We’re se ing waves in motion for music’s next generation.
MDLBEAST Foundation was born in 2019, alongside the launch of XP Music Futures, our annual 3-day music conference in Riyadh. With the establishment of MDLBEAST, and country-wide e orts to develop and institutionalize the music industry, we identified a critical need: how do we support our grassroots music communities?; how do we build the music industry from the ground up?; and most importantly
With a wide range of music-centered initiatives under our belt, we as MDLBEAST Foundation are on a mission to fortify the regional music ecosystem through innovation, collaboration and impact, all for a be er music tomorrow.
At XP, we give the regional music community the floor: by Day, speakers and artists come together for workshops, panels, and fishbowl discussions centered on the music industry. By Nite, warehouse spaces come alive with activations from brands that have shaped our regional music scene.
Under the vast umbrella of MDLBEAST Foundation lies a series of workshops fueling innovation and growth in our music industry, also known as XCHANGE. In 2024, XCHANGE toured around 4 cities - Tunis, Kuwait City, Muscat then back to where it all started, Riyadh.
Our goal for these workshops is to dive into the unique music scenes of each city, featuring discussions led by key experts around XP’s core pillars: Talent, Scene, Innovation, and Impact. In collaboration with local partners, we curated workshop themes, invited a diverse group of industry stakeholders.
XCHANGE o ers a lens into the music industry of each city, mapping its challenges, opportunities, and potential. The insights from these localized workshops, combined with the creative contributions of MENA talent, are chronicled in this Xine—a love le er and yearbook to our region’s dynamic and evolving music ecosystem.
WORDBANK:
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Nawal ElKuwaitia
Sons of Yousef
Sheloha Shela
Galaxy Juice
Kitchen Talk
Ya Helwakom
Obaida Yuzu
8- Miami Band 9- Tehadedni 10- Alsidra
Sahran
Rydeen
Goumi
Ghita
I reached out to Amin Fari for this interview a few days after the biggest announcement to come out of the Kuwait music scene since I opened my eyes to co eeshop jams and underground parties.
His grammy nomination, along with Ghazi Al-Mulaifi, for their work on the album Virtual Birdland by Arturo O’Farrill & The Afro-Latin Jazz Orchestra, feels like the cynicism that gets built up in smalltown music scenes was wrong. They’re all wrong. The work we do is important. I was surprised to get a quick reply. I grew up watching Mr. Fari put on shows in cultural spaces, and manage some of the talents that were big players at the time. The first concert I ever a ended, as a too-loud slam poet, was WE BRING THE ROCK, a show Fari helped orchestrate despite an environment of skepticism and policing. The show is still a turning point in the scene, something artists will recall as a huge moment of possibility.
We begin the conversation touching on policy, Fari assuring me that regulation is the stream a scene will swim with or against, that pre-existing infrastructure that a ects the industry is the foundation of the work done by arists, managers and producers. It is the soil in which you are trying to plant some sort of seed, to see it grow into some sort of fruit tree. When there exists no soil, or what is there is devoid of the important nutrients like financial and social support, a person must move to alternative methods of farming.
So, they build a hydroponic, or soil-less, version of a music scene, which may always be restricted to smaller venues and stagnant growth, but does create spaces that feed and nurture talent. This concept isn’t restricted to Kuwait, or music in Kuwait, or music in general, but is a fundamental idea for any alternative scenes that are created out of the necessity for community and belonging.
With the acceptance that there is no soil to stand on, we move towards water, what Fari calls the constant influx of finances.
With no money, there’s no stability, and su ice it to say, no growth.
Here, we mention a now-demolished haven of the arts and heritage site, BAYT LOTHAN, an absolutely fundamental incubator of art, music and design. Lothan was a space for young folks to gather, with access to craft supplies and instruments. It also served as a venue for countless local gigs and shows, and was a reason many of the bands and musicians who were active pre-2016 were able to test out their material, and gain followings.
It was a prime location, nestled by the water in Salmiya, and was extremely protected by ownership rooted in motherly nurturing of youth-centered spaces.
Fari said that “if you don’t give the kids something to do, they are gonna be rageful and pent-up, and find di erent ways to express that.” Although water is extremely necessary for the system, Fari notes that local venues find it hard to find consistent access to this stream. Relying on private sponsorship or ticketing only goes so far in holding a space up, and often money ma ers come before cultural significance. Top-down stimulus was easy to find, however, in the Food & Beverage industry.
Large marketing budgets are often the reason musicians are able to get gigs that compensate them for their ex pression. Although these are not very art-centered spaces, they still give artists the stage to connect with audiences, something that is incredibly di icult in countries with no small venues to speak of.
Jam cafes, often run by friends of musicians or supporters of the arts, would set up a speaker and a mic for almost no cost, becoming hot spots for expression outside of cultural spaces.
Being compensated for a gig is important, first as an incentive for gaining skills not just in music, but in crowd work and business and second, as a way to build a market that values musicians and their work. With high-paying public sector jobs, it is very tempting for hobbyist musicians who are hungry to perform to take low-paying or free gigs, counteracting work that is done to increase value in a market already scarce with it.
Lastly, we get to the sun, or the approval of society and audiences. This feels like the trickiest, and we break down what it really means to organize community and art-lead spaces. Fari says that Khaleeji culture sees music three ways: ceremonial, rooted in culture and tradition, weddings, rooted in celebration, or debauchery, rooted in social connection that is not sanctioned by family. Because of this outlook, everything involving music that is strictly not a wedding or ceremony, is considered taboo. Even youth-centered spaces, because of the social aspect, are considered immoral. It is almost impossible to rewrite this narrative.
“We must accept that music is a fun, gathering, healthy space and when it’s not there, you do hear the silence.”
Religious perspectives consider the connecting agent of music as trance-like, as intoxicating, but just like any other medium, it can be misused when users are isolated, with a lack of purpose. When rumors spread of legislative banning of all music, Fari says he knew it was impossible. Banning music from restaurants, grocery stores, and malls would be detrimental to consumer experience, and probably cause massive changes in the financial space as well.
