<div>The fifth edition of the&nbsp;Rumman Music Festival&nbsp;returns as an invitation to gather, listen, and imagine together, bringing forward a new generation of artists, musicians, and cultural workers whose work carries the region's momentum forward.&nbsp;This edition looks at Tripoli, the South, and the Arab region&nbsp;not as separate or defined by their struggles, but as one living geography connected through music, movement, and care, and asks what could be built that has never existed before. &nbsp; </div><div><br></div><div><strong>LINEUP&nbsp;</strong></div><div><strong><br></strong></div><div><strong>Friday, 04 September 2026 </strong></div><div><strong>Genre</strong>:&nbsp;Post-folk, Free-Rock, Experimental Ambient, Arabic Experimental Music</div><div><br></div><ul><li> SANAM</li><li>ALSILK</li><li>SHAM LHAWA</li><li>BLACK MOUSE: DECONSTRUCTED&nbsp;</li></ul><div><br></div><div> <strong>Saturday, 05 September 2026</strong></div><div> <strong>Genre</strong>:&nbsp;Arabic Hip-hop, Rap, Alt Rap, Alt Pop, Indie, Shaaby</div><div><br></div><ul><li> EMSALLAM</li><li>MA-BEYN</li><li>JAMUL</li><li>BILEL&nbsp; </li></ul><div><strong>Ticketing &nbsp; &nbsp;</strong></div><div><strong><br></strong></div><div><strong>Festival Full Pass &nbsp;</strong></div><div>$30 early bird / $40 presale</div><div><br></div><div><strong>Single-Day Pass&nbsp; </strong></div><div>$20 Early Bird / $25 presale / $35 door (Subject to availability)&nbsp;</div><div><br></div><div><strong>Supporter Pass&nbsp; </strong></div><div>$75 - Pass includes:&nbsp;</div><div>2-day festival access</div><div>Backstage access to meet your favorite artist</div><div>2 complimentary drink vouchers&nbsp; </div><div><br></div><div>Doors Open at 20:30<br>Event Starts at 21:00 &nbsp;</div><div><br></div><div><strong>General Admission </strong></div><ul><li>18+ event</li><li>Tickets are non-refundable unless the event is canceled due to Force Majeure.</li><li>Security check upon entry; prohibited items include outside food/drinks, weapons, and illicit substances.</li><li>Organizers reserve the right of admission.</li></ul>

Festival

Emsallam | مسلّم

Jamul | جمول

Ma-Beyn | مابين

RUMMAN MUSIC FESTIVAL #5

<div>We asked <a href="https://harfanharfan.com/artist-profile/3794" target="_blank">Yal</a> about her music, her creative process, and the words that carry the most weight in her scene.</div><div><br></div><div><strong>If someone heard just one track from you, which should it be, and why?</strong></div><div><br></div><div><em>La7ali. It really unveils my inner world, from which all the other songs sprout.&nbsp; <br></em></div><div><br></div><div><strong>Weirdest place you’ve ever written a bar/lyric?</strong></div><div><strong><br></strong></div><div><em>Maybe not a place, but there was a time when inspiration hit and I didn’t have my notebook, so I ended up writing a whole song on a zine, all over the words and graphics!</em></div><div><br><strong>What’s your toxic creative habit?</strong></div><div><br></div><div><em>Getting a little too obsessive!&nbsp;</em></div><div><strong><br></strong></div><div><strong>What’s something you had to unlearn to grow musically?</strong></div><div><br></div><div><em>Overcoming the unfamiliarity of writing in my mother tongue. When I first started, writing in Arabic never crossed my mind, but once I started finding my voice in Arabic, it changed everything. It feels like my songs come from a much more authentic place, and they touch deeper.</em></div><div><br></div><div><strong>What word from your dialect hits hardest in your scene/crowd, and why?</strong></div><div><br></div><div><em>As a Lebanese spending the past months in Tunisia, “yo2borni” hands down! It is THE word people will exclaim back at you as soon as they know you’re Lebanese!</em></div><div><br><strong>Who’s an artist from your city that deserves more love?</strong></div><div><br></div><div><em>There are so many amazing artists from my city making music against all odds and that deserve all the love! But if I had to choose one, I would say Anamel Project, a duo by some of the most talented and hardworking people I know. <br></em></div><div><strong><br></strong></div><div><strong>Dream collab: who’s on your wishlist &amp; why?</strong></div><div><br></div><div><em><a href="https://harfanharfan.com/artist-profile/3791" target="_blank">Zeid Hamdan</a>. Need I even say why?</em></div><div><br><strong>If your music were a place, where would it be?</strong></div><div><br></div><div><em>Somewhere in the sky, on a cloud!</em></div><div><strong><br>How do you get re-inspired when you hit a creative block?</strong></div><div><em><br></em></div><div><em>I try to take space from the work, step away to come back with fresh ears and eyes. The muse brings the answers when we aren’t reaching for them.&nbsp;</em><br></div>

