best Selling Artist in the Middle East and North Africa. Elissa describes the title song, written and composed by Muhammad Al-Rifai and arranged by Jean-Marie Riachi, as an ode to all that love represents, a dreamy tale that expresses heartbreak as much as it does affection.
In early 2006, Elissa released Bastannak (Waiting for You), which went on to garner her another World Music Award. The global recognition for two years in a row was an unprecedented achievement in the Arabic music scene. The album sold over 3.7 million copies, and its songs were translated to many languages, including Hindi and Turkish.
One particular song from that album occupies a special place in Elissa’s heart. “When I hear ‘Fatit Sinin’ (Years Passed), I don’t feel like this is my voice in the song. I love this song. It doesn’t really remind me of anything. I’ve never experienced the state I’m singing about. But I love its music. I love its lyrics.”
The next year, Elissa unveiled her sixth album, Ayyami Bik (My Days with You). Like Bastannak, many of the album’s 11 tracks were translated to other languages. With “Betmoun” (Anything for You), Elissa stayed true to her identity as an artist, but still delivered a new musical genre that could be described as groundbreaking for its time. “Betmoun” was Elissa’s first of many successful collaborations with Marwan Khoury. The song was written and sung with a Lebanese accent, but it was adored by the Egyptian audience, Elissa recalls. It went to show the uniting power of music and how it can transcend borders and linguistic barriers.
Album number seven Tisaddaa Bi Meen (Would You Believe it) left Elissa with many unforgettable memories. Elissa remembers how “Aabali Habibi” (I Want to… My Love), which found its way to her by coincidence, struck her as a woman’s bold expression of love, declaring her wish to marry her lover and start a family with him. Elissa thought “Aabali Habibi” was realistic and tackled a subject that female artists rarely sing about. Plus, it would serve as a wonderful wedding song. As always, Elissa insisted on being involved in the production process to make sure the song came out as it did: “a romantic song by excellence.”
Most of the album’s songs were equally romantic, but each had its own story and emotions, and each reflected a different reality. Despite the misery embedded in the lyrics of “Amri La Rabbi,” faith took center stage in the song, reflecting the beliefs of Elissa the human being, who resorts to her faith to find strength in life.
As for “Min Gher Mounasba” (Without a Reason), written by Nader Abdallah and composed by Walid Saad, Elissa strayed from her usual romantic musical line to shine a spotlight instead on a social issue. For Elissa, singing about domestic violence was not an easy choice to make. “I was scared! It took me six or seven months to decide to sing it… But after that song, I broke the barriers stopping me from tackling taboos. No subject, sensitive as it was, was too scary to sing about. That’s when I discovered that art is, indeed, about sending a message.”
Some of Elissa’s songs conveyed social messages. Some stirred deep feelings in her listeners’ hearts. Others became the ultimate dance tune of their time. With this vast, diverse portfolio, Elissa’s music resonated with millions of listeners around the world. It was hardly a surprise, then, when her eighth album Asaad Wahda (The Happiest Woman) came in 13th position on Billboard’s World Albums chart for one week in July 2012. The album’s titular song, according to Elissa, is “full of positivity and joy. I sing it at every concert. It engages the audience in such a spectacular way. It’s a great song to perform at concerts.”
From a state of positivity, Elissa leapt in her ninth album to a state of love with Halet Hobb (which literally translates to “A State of Love”). In August 2014, the Halet Hobb appeared on the Billboard World Album chart, debuting at No. 3 and then hitting No. 7 and No. 12 in the following weeks.
Elissa had heard the melody of “Halet Hobb” (A State of Love) by coincidence while on a visit to Turkey. It was playing on the radio and she could not get it out of her head, eventually leading her buy the rights to reproduce the song in Arabic. She passionately recounts: “I don’t know how many Turkish songs I had to listen to until I finally found it.” As soon as she obtained the copyright for the melody, Elissa asked Nader Abdallah, her “emotional twin,” to write a song that fits the tune. She only needs to describe to Nader the emotion she would like her song to convey, and he’ll put it into lyrics.
The album also included “Beraghm Al Zorouf” (Despite the Circumstances), which she holds dear, being one of those songs that show a side of her personality, particularly in the verse “the weakness of the soul comes from the weakness of faith.” Elissa says she feels a deep connection to that verse, because it expresses strong faith despite challenges and setbacks.