Fari is just one of the pioneers of the music scene in Kuwait, who come and unfortunately, often go once their path in this country has reached a turning point, and the capacity of such a small cup begins to overflow. In Abu Dhabi, Fari now curates MiZa Radio, a space for djs, musicians and artists to showcase their work. He also manages Boom Diwan, a Khaleeji experimental jazz band.
About government-supported scenes in the Khaleej, Fari says he loves the changes he sees happening, and understands the importance of being valued by the spaces you’re in. Finally, I ask him, as someone trying to build back the scene post-covid and legislative change, if I am just another person who will come and go, with too much optimism for the change I’ve hoped to see since my time as a too-loud slam poet. He assured me that most likely, I am. It might just be my time right now, and it is natural to want something to look forward to. More sun, perhaps, more water, and maybe someday soon: rich, rich soil.
Kuwait has been, and still is, a beautiful multicultural hub saturated with talent and taste for the finer things, condensed in a small city. When we say small, we mean small. The tour of the city which our friend, Ali, graciously gave us took about 30 minutes.
In this half hour we saw the deep blue gulf hugging a bustling city with fabric markets, opulent opera houses, cultural centers - and surprisingly, a parliament. This is when we (more honestly, I, the writer) discovered that Kuwait is a democracy.
The city was beautiful. Absolutely beautiful. And true reflection of the diversity that brings this city to life.
The XChange session happened in partnership with ALGAS, an events company. The a endees, typical of an XChange workshop, were mostly active musicians and event organizersbut to our fascination, we found fans, dancers and even theater folks which filled our workshop to the brim.
Si ing on the panel were:
Thamer AlThamer
Managing partner & Producer at Ghmza. He’s more of a business man, who really focused on the ins and outs of creating a commercially viable industry, with a lean towards the mainstream.
Frenchy Says Relax
DJ, Curator & a digital native who was able to cultivate on online musical community.
Nour Al Kawass
Event Curator & Talent Booking. She had a community and grassroots approach, acting as a great connector in the local independent music community.
This was moderated by Mohammad Ebrahim, Founder and CEO of ALGAS Events.
What made this panel fascinating was that in spite of being from the same city, working in the same industry - all four folks seemed to come from di erent worlds. Their conversation, alongside the workshop held, lead to the following assessment:
Kuwait is a conservative country, typical of that in the Gulf. The di erentiating factor, however, is the focus Saudi and UAE has on the development of the creative sectors. This makes Kuwait’s policies, and perceptions, surrounding the arts more reserved.
With culture and institution so deeply intertwined,
having large institutions doesn’t seem to be a problem.
Kuwait has one of the oldest music academies in the region, and a plethora of cultural centers, museums and spaces. These facilities are strongly biased towards traditional, or semi-traditional sounds.
This can lead to frustration within the music community, as independent artists that are in the umbrella of indie or electronic music can’t help but feel like the industry is playing favorites. A part of this, as Frenchy points out, is because Kuwait’s industry lacks a structured pathway for underground artists to transition into mainstream success.
The infrastructure, like venues, perpetuates this frustration. There are no mid-size venues, just massive spaces for big-name acts or tiny ones that are unlikely to support a real, consistent scene. This, according to Frenchy, is why most artists connect abroad than they do at home as there’s no solid network tying everyone together.
It’s like everyone’s at the same party, but in separate rooms.
Contributing to this is just how small the audiences of these ‘niche’ genres (literally anything from rock, indie, jazz, to electronic) are. These acts don’t pull in a big enough, consistent crowd to incentivize event hosts and producers to invest in the scene.
This isn’t because of a lack of audience appetite from their communities - it’s simply one of the challenges of having a small population, with a small percentage of those keen on a ending such events.
A big part of this struggle is also because of the stigma surrounding being an artist - particularly a contemporary one. While a common sentiment in MENA, this especially true in Kuwait.
This is why artists thirsty for experimentation, and a taste of the limelight, turn to theater.
The theater is a major cultural institution in Kuwait. Families and youngsters alike regularly a end shows (who would’ve thought?).
It’s the biggest platform for dancers and musicians - who are able to freely experiment under the guise of theatrics. But because it’s a large platform, it’s closely monitored thereby firm perimeters are set for what kind of expression is allowed.
Even the expression of audiences.
This, my friends, is when we found out that
So illegal, that a DJ in our circle recalled a story of his USB being pulled out by an o icial after someone got up to dance during a set.
This, alongside venues and institutions giving the cold shoulder to the more underground communities is a huge blow to morale for Kuwait’s music communities. Cultivating an organic scene in the public eye has become increasingly di icult, with not even a dancefloor to support them.
Feeling the lack of support, musicians that are fighting for exposure and resources tend to turn on each other. With interpersonal drama in the mix, many of Kuwait’s underground heavy hi ers called it quits, or literally moved. The scene is still robust in its own way, gathering in underground events and functions.
This is not to say that there isn’t talent. To dismiss the talent of Kuwait would be a downright silly lie. When you are willing to dig past the surface, you are able to find incredibly talented, boundary pushing artists and producers. These folks are not seeking fame or recognition - just the simple act of doing what they love.
But like Thamer pointed out, with anyone able to bypass the gatekeepers of a bygone era and upload directly to DSP’s. But the less niche you are, the more people listen. The more people listen, the more resources you are granted.
But as time continues, there’s a sonic exchange between traditional and contemporary musicians - borrowing musical principles from one another, leading to what can be creative synergy and a bridge between both communities.
We invited one of the key figures in the Tunisian Music scene, DJ and producer Hamdi Toukabri, renowned as Hamdi RydEr, to answer some unconventional questions regarding his record collection.
Hamdi’s influence extends beyond Tunisia, having performed at the OFFSónar parties in Barcelona and in various European cities including Paris, Brussels, Lyon, Madrid, and Berlin.