Behind the Sound: Meet Yal Solan

<div>We asked&nbsp;<a href="https://harfanharfan.com/artist-profile/3917">OSTAR</a> about his music, his creative process, and the words that carry the most weight in his scene.</div><div><br></div><div><strong>What almost ended up being your artist name before you landed on ‘OSTAR’?</strong></div><div><strong><br></strong></div><div><em>Honestly, there was never another name. The moment I came up with OSTAR, it just felt right. To me, it represents being a "STAR" and reflects exactly who I am.</em></div><div><br></div><div> <strong>If someone heard just one track from you, which should it be, and why?</strong></div><div><br></div><div><em><a href="https://www.youtube.com/watch?v=tStMS8bjGDA" target="_blank">DARWIN</a>. If you want to understand who I am as an artist, that's the track to hear. It reflects my identity, my mindset, my sound, and everything I love creatively. It's the most honest representation of OSTAR. </em></div><div><br></div><div><strong>Weirdest place you’ve ever written a bar/lyric?</strong></div><div><br></div><div><em>Honestly, I record, write and record voice notes anywhere. While waiting for the bus, while working, or whenever an idea comes to me. But the weirdest place has to be the bathroom.&nbsp; </em></div><div><br></div><div><strong>What’s your toxic creative habit?</strong></div><div><br></div><div><em>I can spend hours changing something by 1%, then end up going back to the very first version.&nbsp; </em></div><div><br></div><div><strong>What’s something you had to unlearn to grow musically?</strong></div><div><br></div><div><em>Trying to make music that everyone would like. Once I started making music that truly sounded like me, everything changed. </em></div><div><br></div><div><strong>What word from your dialect hits hardest in your scene/crowd, and why?</strong></div><div><br></div><div><em>Honestly, not just one word. I love the whole Algerian dialect. Every time I use it in my music, it feels like home. It's a huge part of who I am as an artist. </em></div><div><br></div><div><strong>Who’s an artist from your city that deserves more love?</strong></div><div><br></div><div><em>I am from Tizi Ouzou, and honestly my city's music scene is pretty small, so I don't really know many artists from around here. But I believe there are a lot of talented people across Algeria who just need the right opportunity to be heard. </em></div><div><br></div><div><strong>Dream collab: who’s on your wishlist &amp; why?</strong></div><div><br></div><div><em>TIF and NAJM. I really respect how they've built their own identities while staying true to themselves. I think we'd make something fresh that represents North Africa in a new way.&nbsp; </em></div><div><br></div><div><strong>If your music were a place, where would it be?</strong></div><div><br></div><div><em>The Casbah of Algiers. Every street has a story, every corner has character. I'd love my music to feel the same way. </em></div><div><em><strong><br></strong></em></div><div><strong>How do you get re-inspired when you hit a creative block?</strong></div><div><em><br></em></div><div><em>I stop forcing it. I go outside, spend time with people, travel if I can, or just live life for a while. The best ideas usually find me when I'm not looking for them.&nbsp; <br></em></div>