Year after year and album after album, Elissa’s name became no stranger to Billboard charts. So when album number ten Sahharna Ya Leil (I’m Awake, O’Night) ranked No. 5 in October 2016 on Billboard’s World Albums chart it was far from a surprise. But the success of “Maktooba Leek” was. The song, released as part of the album, found its way to listeners’ hearts even without a music video or promotion. “This song conveys love in its most sublime form,” says Elissa.
Similarly, the song “Hekayat” (Stories), released in 2018 as part of her album Ila Kol Elli Bihebbouni (To All Those Who Love Me), achieved great success, ranking No. 10 in August 2018 on Billboard’s World Albums chart, despite not being made into a music video. Elissa is fond of many of her songs, but she admits “Hekayat” is the only song she listens to on a daily basis, drifting off to sleep to its melody. “Hekayat” was written by Osama Mustafa and composed by Mohamed Yahya. For Elissa, the song abounds with emotions that summarize the power of love.
In 2020, in celebration of two decades of a successful music career, Elissa released Sahbit Raey (A Woman of Opinion), whose 18 songs varied between the Lebanese and Egyptian dialects, and even included a song in French. With this twelfth album, Elissa sought to reaffirm her identity as an artist who never compromised on her unique spontaneity and strength of character.
The album includes “Ahwet El Madi” (The Coffee of the Past) written by Siham Al-Shaashaa and composed by Muhammad Rahim, which brought Elissa back to the past and its memories. “All I could feel with this song was nostalgia and longing for my father.”
As she approaches the silver jubilee of a successful music career, marked by many ups and downs and a wide variety of experiments with Arabic pop, Elissa insists that it is only with perseverance that she can maintain her stardom.
“I know I am successful,” she says. “I certainly do not deny it. But I’m not yet satisfied with what I have accomplished – nor do I want to be.”
This article is a translation of a piece that originally appeared on Billboard Arabia.
Billboard Arabia
It’s been an action-packed year for Amir Eid, the lead singer of the groundbreaking Arabic rock-pop band Cairokee, who just released several tracks off his debut solo album, which came in parallel with season two of the hit show, RIVO. Created by Mohamed Nayer and directed by Yahya Ismail, the show premiered on Watch It, starring Amir Eid as Shady, the lead member of a fictional indie band shrouded in mystery.
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Much like Cairokee’s journey to success, and particularly that of lead singer Amir Eid, RIVO depicts the arduous road of a band determined to change the musical landscape in which it exists. We hear this all packed into RIVO’s brilliant soundtrack. Meanwhile, the deep nostalgia for the glory days of the ‘90s was perhaps another factor behind RIVO’s mass appeal.
Amir says the idea for RIVO began with his friend, script writer Mohamed Nayer, who kept trying to sell him the character of Shady for years. For the Cairokee lead singer, the decision to embark on this new experience was not an easy choice to make.
“[Mohamed] would always tell me: ‘You will play the role of Shady,’ and I would respond by saying: ‘My son, I do not want to act,’” Amir explains. But it seems that seven years of preparation were enough for Amir to change his mind. “I met Nayer by chance, and he told me you have to read this script,” he recalls. “I read the script and loved it, because it had a band and music and ‘90s and playing, so honestly, I fell in love with the role, and wanted to go through with it.”
In terms of the music, Amir manages to yet again deliver a set of songs that exhibit his resonant ability to blend alternative rock and pop, with his self-contained style of songwriting — in this case, songs that are at the heart of both Shady’s life and Amir’s career. Four tracks were enough to leave the audience with a sonic token from the show, as heard in “Tayer” (“Flying”), where the mood is immediately set by means of a bemoaning guitar line and delicate drum pattern that gives space for Eid’s vocals.
Later in “Wahshteny” (“I miss you”), Amir’s pop sensibilities and musical storytelling come in with an upbeat production juxtaposed against lyrics of an untimely love. “Lw Kan” (“If Only”), in collaboration with producer Sary Hany, offers the fullest sound, while in “Metkatef” (“Tied Up”), the keys and trumpet-driven track delivers a melancholia cushioned by rich instrumentation. In the track, we hear Amir in his most controlled vocal delivery situated within the tragic closing scene of RIVO‘s series finale.
The show weaves the music into its narrative to convey meaningful messages and ignite conversations about mental health. Within its script, the series spotlights issues like depression, a dialogue that Amir aspires will resonate profoundly with the audience.