With the aim of supporting Tunisia’s underground scene, Hamdi founded “Downtown Vibes”, an artistic collective dedicated to organizing musical events and fostering a vibrant community for House enthusiasts and urban culture activists.
In 2018, Hamdi co-founded Eddisco, Tunisia’s first record store, as a Downtown Vibes project. Eddisco o ers a diverse range of records, from Jazz to Techno, including rare North African gems.
By 2020, Eddisco expanded into a label, co-founded by Hamdi and Yassine Hammar, aiming to promote Tunisia’s rich cultural spirit through electronic music.
A record I could listen to forever
William DeVaughn - Be Thankful For What You Got
A record I would play in a car chase
Bomfunk MC’s - Freestyler
A record I would play in a zombie apocalypse
Aphex Twin - Come To Daddyapocalypse
A track I would play at an underwater DJ set
Space Dimension ControllerSundown on Memory Point
Closing track of an outer space sets
Mildlife - Return To Centaurus
Super hero theme song
Knight Rider - Theme Song
A fictional character I would go b2b on a set with the homie CJ from GTA San Andreas and we would be playing old school hip hop and G Funk live streaming on Los Santos Radio. We would start our set with this track
Dr. Dre Feat. Snoop DoggDeep Cover
A record I would play for wizard at a magical party
Black Devil Disco Club« H » Friend
ARE YOUNG TUNISIANS BUILDING THE FUTURE OF THEIR CREATIVE SCENE?
A li le over a decade ago, Tunisians from all corners of the nation took to the streets to express their discontent in hopes of a be er future for the new generation. 13 years later, and the revolution’s promises now feel like a distant echo, eclipsed by the weight of unfulfilled dreams and sha aspirations. They, the very generation society vowed to protect and empower, are now navigating the same rough terrain as their peers, constantly hustling to redefine their reality in a country that’s stubbornly stuck in its ways. And as it is across most cultures, art has become the weapon used to challenge the current status quo, and to be able to imagine a future that dares to be di The pulse of this change is stemming, once again, from young Tunisians, who are actively se ing up their own projects, reinventing infrastructures, and carving out new spaces that push against a society apparently reluctant to move forward. Enter TBRL Studios, one of the main entities spearheading this movement in the North African State.
“My friends and I launched TBRL in 2021, during the pandemic, to try and bring something new,” Ahmed Ghimeji, co-founder of TBRL, said. “TBRL stands for ‘Tabac à Rouler,’ which means rolling tobacco in French. We chose this name because rolling and smoking are acts of rebellion in themselves. We wanted the artists we feature to embody that feeling of defiance and show how they express resistance towards their environment,” he added.
“We did this because there was no platform where artists could express themselves the way they wanted to, regardless of what they did in front of the camera, or what they could say,” the Tunis-born, raised and based creative shared. “Before, people would say that it was against the (country’s) principles. We wanted to change that,” the 25-year-old continued.
Three years since the platform’s launch, TBRL shifted from a channel that allowed artists to record and share their sound against a minimalist backdrop into a fully fledged media hub that now hosts podcasts, its own events, and a diverse range of other content. Following the spirit of their initial venture which is to spotlight local talents and put them front and center TBRL continues to champion emerging voices by handing a microphone over to Tunisia’s entire creative community.
“The field was empty. We wanted to shine a light on artists, including friends, who had the talent but hadn’t had the opportunity to break through,” he said.
“I wasn’t even a photographer or a videographer back then; I had to borrow equipment to do my thing. I learned along the way. There are no ‘Tunisian products’ or local platforms that focus on showcasing new voices.
We wanted to highlight everyone who’s part of the creative ecosystem. A platform for us, by us” Ghimeji added, emphasizing on how di icult it can be to stay motivated when funds are missing. “There’s no industry, no sponsors here —everything comes out of our own pockets. There are moments when you feel like giving up, but then you come back because if we don’t do it, who will?” he mused.
As it turns out, finances and state-backed support are hurdles that many others in the cultural scene struggle to come to terms with. But for Fatma Dahech, a local events manager closely tied to renowned Tunisian music festival Fabrika, it’s all about striking the right balance between “what’s doable, what’s o -limits, and what’s worth pushing the boundaries for”.
“Ge ing permission and securing venues is usually the hardest part when it comes to organizing our events. We constantly have to make sure that the people we’re hosting — from artists to ticket-holders— are always safe while staying on good terms with authorities,” Dahech confessed.
Despite all the struggles, which, as Ghimeji noted, can be tough to endure, Dahech explained that their drive comes from a deep-seated passion and love for their home-country and the culture they try to represent. She also pointed at the sense of solidarity that can be found within the scene — including with groups like TBRL— as the main fuel that keeps their fire burning.
“If we don’t do it, nothing happens. Thanks to the people who push forward, things are slowly changing, no ma er the genre of music or artistic form of expression,” she reflected. “We share experiences and best practices between each other—we’re in this together. There’s a lot of support within the scene, from both young and older generations. It’s the accumulation of all this that’s making our scene stronger,” she added.
And although it can be frustrating at times, it’s the idea of developing something in the long-run, against all odds, for the next generation, that also makes them want to keep on going -especially when taking the audience’s support into account.
“We’ve managed to build a relationship of trust with our community. It’s a personal ma er with them, thanks to our e orts not just in hosting, but especially in ensuring their safety. There’s a sense of solidarity here again,” she posited, reflecting on Fabrika’s last edition, which was held in February. “We had to postpone our last edition following the tragic events happening in Palestine and our audience was incredibly understanding; flights, and booked hotel rooms,” Dahech revealed. “Most chose to not ask for refunds.
They kept their tickets, rebooked their flights and time o , and promised they’d be with us as soon as we’d pencil a new date in. It’s this kind of support that makes you want to push through, despite challenges that are often beyond your control. We’re all growing while staying grounded, and as long as everyone keeps safe, we’ll get to where we want to be,” she concluded.
