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Taylor Swift has wrapped up an early Christmas gift for fans, reclaiming the No. 1 spot on the ARIA Albums Chart with The Tortured Poets Department: The Anthology.
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The festive season begins in earnest as the chart’s Christmas edition sees Swift’s dominance coinciding with the return of holiday classics like Michael Bublé’s Christmas and Mariah Carey’s Merry Christmas, adding a seasonal sparkle to the final stretch of 2024.
Swift’s album, buoyed by the release of vinyl and CD versions, jumps from No. 14 to reclaim its throne for a sixth non-consecutive week. This marks Swift’s 16th week at No. 1 on the ARIA Albums Chart this year, thanks to the success of 1989 (Taylor’s Version), Midnights, Lover, and The Tortured Poets Department.
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Meanwhile, Michael Bublé’s Christmas makes its annual return, landing at No. 15, continuing its streak as a perennial festive favorite. First released in 2011, the album has spent a total of 15 weeks at No. 1 and remains a yuletide staple.
Mariah Carey’s Merry Christmas also re-enters the chart at No. 100, with her holiday anthem “All I Want for Christmas Is You” making its yearly resurgence on the ARIA Singles Chart, re-entering at No. 7.
Rosé and Bruno Mars hold steady at the top of the ARIA Singles Chart with “APT,” which notches its fifth non-consecutive week at No. 1. The track continues its reign as Bruno Mars enjoys a record-breaking run on Spotify, where he became the platform’s most-streamed artist last month with over 126 million monthly listeners, surpassing The Weeknd’s previous record of 120.7 million.
Other holiday hits are also making their move. Wham!’s “Last Christmas” returns at No. 11, with additional classics from Brenda Lee, Ariana Grande, and Kelly Clarkson climbing the charts as the festive season heats up.
Juice WRLD makes a splash on the Albums Chart with The Party Never Ends, debuting at No. 17. The posthumous release features collaborations with The Kid LAROI, Fall Out Boy, Nicki Minaj, and Eminem, marking the rapper’s fourth Top 10 ARIA album since his untimely passing in 2019.
For the full list of chart-toppers, visit ARIA.com.au.
Karol G sets a new record on the Billboard Argentina Hot 100 as “Si Antes Te Hubiera Conocido” rules for a 12th consecutive week (chart Dec. 7-dated ranking), the longest-leading No. 1 song in 2024. The song breaks from a tie with Valentino Merlo and The La Planta’s “Hoy” which dominated for 11 consecutive weeks, starting the July 6-dated tally.
Further, “Si Antes Te Hubiera Conocido,” which added a 20th week atop Billboard‘s overall Latin Airplay chart on the current ranking, also enters a tie with Maluma and The Weeknd’s “Hawai” and Pedo Capo and Farruko’s “Calma (Alicia Remix),” for the fifth-most weeks atop the Billboard Argentina Hot 100 since its inception in 2018. Here is the recap of the songs with the most weeks at No. 1:
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Weeks at No. 1, Song, Artists, Peak Date25, “Tusa,” Karol G & Nicki Minaj, Jan. 11, 202016, “Entre Nosotros,” Tiago PZK, Lit Killah, Nicki Nicole & Maria Becerra, July 31, 202115, “La Bachata,” Manuel Turizo, Sept. 10, 202213, “Otro Trago,” Sech, Darell, Nicky Jam, Ozuna & Anuel AA, May 25, 201912, “Si Antes Te Hubiera Conocido,” Karol G, Sept. 21, 202412, “Hawai,” Maluma & The Weeknd, Aug. 29, 202012, “Calma (Alicia Remix),” Pedro Capo & Farruko, Jan. 12, 2019
Rauw Alejandro adds a second song on the current chart as “Khé?,” with Romeo Santos, arrives as the Hot Shot Debut of the week, at No.55. The Puerto Rican also takes the Greatest Gainer honors with “Qué Pasaría…,” with Bad Bunny, which rallies 28 spots, from No. 56 to No. 28 for a new peak.