Behind the Sound: OSTAR

<div><em>Lyrics Explained” When Artists Explain Their Own Words </em></div><div><br></div><div>Song lyrics are often open to interpretation, but what happens when the explanation comes directly from the artist/band? </div><div><br></div><div><strong>Lyrics Explained</strong> is a series by <strong>Harfan Harfan</strong>, dedicated to documenting and exploring Arabic song lyrics <strong>through the artists themselves,</strong> moving away from fixed meanings or purely literal readings.</div><div><br></div><div><hr> </div><div><strong><br></strong></div><div><strong>Episode Three: <a href="https://harfanharfan.com/artist-profile/3775" target="_blank">47Soul </a></strong></div><div><br></div><div>In the third episode of Lyrics Explained, <a href="https://harfanharfan.com/artist-profile/3775" target="_blank">47Soul</a> breaks down selected lyrics from two of their songs — <a href="https://harfanharfan.com/song/770" target="_blank">Intro to Shamstep</a> and <a href="https://harfanharfan.com/song/769" target="_blank">Power</a> — discussing their meaning, emotional context, and creative background.</div><div><br></div><div><hr> </div><div><strong><br></strong></div><div><strong>Your Role </strong></div><div><br></div><div>At Harfan Harfan, we don’t believe in a single, final interpretation. After the artist shares their perspective, the conversation continues with you. Add your own interpretations and personal reflections, every contribution earns you points on the platform.  </div><div><br></div><div><hr> </div><div><strong><br></strong></div><div><strong>What are points for? </strong></div><div><br></div><div>Points are our way of recognizing meaningful participation and unlocking future features and experiences within Harfan Harfan. </div><div><br></div><div>👉 <a href="https://harfanharfan.com/gamification" target="_blank">How it works  </a></div><div><br></div><div><hr> </div><div><strong><br></strong></div><div><strong>What’s next? </strong></div><div><br></div><div>The Lyrics Explained series will continue with more Arab artists, each episode offering a deeper look into lyrics, music, and the human experience behind them.</div><div><br></div><div> If you care about words, and believe every song holds more than one meaning, this is for you. </div><div><br></div><div>📩 <a href="https://harfanharfan.com/" target="_blank">Sign up</a> and join the conversation.<br></div>