LOOKBOOK TUNISIAN ICONS
AMAL ELWOJOUD
A simultaneous look-book and exploration of the Tunisian music scene, this contribution o ers contemporary re-imaginings of how Tunisian musical icons might be styled today through the lens of Amal Elwoujoud. Using fashion as a medium, Amal provides insights into these legendary figures in an unconventional yet captivating way.
Tunisia has been on our radar for sometime now, and for good reason. For context, Tunis has historically been a nightlife hub. While cities were still in their emerging infancy in the 80’s within the Kingdom - Tunis was already thriving with a robust and vibrant nightlife scene.
The city itself is like a perfect marriage between quintessential Mediterranean motifs and Arabian influences - creating a cultural fusion that possesses the breadth, openness, and passion borrowed from both cultures.
The relationship between our scene and theirs is strong - with many of our local DJ hotshots making regular cameos in their festivals and clubs.
“They’re just like us” our locals say, “just ten years ahead”
Hosting a workshop for folks with generations of experience was one thing. Hosting it in partly French - well, that was another. This was our first trilingual session.
With our eclectic team of born and bred Saudis, a couple of chicken nuggets* and Bastien, our resident Frenchman from Bri any - we put the pieces together.
We started o with our panel, moderated by Imad Alibi, Music Producer & Curator featured Sherazade Amous the CEO of Klink, Farès A an artist & promoter and Nessrine Jabeur a Singer, Guitarist, Composer & songwriter.
This was hosted at B7L9, a community art center that serves as a gathering ground for the local creative community.
Their panel, alongside our round table talks, are summarized in this report.
When you open the floor to discuss pain points in a place like Tunis, you are opening the floodgates.
Tunis’ music industry is in many ways, a benchmark. Clubs, and plenty of them. Technical know-how, cultural acceptance, many sprawling scenes that are woven into each other. As Saudi’s who are in the emerging market, it was almost ba ling. The social, community and “scene” aspect of their music ecosystem is an ideal scenario for someone looking outside in.
Tunisia is still experiencing post-revolution pains. A significant number of our participants were school aged, if not children, during the Arab Spring. But significant infrastructure problems continue to impact them day to day. Cash flow is limited, government support can be hot and cold, and the political position in the global arena is weak.
The scene, however, persists. With plenty of independent electronic music festivals cropping up across the nation, Tunis is an a ractive destination for music tourists. Independent events such as Fabrika and WoOdsTock have been operating for almost a decade, bringing in hot-ticket underground names from around the world and the region. New and exciting music events are developing year on year, with enthusiastic youth pulling the strings.
Because of its longstanding, rich history of music events and nightlife culture, the prospect of being a musician is seen as legitimate from a social perspective - but not at all seen as a lucrative option. This means that the communities that show up to support local musicians, regardless of genres, are diverse in age and social class. So the ‘scene’ isn’t really limited to the ‘scene’, but rather acts as a cultural cornerstone of the citywith plenty of a endees of various music events being local.
But
creating, and continuing these music events, venues and festivals
can’t
be done without community, funding or infrastructural support.
This does not apply to all events and festivals - with some being favored by the governmental institution. Some festivals, like The International Festival of Carthage (IFC) , receive abundant support. This is because IFC is actually a Ministry hosted event.
So while music events, even at a large scale, is encoded in their government and policies - being a musician somehow isn’t.
For example, the Tunisian national ID used to include your profession (this has been very recently redacted). From the litany of professions to choose from - musician simply wasn’t one of them.
But not all problems come from within. While Tunis imports significant talent to perform in their many diverse events, festivals and clubs - exporting can be a massive pain point.
When we broached the topic of visas and exporting artists, a participant chimed in:
When discussing the music scene across the GCC, it’s often easy to distinguish the unique styles and sounds that characterize each country. Kuwait boasts a niche sound, but with familiarity, while Saudi Arabia’s music scene has been booming, almost single-handedly sweeping through the region (and the world).
BUT
WHEN IT COMES TO DESCRIBING
OMAN’S MUSIC SCENE, IT’S NOT NEARLY AS STRAIGHTFORWARD.
What exactly defines its sound as distinctly ‘Omani-coded,’ and what factors have shaped the Sultanate’s musical identity?
At face value, one might label it as an underdeveloped market. However, when you have all the talent but no substantial market infrastructure, is that really a fair conclusion to draw?
I grew up during a period in which Oman’s urban culture began to flourish, and I had the privilege of witnessing firsthand the relentless e orts of artists striving to build a thriving artistic community from the ground up.
After all, it requires a remarkable level of dedication and passion to inspire an entire nation to rally behind your cause.
As a mere young man, I distinctly remember there being no more than three local artists, consistently releasing music.
To my 13-year-old eyes, they seemed to be thriving. But in retrospect, after an extensive Facebook deep dive (for nothing more than research purposes), it’s clear they were swimming against the tide.
Did they have talent?
Without a doubt. Were they capable of independently producing music? Questionable (No shade).
But most importantly, did they have any form of support? Zilch — and that, unfortunately, was the most critical element they lacked.
But unfortunately, the problem extended far beyond the community’s support—or lack thereof.
But unfortunately, the problem extended far beyond the community’s support—or lack thereof. It was fundamentally tied to the absence of a receptive audience. After all, why present a succulent filet mignon to a group of vegetarians?
Their preferences are already set, and have no interest in entertaining your preferences. This challenge, exacerbated by the appointment of individuals in radio stations with li le grasp of the culture’s true essence, created the perfect storm for failure.
Fast forward to today, and there’s been a clear shift in both the culture and mindsets. In recent years, we’ve seen visionaries steering the music scene in a direction that has catalyzed its rapid ascent.
This transformation is particularly evident at events like the latest edition of XChange in Oman in Muscat, where a endees would have encountered a diverse array of music, ranging from folk, electronic, country, and rap. As well as those with the fundamental understanding of Omani identity and culture are now being positioned in radio stations. Figures like Chase, who started o as an artist to now an RJ as well, exemplifies this positive shift.