Five other songs debut below the top 50, starting with the bilingual “¿Cómo Pasó?” by Ela Taubert and Joe Jonas, at No. 76. It’s the first chart appearance for both the best new artist Latin Grammy winner and the American singer-songwriter.
Maluma adds his 38th entry as “Cosas Pendientes” starts at No. 84. Meanwhile, Argentinians La T y La M secure their 14 career visit with “Un Montón De Estrellas (Gran Rex)” at No. 84.
Lastly, Nicki Nicole breaks from a tie with Emilia for the third-most entries among women with 38 career performances thanks to two new debuts, “Forty” and “Sheite” which open at Nos. 88 and 97, respectively.
Reading & Leeds Festival has confirmed the first artists to appear on 2025’s lineup, including its four headliners. Travis Scott, Chappell Roan, Hozier and Bring Me the Horizon will top the bill at the dual festivals in Reading, Berkshire, and Leeds, Yorkshire, on Aug. 21-24. The events will take place at Richfield Avenue in Reading, and Bramham Park in Leeds.
Scott’s appearance will be a European festival exclusive, while Hozier and Bring Me the Horizon will be U.K. exclusives. Roan’s appearance at the top of the bill will be an English headline exclusive, and her first ever performance at Reading & Leeds.
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They’ll be joined on the bill by AJ Tracey, Becky Hill, Sammy Virij, Trippie Redd, Amyl and The Sniffers, Conan Gray, The Kooks, The Dare, Enter Shikari, Wallows, Sea Girls, Mannequin Pussy, Soft Play, Lambrini Girls, DJ EZ and more.
Bloc Party will perform Reading & Leeds Festival’s inaugural Icon Set, which the festival said in a press release “will celebrate the defining acts synonymous with the festival.” The London-formed indie band performed in consecutive years between 2005 and 2009 on a variety of stages.
Tickets for the two events go on general sale on Dec. 9 from the festival’s official website, and follow a number of presales that begin Friday (Dec. 6) for customers of Three Mobile and Mastercard.
In 2024, Reading & Leeds Festival was headlined by Blink-182, Fred Again.., Liam Gallagher, Lana Del Rey, Catfish and the Bottlemen, and Gerry Cinnamon. In recent years, artists such as Billie Eilish, Megan Thee Stallion and Halsey have also topped the bill.
The most recent edition in Leeds was impacted by severe weather, with two stages at the festival having to be closed due to high winds brought by Storm Lilian.
See the 2025 lineup below:
Dorset’s End of The Road Festival has announced its first lineup for 2025’s event, confirming that Father John Misty, Sharon Van Etten, Caribou and Self Esteem will headline.
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Next year’s edition will take place at Larmer Tree Gardens in the south of England on Aug 29-31, 2025. The festival premiered in 2006 and has been held every year since (except 2020 due to the COVID pandemic).
Joining them on the lineup will be: Mount Kimbie, Black Country New Road, GOAT, Geordie Greep, Tropical F–k Storm, Moonchild Sanelly, Ela Minus, Throwing Muses, Emma-Jean Thackray and more. See the full lineup below.
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Tickets for the event are on sale now from the festival’s official website. More announcements are set to be made about the lineup and across the festival’s literature and arts offerings. Previous headliners at the event have included IDLES, Future Islands, Fleet Foxes, St Vincent, Vampire Weekend and more.
Father John Misty recently released his sixth studio, Mahashmashana, which landed on the Billboard 200 at No. 161. Sharon Van Etten, meanwhile, has written and recorded her upcoming album with her touring band The Attachment Theory, and will release the self-titled debut Sharon Van Etten & The Attachment Theory on February 7 via Jagjaguwar.
Self Esteem’s performance is the first show announced in 2025 for the British pop artist, who saw considerable success with her second LP, Prioritise Pleasure, and its ensuing live tour. Electronic producer Caribou released his sixth album, Honey, earlier this year, which included collaborations with generative AI across the vocal performances.