Amir says that his approach to crafting music content for RIVO is a complete departure from his usual songwriting process for Cairokee — in this case, a largely solo driven process, but also conceived for an entirely different time period. The songs he writes for RIVO are based on a script set in the 1990s, whereas his songs for his band Cairokee are born out of pure imagination.
“First thing I do is I read the scenario really well,” he says. “Then I put it aside and go about my life normally, as we do tours and a lot of concerts, so I think, ‘What would Shady do in this situation? If he was to sing, how would he sing? If he was to write, how would he write?’ So the idea gets refined in my head, so I go back to the scenario and start working on Shady’s songs and character in the second season of RIVO.”
Looking back, a blending of Western rock and Egyptian folk music is carved in Amir’s memories of his childhood and teenage years — a fusion that would eventually shape his own music to a great extent. When revisiting this period of his life, Amir, a huge fan of the Rolling Stones, often remembers his Beatles-loving older brother. To justify his own preference, Amir says he liked the Stones’ rebellious nature and signature look.
“I would love for Cairokee to keep performing when its members are 60 or 70, touring and writing songs and living this life regardless of their age. It goes beyond just looks and fashion style – it’s that forever-young attitude that I admire most in the Stones.”
Since their debut self-titled album in 2009, the band has released eight albums, with songs that continue to find a home on the Billboard Arabia newly launched Hot 100 chart. Amir also landed a spot in Billboard Arabia’s Top 100 Artists with his solo work, while closing out the year with two epic performances with Cairokee: MDLBEAST’s Soundstorm in Riyadh, followed by their show in Egypt’s El Gouna Film Festival.
Through Amir’s musical journey, the timeless essence of rock and the resonance of his songwriting continue to permeate his melodies. Be it in his solo work or the rich portfolio he’s created with Cairokee, Amir maintains his ability to create music that speaks to the human experience, with songs that are helping to shape the new sound of Arabic pop.
This article is a translation of a piece that originally ran on Billboard Arabia.
Amir Eid
Abdulla ElMaz/ Billboard Arabia
From TikTok to touring the world with the Grammy-nominated pop-rock band OneRepublic, Mishaal Tamer continues to find ways to elevate his position in the global pop pantheon. Singing in English, Arabic and Spanish while mixing guitars with a self-made modified electric oud, not to mention a poignant songwriting and performance style that is entirely his own, Mishaal represents a rising generation of trilingual pop stars that are not only bridging cultures but sonic references to create something entirely new.
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Since childhood, Mishaal has been driven by making the impossible possible. When he was nine years old, Mishaal broke his arm, suffering nerve damage that would have left him handicapped had he not found the guitar. Powered by his dreams, he used the instrument as part of this physical therapy, which eventually built the foundation for his songwriting and artistry.
In 2016, Saudi Arabia saw a major turning point with the announcement of the 2030 vision, with music, art and entertainment at the forefront. During this transformative period, Mishaal emerged onto the scene, establishing his presence through his first Instagram post with a self-reflective, somber guitar clip of “Can’t Love Myself.” Producer Monty Datta later found the track, sampled and released it, propelling the track to amass almost upwards of a billion views across platforms.
2019 witnessed Mishaal’s evolution as an artist with the release of his debut music video for “Arabian Knights.” Filmed in his hometown of Jeddah, Mishaal kicked off the trilingual trend by singing in Spanish, Arabic and English, cushioned within a Spanish strummed guitar and a lo-fi beat.
Afterwards, Mishaal went on to release an outpouring of singles, culminating with his debut EP, Life’s a Ride, in 2020 through RCA Records. Driven by indie-pop and genre-bending aesthetics, heard chiefly in tracks like “Friends,” Mishaal found his voice and self-contained style of songwriting.
In this behind-the-scenes video, Mishaal explains to Billboard Arabia what it means to be a songwriter from Saudi Arabia on the brink of global stardom and the importance of dreaming big. On the tour, Mishaal also teased several singles from his forthcoming album, Home is Changing, a double entendre for undeniable progress happening in the Kingdom, but also deep within the artist. The album consists of five EPs that collectively tell a story of transformation and personal growth. Thus far, the lead singles include the self-reflective “Superman,” followed by “Disco Cowboy,” a blending of post-punk guitar lines, momentous drums and anthemic lyrics.