And since the VID era (COVID 19), the music scene has experienced significant evolution. While the pandemic initially saw a surge in output—engaging everyone creatively—there has been improvement since things opened up again. But in this competitive environment, it’s increasingly evident that success is often a numbers game; artists who sing in Arabic tend to capture more a ention, compelling many to adapt their sounds to be er resonate with audiences.
We’ve also seen artists like Adam Nabeel take the initiative by launching 808, a series of pop-up parties that are among the few platforms o ering artists a space to showcase their music. 808 primarily spotlights the Afro-Arabian sounds, drawing heavily from ‘Zanzi’ culture, a key influence that has shaped the musical identity of Oman.
And of course, it goes without saying that Just Jam Sessions by Ghazi Al Balushi has played a pivotal role in providing Omani artists with a valuable platform since its inception nearly ten years ago. As a pioneering initiative, it has significantly contributed to the growing visibility of local talent and the broader musical landscape in Oman.
While it is clear that Oman finally has a music scene with a defined audience — evidenced by events like Just Jam, Omani Archive, and Open Mics — challenges remain. These events are often organized by the artists themselves and face a lack of funding, highlighting a critical gap. We have the talent, but we are missing the support needed for growth. There is a pressing need for exposure, quality production, and institutional backing to foster the scene. As Oman continues to evolve musically, it is essential to cultivate an environment where diverse sounds can flourish while incorporating distinct Omani elements, ensuring that the future of its music scene is as vibrant as its past.
Aziz’s work is part of a broader global reflection on challenging traditional gender roles, parallel to the works of artists like Wolfgang Tillmans or Catherine Opie, who explore non-conformity, subversive narratives, and the complexities of identity through photography. In “Qalb-Mahmood,” Aziz draws from his Omani roots while questioning rigid gender norms through the character of Mahmood.
His photographs reflect the silent tensions and unexpressed emotions that men feel in the face of societal expectations. Globally, more and more artists are addressing the fluidity of identity, and Aziz contributes to this discourse with an Omani perspective, o ering a more nuanced vision of masculinity that is both specific to his culture and universal in its themes.
Aziz’s exploration of love, particularly through the recurring symbol of the heart, fits into a larger global trend where artists use love as a form of emotional transparency and truth revelation. Artists like Félix González-Torres also use love as a central theme, transforming it into a powerful emotional truth that transcends personal experience to address universal human conditions. However, Aziz’s work brings a cultural nuance specific to Omani society, where expressions of love are often restrained.
By introducing these symbols in a contemporary Omani context, he not only participates in a global trend of emotional transparency but also challenges the societal limitations imposed on emotional expression, thus o ering a richer dialogue on the intersections between love, identity, and cultural tradition.
I’ll be the first to admit it - we underestimated Oman. Part of the reason we chose to go there was simply because we knew almost nothing about it before our visit.
We knew that it was crazy beautiful, and crazy diverse - both ecologically and ethnically.
Between the sea, waterfalls, mountains, desert and even lush forestry are the Balushis, Swahilis and Bedouins
-all living side by side, sharing and meshing culture.
To show us around the scene - we entrusted a dear friend of XP, Tutu, who we met through one of our other initiatives XPerform. She connected us to a network of passionate, and insanely talented artists, producers and dancers that were nothing short of electric.
We decided to shake things up this session. Usually, we go on and on about things that are going well, and things that are going not-so-well. So instead of just documenting insights, we decided to challenge ourselves and our workshop participants into finding a tangible solution.
We had a panel discussion, as usual, before we sat down in large groups to discuss challenges, opportunities, and most importantly - solutions.
The following is a synthesis of the roundtable discussions, as well as the panel featuring Ghazi Balucci, Founder & Creative Lead at Just Jam, Events & Talent Management; Fatma Mirza, a musician, singer, songwriter, and producer; and Mohammed Ahmed Al Manji, an artist, sound engineer, and producer. The discussion was adeptly moderated by multidisciplinary artist Nasra Saeed
Oman has a lot of talent. A lot. There’s been bubbling scenesfrom electronic, indie, to afrobeats and rap all running One of the ‘bigger’, for lack of a be er word, artists were actually not from Muscat - where we hosted this. They were from Salala, almost 1,000 miles away. They are a rap group by the name of SL.SAVAGE.
There’s been a noticeable shift in Oman’s music scene - especially in a post-Covid era where many musicians realized their passions, and talents. The appetite from more ‘Western’ sounds grew - but interestingly, this did not mean the neglect of traditional sounds
As all the panelists, alongside our workshop participants, pointed out - the willingness to incorporate traditional sounds in contemporary bodies of work has come with ease. This has something to do with just how ethnically diverse Oman is, allowing sounds to be borrowed from various cultures that all equally ring as quintessentially Omani. This reflects not only cultural diversity - but also the diversity of talents, genres and approaches.
This drives the small talent pool to experiment, especially as the community bonds become more intricate. Ghazi highlighted this trend, noting that artists are increasingly involved in writing, producing, and developing their unique sounds. This is cultivating a new sound in Oman - incorporating the old, and the new, making the experimental the norm.
The secret sauce that brings it all together?
As one panelist points out
This all seemed like sunshine and bu erflies. But when talking about the factors that kept these talents under wraps, we got to the ni y gri y.
Despite the positive developments, the music scene in Oman faces significant challenges, particularly in terms of infrastructure and support. Ghazi highlighted the absence of clear pathways for artists after releasing music, pointing out the lack of competitions, grants, and educational opportunities.
Existing infrastructure, whether private or government backed, shows a preference for traditional music and sounds. This is because, like other countries in the GCC, contemporary genres seem to face social stigma that seeps into policy - making things like event licenses hard to receive for events centering around music like indie or rap.
Without adequate infrastructure, equipped venues or strong social support - many talented Omanis seek opportunities abroad, underscoring the need for community. The youth are kickstarting initiatives, like open-mics and online communities, but the gap still exists.