The Saudi National Orchestra and Choir held a performance of the “Marvels of Saudi Orchestra” in Tokyo on November 22 at the Tokyo Opera City Concert Hall: Takemitsu Memorial.
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The Saudi National Orchestra and Choir was formed in 2019 and began its “Marvels of Saudi Orchestra” world tour to share Saudi Arabian musical culture with the world. The Tokyo concert was its fifth, following performances in Paris, Mexico City, New York, and London.
The concert presented a fusion of the two countries, with performances of traditional Saudi Arabian and Japanese music by the Saudi National Orchestra and Choir, the Orchestra Academy of Tokyo College of Music, and special guest, guitarist Tomoyasu Hotei. The audience was enthralled by the sounds of the traditional Arabic instruments, which there are few opportunities to hear in Japan, and the unique melodies they played.
The concert began with words from Paul Pacifico, CEO of the Saudi Music Commission. 2025 will mark the 70th anniversary of diplomatic relations between Japan and Saudi Arabia, and Pacifico expressed his gratitude for being able to perform in Tokyo before this momentous occasion. He also spoke of the importance of music as a shared language that can bridge the world.
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In the first part of the show, a Japanese gagaku court music group performed “Ryo-o,” a court music and dance piece. A ryuteki flute began playing the melody and was joined by drums and a small metal gong. A dancer, bedecked in red and wearing a mask, appeared on stage and began to dance. Sho panpipes, hichriki flutes, and other instruments joined in, and the energy mounted. The audience was overwhelmed by the stately dance performance, a tradition carried on for over a thousand years.
Part two of the concert consisted of performances by the Saudi National Orchestra and Choir. Along with typical orchestral instruments like the violin and cello were traditional Arabic instruments, like the oud, the zither-like qanun, and the daf, a percussion instrument made of leather stretched over a circular frame, creating a grand spectacle.
The first piece, the rhythmical “Al-Hawa Al-Ghaib,” began with a short introduction on the strings, which were then joined by the other instruments of the orchestra. The tremolo and intricate performance techniques of the ouds and the solo performed on the qanun made the song a pleasant and soothing one.
This was followed by “Wardak Ya Zaar Al-Ward.” The violin solo with which the piece began danced nimbly between low and high notes, an example of superb playing with a complex rhythm that wound its way through tight tonal intervals. Then the orchestra and chorus came in, performing passionate, soaring music.
The next piece was the up-tempo “Shaqni Jaw Al-Janub,” followed by “Tarahib Bi Ghayri,” with a beautiful delicate qanun solo over a rich backing of string instruments playing in unison, and then “Al-Qaid,” a piece that stood out for its fun interplay of cheery flute melodies and men’s and women’s choirs.
Part two ended with an anime medley. The orchestra, choir, and a female solo vocalist performed Arabic versions of Japanese anime theme songs such as UFO Robot Grendizer, Captain Tsubasa, Case Closed, and Pokemon. When the performance ended, the audience showered the performers with cheers and whistles, a testament to the popularity of Japanese anime.
The musical language of classical music, which is now used in countries throughout the world, cannot be applied to Arabic music. There are musical intervals smaller than semitones, making them unplayable on a piano. There are unique scales. The Saudi National Orchestra is a relatively new orchestra, yet it is unique in the way it flexibly combines traditional Arabic music with the orchestra of classical music to share that music with the world. This show, as well, was notable for the way it deftly brought together classical music, popular music, and traditional Arabic music to entertain the audience.
In the third and final part of the show, the orchestra collaborated with Japanese musicians. The stage was packed with the members of the Saudi National Orchestra and Choir and the Orchestra Academy of Tokyo College of Music. This was the first time the Saudi National Orchestra had played with a Japanese orchestra, and this momentous occasion began with a fanfare of brass instruments playing the march-like “Opening of Al-Ula.” After this, the audience enjoyed a rousing medley of famous Saudi Arabian songs, winding through tune after tune.