Lyrics Explained: 47Soul 🗣️ Episode 3

<div><strong>Producers</strong> have one of music’s least specific job descriptions, yet some of music’s most far-reaching responsibilities. The title stays the same even when the work doesn’t, and the same credit can describe fundamentally different kinds of work. Ask ten musicians what a producer does and you'll probably get ten different answers. The music is only part of what producers build. </div><div><br></div><div>To better understand what producers really do, we spoke with <a href="https://harfanharfan.com/artist-profile/3944" target="_blank">DJ Lethal Skillz</a> and <a href="https://harfanharfan.com/artist-profile/4055" target="_blank">Yo Asel</a> about the work that happens beyond the music itself. </div><div><br></div><div>Long before Lebanese hip-hop took shape, DJ Lethal Skillz was already investing in its future. Through <a href="https://youtu.be/Iej_xpLTaNI?si=8h9SnkNbDsQjv13X" target="_blank">961 Underground</a>, he helped give the scene somewhere to gather while it was still finding its footing. The same instinct runs through <a href="https://open.spotify.com/album/4hMOuNN5usqrG3LAZYJBKJ" target="_blank">New World Disorder</a> and <a href="https://open.spotify.com/album/1cBMJA6JSbPO2sCIjrO093" target="_blank">Karmageddon</a>, bringing together artists from across the Arab world and its diaspora at a time when a regional hip-hop scene was still difficult to imagine. Instead of waiting for someone else to tell that story, he turned the camera toward the scene himself through 961 Underground: The Birth of Lebanese Hip Hop. Most history is documented once it’s over. DJ Lethal Skillz documented a movement while it was still being written.&nbsp;</div><div><br></div><hr><div><strong><br></strong></div><div><strong>WERE NEW WORLD DISORDER, KARMAGEDDON AND 961 UNDERGROUND: THE BIRTH OF LEBANESE HIPHOP ALWAYS PART OF THE SAME VISION, OR IS THAT ONLY CLEAR IN HINDSIGHT?</strong></div><div><br></div><div><em>“Looking back now, I realize it wasn't a series of separate projects, it was one long mission expressed through different forms.At the time, I wasn't thinking in terms like ecosystem building, cultural infrastructure, or legacy. I simply believed that if we didn't organize ourselves, document our stories, invest in our artists, and preserve our history, nobody else would do it for us.961 Underground was about bringing artists together beyond Lebanon's divisions of religion, sect, politics, and geography. Red Leb Studios gave people a place to create, collaborate, and learn. New World Disorder captured the voices of a generation. Karmageddon expanded those connections across the Arab world. 961 Underground: The Birth of Lebanese Hip-Hop became another step toward documenting a movement that deserved to be remembered.Looking back, I realize they were never separate projects; they were all different chapters of the same story. The medium changed a collective, a studio, a label, a documentary, regional collaborations but the mission remained the same: to build something bigger than myself that could outlive me.Hip-hop gave us a language to challenge division, connect communities, and tell our own stories on our own terms. That belief shaped every project I became part of, even before I consciously recognized the pattern myself.I've always believed that music creates moments, but culture is built by the people who preserve those moments for the next generation. Looking back now, I realize I wasn't just making music I was trying to help build and preserve a culture that deserved to be remembered.”&nbsp;</em> </div><div><strong>- DJLethalSkillz</strong></div><div><strong><br></strong></div><hr><div><br></div><div>Some of the biggest records almost never happen. <a href="https://harfanharfan.com/artist-profile/3844" target="_blank">ElGrandeToto</a> nearly walked away from the beat that became <a href="https://www.youtube.com/watch?v=7yZ_mNTuEfY" target="_blank">Halla Halla</a>. <a href="https://harfanharfan.com/artist-profile/4055" target="_blank">Yo Asel</a> didn’t. He later recalled persuading Toto to give it a chance, and the song went on to become Toto’s first track to top YouTube Trending in Morocco. Success can make moments like these sound inevitable. They rarely are. Sometimes a producer’s most important contribution isn’t making a song, but refusing to let it disappear before it has the chance to become one. Before a record reaches the public, somebody usually has to fight for it.</div><div><br></div><hr><div><br></div><div> <strong>HOW DO YOU KNOW WHEN TO TRUST YOUR INSTINCTS OVER AN ARTIST'S FIRST REACTION TO A RECORD?</strong></div><div><br></div><div><em>“The story of Halla Halla started when Famillionaire was playing me a bunch of his ideas. As soon as he played Halla Halla, my first reaction was, “Give me this.” It had a different vibe, but the moment I heard that melody loop with the hook ref, I knew exactly what I wanted to do with it.I took the melody loop, tweaked it a little, added punchy drums, and kept Famillionaire’s topline reference. My vision was: I wanted to make a song for clubs and parties, something that would hit immediately and make the crowd go crazy. Back then, I’d never really heard Moroccan rap being played in clubs, so that was the whole idea behind it.The funny part is that when I first played the song to Toto, he wasn’t convinced. I kept telling him to just give it a try, and everyone else in the room was hyping it up because they loved the production. He eventually started recording it, but he still wasn’t completely sure about it.Looking back, Halla Halla is probably the song that turned out exactly the way I imagined in terms of its impact. It grew on people gradually in Morocco at first, but today it’s one of the most important songs in Toto’s live set. You see him performing it all over the world, and the crowd goes crazy every time, despite the language barrier.”&nbsp;</em></div><div><strong>- Yo Asel </strong></div><div><br></div><hr><div><br></div><div>Listen to enough <a href="https://bltnm.com/" target="_blank">BLTNM</a> releases and the connection becomes difficult to ignore. Different rappers, each with their own voice, writing and delivery, yet they all seem to belong to the same auditory space. <a href="https://harfanharfan.com/artist-profile/3763" target="_blank">Shabjdeed</a> sounds nothing like <a href="https://harfanharfan.com/artist-profile/3642" target="_blank">Daboor</a>. Both sound nothing like <a href="https://harfanharfan.com/artist-profile/3759" target="_blank">Fawzi</a>. Yet nobody confuses a BLTNM record for anything outside BLTNM. The common thread sits behind them. <a href="https://harfanharfan.com/artist-profile/3772" target="_blank">Al Nather</a>’s producer tag may be the easiest thing to recognize about one of his records, but it tells you the least about what he actually builds. His production has established a creative language that each of the label's artists speaks in their own way, allowing them to remain entirely themselves while still feeling like they came from the same place. </div><div><br></div><div>Maybe that's why "producer" has always felt like such an incomplete title. They're not just building records, they're the invisible architects of artists, sounds, and sometimes entire scenes.</div>