But this turned out to be a tougher issue than anticipated. Omani’s are just so nice. Even passport control was quite pleasant.
But the story of the scene is quite di erent. Between all tables and topics, ranging from Music Tourism to Infrastructure and Community, one resounding take-away - the music community su ers from being plain ole mean to each other.
These aren’t just reactionaries from outside of the scene, or conservative folks who aren’t keen on this aspect of social development. Most of the naysayers are people within the music community. The success of an artist isn’t met with open armsbut with deep criticism. This discourages artists who are already facing institutional trouble to put themselves out there.
Every group was tasked to create a solution to the pain-points they discussed independently. Interestingly, all three groups came up with the same solution: A grassroots community organization that promotes and addresses the needs of Oman’s scene.
THE FUNCTION OF THIS ORGANIZATION:
1. Work hand and hand with the government to source funding and grant
2. Community resources like equipment, studio spaces
3. Creating a hub or a network where all artists feel recognized and supported to mitigate community conflict
4. Develop a platform to create ease of collaboration, communication and connection
5. Encourage the development of grants, initiatives, and educational programs.
For the night I had a blast, the music was great with a consistent rhythm to silently bop your head to and dance on beat. Then, I went to my next thing; a party held at a beach house and the music was a blend of 70s hits overlayed with house music, again, there was house. Months passed, the weather got hot again, and Saudi’s nightlife went quiet for a bit, then around October, things were happening again.
I went with my friends to an old desalination plant that was turned into a massive dance floor, and despite the selection of DJs… the music was house. So was the next event, so was the event before that, and so will the next event be. I thought that this might be a string of coincidences that I just HAPPEN to be in house-centric music, but it wasn’t the case. House was everywhere, with so many people jumping on the trend, learning how to DJ ONLY house music.
I signed up for an audio engineering workshop and during my break, I sat with two DJs who talked about their favorite genres. They asked me if I knew what house was. It took everything in me not to roll my eyes and groan. We talked about house, and she says “House is super underrated, not a lot of people know about it.”
That confused me. What do you mean?
House is everywhere!!! You can’t seem to go anywhere without hearing that Peggy Gou song, which is just a sample of ANOTHER classic house song. This is part of an overlying problem; DJs are so out of touch with culture.
If you like house music, cool, so does the rest of the country’s partygoers - but what kind of house? New York, Chicago, Deep, Tech, Progressive, French, etc…
I’m not talking about Saudi traditions or cultural values, that’s not what I’m referring to. I’m referring to the cultural zeitgeist of music, art, film, and the internet. How can I expect you to be a good DJ if you don’t know what song is trending right now? Or be er yet, what song deserves to be heard on pulsing dance floors with a sweaty crowd? How can I trust you as a DJ if you can’t tell me your favorite deep cuts, or if you cannot critically engage with music?
I’m not asking you to list the top 100 billboard charts or know the biggest song on TikTok, but I’m asking that a good DJ can tell me their favorite album and deep cut. It ba les me how many DJs don’t LOVE music. It seems like so many DJs are only focused on the trend of DJing and the party culture boom in Saudi rather than their love for music.
“Namar it’s just a DJ set, it’s not that deep.” But… it is. You cannot engage with art and culture, especially if you are representing it on a national scale, without knowing and loving what you’re doing. If your understanding of music and DJing starts and ends with the following words only; progressive house, trance, or techno, then you’re following the trend of DJing in Saudi.
This sounds like a smear campaign against the DJs of Saudi, and I’m a bi er man praying for their downfall - that’s not the case. Some great DJs blend house with other styles and genres to create groundbreaking, unique tracks and mixes like VinylMode or Nooriyah. People like them are genuine music lovers, and you don’t need to interview or interrogate them about their taste because their mixes can only be made by a genuine music lover.
We shouldn’t be asking DJs to limit themselves to genres or solely work and mix Saudi or Arabic music, but shouldn’t we encourage that? Rather than se ing up a cookie cu er formula for DJs and musicians to make music \following a specific mold, we could push for experimentation and artistic liberty.
In my opinion, as a music lover and DJ, I think we should push for variety in the DJ scene. Push for DJs to mix sheilat and pop or Abdulmajeed Abdullah’s greatest hits and techno, because why not? We have a rich musical heritage and catalogue, so we should push for stylistic choices and events we wouldn’t see anywhere. If it works, great then you’ve done something new and di erent for yourself. If it doesn’t, so what? You’ve pushed yourself and the boundary of music making in a rapidly developing and growing scene.
I feel the Saudi music scene is sprawling with talent and creativity, and with these opportunities, we should be promoting constructive feedback and criticism. We should also keep pushing, promoting, and platforming uniqueness and diversity in creation, instead of a empting to create carbon copies of the same product.
This is Fares. He’s one of our friends and happens to work with us. His photography is really good, so we asked him to contribute. He was too shy to write his own artist statement, so we’re doing it for him.
He says he uses a Sony A7iv. He uses it because it’s one of the best cameras to shoot with on the go, apparently. He uses a VHS camera, but we can’t print video.
It looks like he uses a lot of fish lens. He says it’s street style and full of colors. We’re not sure what that means, but it feels like it makes sense.
He started when he was young (14, during the awkward phase). He started for fun, and it quickly became a passion.
He said he likes to capture the moment (go figure). Aside from photographing big name artists, he does a lot in the streetwear and skater communities in Jeddah and Riyadh.
Connected to the people, capturing people, publishing for the people.
Thanks Fares.
Hamzah Baker is a talented multimedia artist who has discovered a unique niche in set design. His creative journey has been greatly influenced by his deep connection to music, which serves as a powerful catalyst for unleashing his creative vision in music festival artworks and stage designs. Such as, MDLBEAST, XP music conference, and underground parties around the region.