With passions still high, special guest Tomoyasu Hotei took to the stage, clapping for the two nations’ orchestras, and together they performed “Battle Without Honor or Humanity,” from the film Kill Bill. The sound of Hotei’s guitar melted seamlessly into the two orchestras, and he showed the full range of his virtuoso skills, including a blazing guitar solo.
The concert ended with the Saudi national song “Ammar Ya Darna.” The Saudi Arabian flag fluttered on the monitors and many members of the audience raised their phone flashlights and swung them back and forth in time with the music.
The concert was a demonstration of the way music transcends barriers of language and culture to be enjoyed by all. Through the medium of music, the “Marvels of Saudi Orchestra” showed a new beginning of deeper relationships between the people of Saudi Arabia and Japan.
—This article by Misuzu Yamashita first appeared on Billboard Japan
Rosé & Bruno Mars’ “APT.” holds at No. 1 for the third consecutive week on the Billboard Japan Hot 100, on the chart released Dec. 4.
Compared to last week, the global hit saw an increase of 115% in streaming, 132% in downloads, and 141% in video views, which is a greater increase overall than the week before. This song also topped Billboard’s Global 200 for the sixth week.
SEVENTEEN‘s “Shohikigen” debuts at No. 2. The title track off the group’s fourth Japan single is being featured as the theme song for the NHK drama series Mirai no Watashi ni Bukkamasareru!?. The track sold 514,234 copies in its first week, the most ever for the group, and came in at No. 1 for sales, No. 29 for downloads and No. 54 for video views.
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Creepy Nuts’ “Otonoke” follows at No. 3, with streaming down to 96%, downloads to 94%, radio airplay to 56%, and video to 94% compared to the week before.
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Mrs. GREEN APPLE’s “Bitter Vacances” debuts at No. 6. The theme for the upcoming live-action movie Saint Young Men rules downloads and comes in at No. 8 for streaming, No. 10 for video, and No. 55 for radio. The latest release by the three-man band is the inaugural No. 1 song on Billboard Japan’s new Hot Shot Songs chart that launched this week, ranking currently trending songs.
In other news, BIGBANG’s “FANTASTIC BABY’ returns to the Japan Hot 100 for the first time in 6 years and 11 months, coming in at No. 55. BIGBANG made headlines at the 2024 MAMA Awards held at Kyocera Dome Osaka on Nov. 23rd, when members SOL and D-LITE appeared unannounced during G-DRAGON’s performance. G-DRAGON’s “HOME SWEET HOME (feat. TAEYANG & DAESUNG)” also bows at No. 21 this week.
As December rolls around, back number’s seasonal staple “Christmas Song” rises 26-19 with streams increasing by 18%. Mariah Carey’s “All I Want For Christmas Is You” also returns to the Japan Hot 100 for the first time in 11 months, with video, streams, downloads, and radio showing increases.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 25 to Dec. 1, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Zayn Malik canceled a solo gig in Newcastle, England just minutes before showtime on Tuesday night (Dec. 3). In the past few weeks the former One Direction member has embarked on a solo tour throughout the U.K., his first headline run of shows since leaving the pop group in 2015. Metro reported that an announcement […]
Kankawa Nagarra, the Queen of the Bandaral Ngadu and a Walmatjarri Elder, has been named the winner of the 20th Soundmerch Australian Music Prize (AMP) for her debut album Wirlmarni.
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The recognition highlights the album’s cultural depth and emotional resonance, blending Aboriginal blues, country, and gospel with Nagarra’s powerful storytelling.
The album’s title, Wirlmarni, meaning “disappearing,” reflects themes of loss, resilience, and cultural preservation. Recorded on her ancestral lands, it features natural community sounds and raw compositions, including the poignant title track, a duet with Archer.