This notion of change is ever present in Mishaal’s work, particularly when looking at his early work and the evolution of his songwriting leading up to getting signed by Empire, and Home is Changing. It is perhaps out of his ability to embrace change that the young artist continues to rise. For example, in the process of receiving his visa in the United States, Mishaal spent many nights sleeping under a table in a recording studio in New York, unable to return home to Saudi during COVID, and instead writing through his homesickness. The outcome was a body of work that continues to flourish.
In the summer of 2023, Mishaal joined OneRepublic as the opening act on their multi-city tour across Europe, and in this video, he takes Billboard Arabia behind the scenes and through the many milestones reached along the way. The tour came after singing with Empire and co-headlining the 2022 iteration of MDLBEAST’s SoundStorm in Riyadh alongside stars like Bruno Mars, DJ Snake, Post Malone, David Guetta and more.
Building off the momentum of the tour, OneRepublic teamed up again with Mishaal in a partnership between Interscope and Ubisoft to release the track “Mirage” for the video game Assassin’s Creed Mirage. “To be featured on a song with my musical heroes, OneRepublic, that soundtracks my favorite video game, is a dream come true,” says Mishaal Tamer.
The song dropped in the lead up to the game’s release, with the lyrics co-written by Ryan Tedder, and a feature by Mishaal singing in Arabic, where both verses take inspiration from the video game. A week later, Mishaal dropped another single, “Painful Paradise,” paired with a music video made of footage from the tour with OneRepublic.
Last December, OneRepublic announced a Dubai stop on its Artificial Paradise world tour on Jan. 25, with Mishaal Tamer set to open up the stage with tracks from his new EP, The Deep. In his rapid rise to the global stage, Mishaal’s trilingual prowess and genre-blending continue to push the boundaries of indie-pop, where his lyrics echo personal and cultural growth, while his collaboration with OneRepublic heralds a new era for the artist and musicians from Saudi Arabia.
This article is a translation of a piece that originally ran on Billboard Arabia.
Pinpointing the exact moment when Mohammed Abdu earned the title “Artists of the Arabs” proves challenging, yet it undoubtedly reflects his remarkable contributions to the pantheon of Arabic music. His unwavering commitment to evolving his artistic style and craft over the past six decades cemented his legacy. Abdu introduced the inaugural musical experience from the Gulf, specifically from Saudi Arabia, reaching audiences in Egypt and the Levant, and later, performances on distinguished global stages.
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In this realm, his artistic resonance mirrors that of other Arabic music icons such as Umm Kulthum in Egypt and Fairuz in Lebanon. Abdu’s music stands among these trailblazers, transcending boundaries of geography, dialect and cultures. It continues to be cherished, remembered and echoed across the Arab world, ingrained in the collective memory to this day.
When asked about the artistic activity closest to his heart, Abdu’s response is swift and confident: “The stage!” Abdu has always been passionate about bringing his art to the masses. “We started with open-air public theaters,” he says, a sentiment that defines the nearly sixty years he has been active in the music scene. Over this time, he has observed significant changes in the music industry, not only in Saudi Arabia but across the GCC and the Arab region as a whole. At just 14 years old, he experienced the proliferation of traditional Arabic music in Saudi Arabia and had the opportunity to learn from and train under the leading composers and musicians of the time.
While theater holds a special place in his heart, radio was the first and most influential platform in Mohammed Abdu’s artistic journey. He fondly recalls his time at Saudi Broadcasting Authority, reminiscing about the memories it holds. Abdu joined the station in its early days in the ‘60s, describing it as a pivotal moment filled with both fear and excitement. He recalls, “When the Saudi Radio aimed to contribute to the elevation of [Khaleeji] art, the Radio sought to adopt an artist whose work it would produce based on a refined culture.”
This leads him to remember his greatest moment of sadness. “One of the saddest moments in my life was when I heard my voice on the radio. Sadness and crying took over me, and maybe even depression to a certain extent.” However, fear and sadness became drivers of hope for him, and hope was always a source of joy. Hearing his voice on the radio marked the official recognition of his status as a professional artist, ushering in a feeling of facing the unknown and newfound responsibilities. To ease his nervousness, he even explored alternative career options alongside his music, but ultimately his drive toward music persevered.