With a keen eye for detail and a passion for blending various art forms in music industry, Hamzah Baker has carved out a distinctive style that seamlessly integrates visual elements with auditory experiences. His work reflects a harmonious fusion of colors, shapes, and sounds, creating immersive environments that transport into enchanting realms of creativity.
Music plays a pivotal role in Hamzah’s creative process, serving as a constant source of inspiration and motivation. The rhythm, melodies, and emotions conveyed through music ignite his imagination and infuse his creations with a vibrant energy that captivates audiences and ignites their senses.
In festival artworks and party designs, Hamzah Baker’s unique approach to set design is evident in the way he transforms ordinary spaces into extraordinary realms of wonder and excitement. His use of multimedia elements, combined with innovative lighting techniques and interactive installations, creates a sensory experience that transcends traditional boundaries of art and design.
Through his work, Hamzah Baker not only showcases his artistic talent but also invites others to explore the limitless possibilities of creativity. His passion for creating immersive experiences that resonate with individuals on a profound level is a testament to the transformative power of art and music.
As a multimedia artist who thrives on pushing the boundaries of conventional art forms, Hamzah Baker continues to inspire and enchant audiences with his innovative approach to set design and his unwavering belief in the transformative power of music in unlocking the boundless potential of creative expression.
IGNORE THIS PAGE YOU’RE GONNA CUT IT UP ANYWAY
WHICH SAUDI MUSIC VENUE ARE YOU ?
WHAT EACH VENUE SAYS ABOUT YOU:
BEAST HOUSE JAX DISTRICT, RIYADH
You live for finer things and enjoy all things high-end. A taste for luxury defines you, and you’re drawn to spaces that are as chic as you are.
BOHEMIA KHOBAR
Your heart beats to indie rhythms, and your soul craves the warmth of analog. You’re an old soul with a love for the unconventional and authentic.
MAKAN MUSIC CENTER
JEDDAH
You’re a creator at heart, fueled by passion and creativity. Music isn’t just a hobby to you—it’s your calling, and you’re here to make your mark.
MERWAS
BOULEVARD CITY, RIYADH: Electronic beats are your cup-of-tea. You feel at home in the world of synths, loops, and bass drops, where every beat takes you higher.
INSTRUCTIONS:
MUSIC & ANTIQUES
JEDDAH
You’re all about the vibe—intimate gatherings, eclectic finds, and the nostalgia of casse es. For you, music is best served with a side of memories.
ONYX ARENA
JEDDAH
Loud and proud, that’s your style. You believe music should be felt in your bones, and you’re not one to turn the volume down.
SYRUP RIYADH
You’re a DIY dreamer, a free spirit who thrives in the moment. With a knack for improv, you’re all about creating something from nothing.
THE WAREHOUSE JAX DISTRICT, RIYADH
For you, music is a collective experience. It’s all about the right crowd, the good vibes, and moments that turn into memories
This synthesis is derived from interviews conducted with three members of the Saudi music industry: Anmar Madani, veteran DJ and cofounder of 9SICKSICK Creative; Faisal Al-Alamy, metal guitarist and lawyer; and Haya Al-Hejailan, guitarist from Seera and cultural professional.
Over the past decade, Saudi has been undergoing transformative developments across all sectors.
The music industry is no exception with the scene going from being hidden, grassroots and completely underground, to it becoming a multi-million ever-growing industry. With these developments, the music industry is expected to bring a range of opportunities, platforms, and experiences for both local artists and audiences. Even though these fruitful progresses are undeniable, Saudi– being a young entertainment economy–faces unique challenges.
Before these developments, the music industry was uniform with limited room for creative exploration. Haya Al-Hejailan, cultural professional and the guitarist from alternative rock band Seera, explains: “there were very limited platforms for musicians, the only major record label I can remember [pre-2030] is Rotana that platformed mainstream Arab music and Khaleeji pop– which is not inherently bad, it just really restricted creativity”.
For the ones who sought to challenge the boundaries of mainstream music, there was a clear gap in resources.
Inversely to the mainstream music scene, their industry –or, more so, community – was small, intimate and kept to itself. Faisal Al-Alamy, a practicing lawyer and guitarist from metal band 9Six6, shares insights from his own experience in the 2000s: “the scene was more underground, more niche — [music] felt like this quiet passion shared by smaller circles[…] we were creating music in a bubble.”
With scarce labels, venues, legislation, and overall resources available to support alternative musicians, they were forced to creatively make way for themselves and built their scene from the ground up.
Veteran DJ and founder of 9SICKSICK Creative, Anmar Madani, shares his experience as a DJ in a pre-2030 music scene: “exposure and resources were much harder to come by. I had to print flyers and burn CDs to promote myself and my nights. We drove to di erent cities to buy vinyls or had to wait for weeks for online shipments to come in”.
Today, the landscape is vastly di erent. Music as a creative platform has gained public acceptance, appreciation and support, giving room for mainstream and alternative artists alike. Live events year-round, new venues, and government-backed e orts and initiatives like Riyadh Music Week and XP Music Futures have made the diverse art of music a visible and celebrated cultural force in the country, and the region at large.
For artists, this shift has brought them unprecedented opportunities. Haya notes that factors such as licensing policies and the opening of music education centers and grassroots venues have given artists space to develop their craft–
taking the scene from thirsty, to flourishing.
Anmar reflects on these changes: “I didn’t expect it to change this fast, and I’m very eager and excited to see where we go”.
overwhelming”.
The issue has shifted from fighting for a seat at the table, to making sure your voice cuts through the noise.
developing music industry infrastructure, to platforming niche genres and artists, and to making way for accessible music education,
There’s an entire village that makes something like this possible. So this is a shoutout
to the gang
The village starts with Heba, Jood and Ahmed Khalaf who worked endless nights bugging their contributors for things like titles and baby pictures.
To bring the text to life, Dhaker Badri (aka Distinct Archives) came to the rescue. Him, and Creative Director Omar Agha, visualized the thing you’re holding in your hand.