In her acceptance speech, Nagarra expressed pride in her achievement and the impact it will have on her community in Wangkatjungka, particularly on the school and children she hopes to inspire as a role model. She dedicated the award to her “future ancestors.”
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“I am so thrilled and proud to receive this award. Thankyou so much to AMP. Coming from the remote community of Wangkatjungka which in the past has been shown in a negative light with the focus on the issues and problems,” Nagarra said.
“People don’t often get to see the beautiful and positive aspects of my home and I know this award brings much pride to the people of Wangkatjungka, especially to the school and all the children who I hope to be a role model for. I dedicate this award to all my little Greats with a special mention to Tykrira Wilson who stands with me on the cover of the album. I love them all very much. They are my future ancestors.
The AMP judges praised Wirlmarni for its authenticity and profound connection to Australia’s heritage. Nagarra emphasized that the album’s production is deeply rooted in ancestral traditions, calling it “thousands of years in the making.”
AMP founder Scott Murphy described the judging process as challenging but ultimately rewarding, calling Wirlmarni a deserving winner, saying, “The judges met this morning, face-to-face, to decide that the very deserving Wirlmarni by Kankawa would win the prize. It wasn’t a quick and easy decision to make – there were nine great albums, all quite diverse, all with judge support. Congratulations, Kankawa, on winning our 20th prize!”
Inspired by the U.K.’s Mercury Prize, the AMP focuses exclusively on artistic merit, recognizing albums that transcend commercial considerations. This year’s competition featured over 600 eligible albums, narrowed to a shortlist of nine, showcasing the diversity of Australian music. Other nominees included Hiatus Kaiyote, Nick Cave & The Bad Seeds, and Dobby.
Born on Gooniyandi and Walmatjarri land, Nagarra’s music blends traditional sounds with contemporary influences, delivering songs in Kriol, English, and traditional languages. Her work highlights the intersection of nature, culture, and music, reinforcing her message of environmental and cultural responsibility.
Kankawa Nagarra joins a prestigious lineup of past AMP winners, including Genesis Owusu, Sampa the Great, and The Avalanches. Nagarra’s victory not only cements her place in Australian music history but also amplifies the voices and stories of her remote community on a global stage.
Listen to Wirlmarni below.
Riyadh is gearing up for a transformative moment in its cultural history with the launch of Riyadh Music Week, a landmark initiative by the Music Commission in partnership with MDLBEAST and SRMG.
Spanning Dec. 5-14, 2024, the spotlight shines bright on the first-ever Billboard Arabia Music Awards (BBAMAs)—the pinnacle of Riyadh Music Week and a historic moment for the regional music industry.
Taking place across multiple venues in Riyadh, the week kicks off on Dec. 5 with the fourth edition of XP Music Futures, featuring workshops, panel discussions and networking opportunities along with an evening program driven by regional party brands, promoters and record labels, showcasing emerging talents from MENA and beyond. On Dec. 8, the Global Music Makers Summit marks its first edition, where it will bring together leaders and global policy makers from the music sector’s international bodies.
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The week-long event will also host the Music Cities Convention and Awards, taking place Dec. 8-10, bringing this prestigious global event to the Arab world for the first time. This achievement highlights Riyadh’s growing reputation as a leading global destination for music and arts, with the Convention focusing on the pivotal role of music in urban development and its potential to shape the future of modern cities.
With the BBAMAs taking place on Dec. 11, the ceremony aims to not only celebrate artistic excellence but also expand upon the growing global Billboard network. The Billboard Arabia Music Awards represents a regional first, adopting a pioneering approach entirely based on listener opinions and data. This year’s awards will honor over 40 categories, celebrating achievements such as Top Artist, Song of the Year, Best in Dialect Charts and Top New Artist of the Year, among other standout recognitions.
Riyadh Music Week will close out with the MDLBEAST’s groundbreaking Soundstorm music festival, the loudest in the region, mixing international superstars on the same stages as homegrown local and up-and-coming artists. The week will also host a range of fringe events and performances by various artists taking place across several venues throughout the city.