It’s crucial to note that radio in that era, especially in the Kingdom, served as more than just a broadcasting platform; it was an artist’s home, production company, recording studio and distribution platform—all functions that are now separated. Mohammed Abdu emphasizes the revolutionary role of Saudi Radio in popularizing traditional Arabic music to Saudi Arabia in the early 1960s by bringing in musicians from the Levant. Before this, traditional music in the Gulf mainly consisted of collective chanting of poetry, including what we know today as Saudi Sheilat music.
After the foundational phase marked by fear, sadness, responsibility and personal struggles, Abdu entered another phase in his career characterized by collaboration with fellow artists, influencing and drawing inspiration from them. A significant figure in shaping Abdu’s musical journey was the late composer Omar Kadars. Abdu expresses, “I gained a wealth of knowledge from him. His openness to traditional Arabic melodies, their intricacies and his mesmerizing oud playing greatly benefited me. As an amateur with modest talent in the beginning, I ended up benefiting immensely from his guidance.”
It was during this time that music in Egypt opened up even more. In the 1970s, young Abdu set off to Egypt, ready to take on the world as a budding artist and expand his horizons. He went with a clear purpose in mind, saying, “When I went to Egypt, I had a plan. I brought my tunes and my vision. I wanted to bring fame to my country’s art. You could say it was a fully integrated Saudi artistic project…. My first trip to Egypt was in 1969 and I can confidently say that I benefited from the musical workshops they used to organize, which helped me showcase the true colors of the Gulf.”
Proving himself as a serious artist, Abdu collaborated with legendary Egyptian composers like Riad Al-Sunbati, singing his compositions in a national operetta. He also worked with the late Egyptian poet Ismat Al-Habrouk, co-writing a eulogy song for Umm Kulthum called “Bulbuli Al-Sadah” when she passed away. This moment deeply affected Abdu, a devoted fan of Umm Kulthum who attended her concerts across the Arab world whenever possible. As he continued his music journey in Saudi Arabia and made regular trips to Egypt, he produced songs resonating throughout the Arab region in the 1980s, such as “Aywah,” “La Treddin Al Rassayel” and “Markab El Hind.”
In the 1990s, the Artist of the Arabs began reaping the rewards of his years of hard work in music, performing his rich repertoire on some of the world’s most prestigious stages as the pioneer of Saudi song. His voice brought people together with heartfelt songs like “Baad Kuntu Wala Garibin,” which he dedicated to expats. Abdu performed in major Arab and European cities as well, as part of the Weeks of Cultural Exchange that Saudi Arabia used to organize.
After reflecting on his long journey, we must also explore Mohammed Abdu as an artist in the present day, while considering how production techniques and methods have evolved. In this context, he emphasizes that today’s generation of aspiring musicians is incredibly fortunate. “Nowadays, demand is higher than supply,” he stated, referring to the numerous radio stations and platforms that give emerging talent the chance to showcase themselves to their audience. “An artist without an audience is an artist without art. The audience isn’t ignorant; they need to see something valuable in the artist,” he explained, sharing his perspective on the special relationship between an artist and their audience. However, certain aspects that define an artist’s essence remain constant regardless of the era. According to Abdu, “An artist is composed of two layers: natural talent and the mastery of it. Talent is innate, while mastery is acquired.”
In the interview, Abdu also compares yesterday’s music with today’s. He acknowledges the changes in composition and recording techniques, pointing out that technology has made things easier. “I’ve always been a bit slow with composition, but nowadays, technology is a real time-saver,” he admits. However, he also sees a downside to this convenience. He believes that artists have become a bit lazy due to the ease and speed it brings. Previously, music recording required effort, focus, discipline and a respect for time.
When it comes to AI and the future of the music industry, Abdu doesn’t shy away from expressing his support for technological advancement: “Scientific progress in general should never stop,” he says. However, upon closer examination, he also recognizes that AI-generated sounds, especially in traditional Arabic music, are still far from perfect. Particularly in genres that rely on improvisation and creativity, there’s still work to be done.
When asked about the wave of openness toward art and music in the Kingdom, and whether it aligns with Saudi Vision 2030, Mohammed answers, “What we are witnessing today is a culmination of past efforts, with officials knowing exactly when to seize the moment and launch us into this smart era. We’re picking up where others left off, and it’s a remarkable time to be part of the scene.”
This article is translated from the original on Billboard Arabia.