None of this would be possible without the heroes that pull o XChange in the first place, and for that we have Tanya Awad, Bastien Roudaut and Hannan Mahmoud to thank. And of course, the army of moderators and content folks who documented all our happenings - AB Hemaid, Israa Kamal, Rawan Jaber and Salman Hammad.
Above all, we have our cheerleaders from up top giving us the freedom, the trust and most importantly - the support.
Thank you to Nada Alhelabi, our valiant leader and General Manager of the MDLBEAST Foundation, our resident cringe detector, refinement junkie and big picture enthusiast, Baloo the Chief Creative O icer of MDLBEAST and the sharpest tool in every box, Ramadan Alharatani, CEO of MDLBEAST and Xine super-fan.
You should always remember where you came from - so thank you to Haya Shaath and Yasmine Rasool for fighting (and working tirelessly) to help us start this project in the first place. We will never forget you, and will forever be grateful.
Dhaker, also known as Distinct Archives, is a versatile designer and visual artist renowned for his work in digital art, collages, poster design, and t-shirt design. Collaborating with event organizers, artists, and brands, he creates impactful visuals that merge aesthetics with cultural storytelling. His diverse portfolio includes crafting social media content and custom apparel designs, showcasing his unique artistic vision.
Born and raised in the boiling heart of downtown Tunis, Hamdi Ryder grew to be one of the most important figures of the Tunisian Electronic scene. The Founder of Downtown Vibes and co-founder of Eddisco Record shop and label established himself as a selector DJ, a raw producer and an entrepreneur eager to evolve, rise and influence, in a positive way, a whole generation of artists. Whether as a prominent musical figure in the Tunisian scene or a cultural leader in his unique journey, Hamdi Ryder managed, over the 10 past year to pass on his knowledge and experience to several generations of dancers but most of all, succeeded in forge the holy grail of every artist out there, his own sound!
Amal is a freelance model, midwife, and video editor with a passion for supporting women.
A graduate of Université Centrale, she brings creativity and dedication to her work. Amal is commi ed to making a di erence in her fields, seamlessly blending her skills to empower and inspire.
Old Mediterranean fisherman in the making, writer in the meantime at Mille World.
Lujine is a skilled graphic designer and social media content creator known for her work in branding, infographics, and illustration. Passionate about humanitarian and environmental causes, she has worked on impactful projects, such as promoting public transportation in Kuwait City via Kuwait Commute’s bus stop design initiative, and has collaborated with renowned brands like Good Cup café and Rimowa. Her diverse portfolio also includes designing album artwork for independent musicians. When she’s not designing, she’s creating playlists and discovering new artists to listen to.
Areej is a Palestinian multi-passionate creative who is constantly searching for new pathways into art, music and community. With her beginnings in poetry and performance, Areej has stepped into music and cultural criticism, comedy writing, photography and film production. Her work has been published with Tinderbox Poetry, The Hellebore Press, and Bu on Poetry, among others. Based in Kuwait, Areej is the founder of Art Scene, a platform for artists to collaborate through dedicated meetups and showcases, building community that is necessary for artistic growth.
Sheikha is a Kuwaiti artist and illustrator whose art is mainly centred around identity and self care as a form of coping in a highly technological age. Being torn between tradition and the constant change of the online arena, her art focuses on women and other marginalized figures seen in Kuwait and the Middle East. She creates bold and colorful illustrations that center around women and the lives they lead through worldbuilding, comics and color. She uses her art as her own way of taking up space, raising questions of gender roles and the expectations placed on women in a culture where tradition and privacy play an important role.
Aziz is a contemporary Omani arist whose work delves into the realms of idenity, culture, and the human experience. Utilizing a variety of media, Abdulaziz creates evocative pieces that challenge perceptions and invite introspetion. His art vividly reflects his journey by interweaving the intricate tapestry of his rich heritage and the evolving narratives of modern life. With each piece testifying to his exploration of self and society, he creates a dialogue between the past and present, prompting viewers to reconsider their own narratives and the world around them.
Aisha Al Bakry is a multidisciplinary Artist of Afroarabian Descent. Her visual language is rooted in motifs inspired by her heritage and ancestry. She is heavily influenced by the analytical psychologist Carl Jung’s insights on the inner workings of human beings, identity and spiritual understanding. When she isn’t drawing she spends her time planning events, projects and programs for the Omani creative community.
Shahir is a dynamic media professional with a rich background in writing, styling, and presenting. A former writer and stylist for GQ Middle East, Shahir has also contributed to Red Bull, GQ Middle East, and various London-based publications. As a versatile TV presenter, he’s hosted popular shows such as The Lovieovin Dubai Show, DXB Today, and Smashi Business. With over a decade of experience producing news and lifestyle TV shows, Shahir is also an experienced live event MC, known for his engaging stage presence.
Namar Tarabzoni is a Jeddah-born writer specializing in critical and creative writing focusing on various topics such as pop cultural phenomena, Internet history, and film analysis. Namar graduated from New York University’s Gallatin School of Individualized Studies and is currently based in Riyadh.
Akram is a local dancer and artist with eight years of experience, and the founder of the Abstract dance crew. A talented performer and artist, Akram has participated in and hosted a variety of dance workshops across the Middle East, Asia, and Europe. To him, dance is an expression of the self through rhythmically connecting with music through movement. His areas of expertise are hip-hop freestyling and experimental dance.
Hamzah Baker is a Saudi Architect / Multidisciplinary Artist. based in Riyadh, Saudi Arabia. Earned his bachelor’s degree in Architecture Studies from University of Wisconsin Milwaukee, USA. Hamzah has developed a diverse skill set that extends beyond traditional architectural practice. His artistic journey encompasses exploration through various design disciplines, including painting, sculpting, and digital fabrications.
Fares Rock, a Jeddah-Riyadh based photographer and videographer, has made a significant impact on the local creative scene through his focus on streetwear, urban culture, and concert videography, showcasing the vibrancy of live events and car culture.