As Riyadh Music Week unfolds, the series of events stand as a testament to the region’s vibrant music scene and its aspirations as a burgeoning global music hub.
The first-ever Billboard Arabia Music Awards (BBAMAs) will take on Dec. 11 at the King Fahad Cultural Center in Riyadh, Saudi Arabia. After a year of tracking trends on the Billboard Arabia charts, this landmark event will celebrate the most talented artists from the Arab world and North Africa – those who have made waves on the charts and dominated streaming platforms worldwide. Throughout the year, Billboard Arabia’s 10 charts have spotlighted listening trends across four key dialects and four musical genres, in addition to the flagship charts: Artist 100 and Hot 100.
Winners of the BBAMAs will be determined based on their performance on Billboard Arabia’s flagship charts, such as the Hot 100 and Artist 100, as well as its four dialect-specific charts — Khaleeji, Egyptian, Levantine and Maghrebi — and genre-specific charts, including Arabic Hip-Hop, Arabic Indie, Shelat and Mahraganat. These charts are built on the trusted methodology that has defined the Billboard brand.
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Beyond celebrating the year’s leading artists and tracks, the BBAMAs will highlight the region’s rich talent pool with an exciting lineup of live performances and unexpected collaborations. The event will feature a mix of established and rising stars from across the Arab world and its diaspora.
With over 40 award categories already revealed, the BBAMAs promise to be a comprehensive tribute to the region’s vibrant music scene. Below is the full list of finalists for these awards. Stay tuned; more categories will be unveiled soon.
Song of the Year“Fouq” by Assala Nasri“Guli Mata” by Saad Lamjarred, Shreya Ghoshal, and Rajat Nagpal“Ya Leil W Yal Ein” by Al Shami“Haygely Mawgow” by Tamer Ashour“Sabran” by Al Shami
Artist of the YearAmr DiabAl ShamiNancy AjramSherine Abdel WahabAhmed Saad
Top Male ArtistAl ShamiDystinctAhmed SaadAmr DiabTamer Ashour
Top Female ArtistNancy AjramElissaAssalaSherine Abdel WahabElyanna
Top BandCairokeeMassar EgbariMiami BandSharmoofersAl Massrieen
Top New ArtistDystinctElyannaTUL8TESiilawyAl Shami
Highest GainerAmr DiabTUL8TEAnghamAl ShamiTamer Ashour
Top Arabic Collaboration of the YearAmeen Khattab and Essam Sasa – “Ehna Say’ Monharifin”Assala Nasri and Ahmed Saad – “Sabb Farhety”Nassif Zeytoun and Rahma Riad – “Ma Fi Leil”Saint Levant and MC Abdul – “Deira”Tawsen and Ayoub Anbaoui – “Dawini’
Top Khaleeji SongAdel Ebrahim – “Dl’nak”Ayed – “Lammah”Ayed – “Rdy”Fouad Abdulwahed – “Kel Ahebek”Fouad Abdulwahed – “Thaag El Ghamaam”
Artist of the Year – Khaleeji DialectAbdul Majeed AbdullahMajid al-MuhandisAyedRashed al-MajedHussain Al Jassmi
Top Male Artist – Khaleeji DialectAyedHussain Al JassmiRashed al-MajedMajid al-MuhandisAbdul Majeed Abdullah
Top Female Artist – Khaleeji DialectAssala NasriBalqeesAseel HameemShamma HamdanOumaima Taleb
Top Egyptian SongWael Jassar – “Koul Waad”Tamer Ashour – “Haygely Mawgow”Assala Nasri and Ahmed Saad – “Sabb Farhety”Assala Nasri – “Fouq”Elyanna – “Ganeni”
Artist of the Year – Egyptian DialectAhmed SaadNancy AjramAmr DiabTamer AshourSherine Abdel Wahab
Top Male Artist – Egyptian DialectTamer AshourRamy SabryAhmed SaadMohamed HamakiAmr Diab
Top Female Artist – Egyptian DialectAssala NasriElyannaNancy AjramElissaSherine Abdel Wahab
Top Levantine SongAli Saber – “Dawaat Ommi”Al Shami – “Sabran”Nassif Zeytoun and Rahma Riad – “Ma Fi Leil”Al Shami – ‘Wein”Al Shami – ‘Ya Leil W Yal Ein”
Artist of the Year – Levantine DialectAl ShamiElissaMahmod AlturkyNassif ZeytounNancy Ajram
Top Male Artist – Levantine DialectAl ShamiSiilawyNassif ZeytounWael KfouryMahmod Alturky
Top Female Artist – Levantine DialectNancy AjramMyriam FaresElissaAbeer NehmeRahma Riad
Top Magharebi SongSoolking and DYSTINCT – ‘Y Dor’Lartiste – “Zarzour”Cheb Hichem Tgv – “Fatou Liyam”Saad Lamjarred, Shreya Ghoshal, and Rajat Nagpal – “Guli Mata”Lazaro – “Mahboul Ana’
Artist of the Year – MagharebiZouhair BahaouiSaad LamjarredDystinctCheb KhaledSamara
Top Male Artist – Magharebi DialectZouhair BahaouiSaad LamjarredDystinctCheb KhaledSamara
Top Female Artist – Magharebi DialectManalHind ZiadiKawtarMarwa LoudChaama
Top Arabic Hip-Hop SongMuhab – YazmeelyDraganov – 3dabiElGrandeToto and Hamza – DellaliStormy – PopoElGrandeToto – Blue Love
Artist of the Year – Arabic Hip-HopSamaraElGrandeTotoMarwan PabloStormyWegz
Top Arabic Hip-Hop Male ArtistSamaraElGrandeTotoMarwan PabloStormyWegz
Top Arabic Hip-Hop Female ArtistRaja MezianeHalaPerrieJaraKhtek
Top Indie SongTUL8TE – “Mateegy A’ady Aleiky”Al Shami – “Sabran”Hamza Namira – “Reyah El Hayah”TUL8TE – “Habeeby Leh”Elyanna – “Ganeni”
Artist of the Year – Arabic IndieSiilawyMuslimTUL8TEElyannaCairokee
Top Arabic Indie Male ArtistAl ShamiTUL8TESiilawyMohammed SaeedMuslim
Top Arabic Indie Female ArtistZeyneEmel MathlouthiDana SalahGhaliaaElyanna
Top Mahraganat SongEslam Kabonga and Kalosha – “Elli Nefso Feya Beti Maytawehsh”Eslam Kabonga – “Aywa Ya Habibty Wahashtiny”Reda El Bahrawy and Muslim – “Lafena El Donya”Hamada El Leithy and Amr Salama – “Tarek El Andal”Reda El Bahrawy – “Aal Doghrey”
Artist of the Year – MahraganatMuslimEssam SasaHassan ShakoshAmeen KhattabEslam Kabonga
Top Mahraganat ArtistHassan ShakoshMuslimEssam SasaEslam KabongaAmeen Khattab
Top Shelat SongMohammed Bin Grman – “Ma Gelt Lak”Mohammed Bin Grman – “Alek Akhaf”Abdullah Al Farwan – “Jamalek Gheer”Nawaf Fraih – “Thalath Ayam”Asad Albathari – “Makhboob Khelli”
Artist of the Year – ShelatNader AlsharariMohammed Bin GrmanGhareeb Al MokhlesBadr AlezziAbdullah Al Farwan
Top Shelat Song“Alek Akhaf” by Mohammed Bin Grman“Jamalek Gheer” by Abdullah Al Farwan“Thalath Ayam” by Nawaf Fraih“Al Makhoob Khelli” by Asad Albathari