Producers: The Architects of Arabic Hip-Hop

<div>We asked&nbsp;<a href="https://harfanharfan.com/artist-profile/3893" target="_blank">Jamul</a> about his music, his creative process, and the words that carry the most weight in his scene.</div><div><br></div><div><strong>1. What almost ended up being your artist name before you landed on ‘Jamul’?</strong></div><div><strong><br></strong></div><div><em>My first ever artist name when I was 13 years old was Jizzy, but then I found out what Jizzy actually meant, so I switched to Jeezy, back then Young Jeezy still had the Young in his name, then he dropped it, and I couldn't be Jeezy anymore, then I stuck with the moniker M.O.E which stood for Music Over Everything, my first EP Dropped under that name, but then I changed it to Jamul when I switch to rapping strictly in arabic, felt more natural and more authentic, and Jamul is really my name lol.</em></div><div><em><br></em></div><div><em><br></em></div><div><em><br></em></div><div><strong>2.&nbsp;If someone heard just one track from you, which should it be, and why?</strong></div><div><strong><br></strong></div><div>Ugh I hate this question, I have so many tracks that are so different, if they strictly want bars, I'd suggest Aatab or <a href="https://harfanharfan.com/song/1140" target="_blank">Prelude</a>, if they like something to dance to, I'd say Dalala or Da3se and if they want both I suggest Haifa.&nbsp;</div><div><br></div><div><br></div><div><br></div><div><strong>3. Weirdest place you’ve ever written a bar/lyric?</strong></div><div><br></div><div><em>Mosque lol&nbsp;</em></div><div><br></div><div><br></div><div><br></div><div><strong>4. What’s your toxic creative habit?</strong></div><div><br></div><div><em>So many ideas I'm excited to execute at the same time that I end up being anxious about everything and feeling far behind.</em></div><div><br></div><div><strong><br></strong></div><div><strong><br></strong></div><div><strong>5. What’s something you had to unlearn to grow musically?</strong></div><div><strong><br></strong></div><div><em>I had to unlearn measuring my artistry with attention from strangers online.<br></em></div><div><br></div><div><br></div><div><br></div><div><strong>6. What word from your dialect hits hardest in your scene/crowd, and why?</strong></div><div><br></div><div><em>I don't know, I guess… Ayre, it’s more musical than other dialects, that AA YII RE, better than “eri” in other dialects, safe to say we got the best AYRE.</em></div><div><em><br></em></div><div><em><br></em></div><div><em><br></em><strong>7. Who’s an artist from your city that deserves more love?</strong></div><div><br></div><div><em>We all need more love, we all need someone to hug us and tell us you’re doing great princess.</em></div><div><br></div><div><br></div><div><br></div><div><strong>8. Dream collab: who’s on your wishlist &amp; why?</strong></div><div><br></div><div><em>EL KING (Mohamad Mounir) and ICEMAN *2 GOAT EMOJIS* <br></em></div><div><br></div><div><br></div><div><strong><br></strong></div><div><strong>9. If your music were a place, where would it be?</strong></div><div><br></div><div><em>Autostrad El Hazmieh</em></div><div><br></div><div><br></div><div><br></div><div><strong>10. How do you get re-inspired when you hit a creative block?</strong></div><div><br></div><div><em>When creative block hits, the mathematical flagellation begins I start calculating the exact timeline of my own cosmic worthlessness. </em></div><div><em><br></em></div><div><em>I look at the clock and think: 'I am 29 years old by this exact age, Mozart had written over 35 symphonies and was practically on his deathbed, Jimi Hendrix had already redefined the electric guitar, Biggie dropped ready to die at 23 and cemented his status as an eternal legend before he even hit 26'. </em></div><div><em><br></em></div><div><em>And what have I achieved today? </em></div><div><em><br></em></div><div><em>I lie flat on the floor, staring at the ceiling, channeling the absolute bleakest existentialism.</em></div><div><em><br></em></div><div><em> I let Sartre whisper in my ear that I am trapped in 'bad faith', masquerading as a creator when I am actually just a fraudulent mammal typing buttons in a dark room and I question the fabric of reality itself if I ever actually possess talent.</em></div><div><em><br></em></div><div><em>And then I think of a word, or a beat, or a concept, and I go into a loop of anxious creativity for the next 6 months lol.</em><br></div>

Behind the Sound: Meet Jamul

<div>We asked&nbsp;<a href="https://harfanharfan.com/artist-profile/3597" target="_blank">Nuj</a> about his music, his creative process, and the words that carry the most weight in his scene.</div><div><br></div><div><strong>1. What almost ended up being your artist name before you landed on ‘Nuj’? </strong></div><div><br></div><div><em>Nujjj. Three J's. </em></div><div><br></div><div><br></div><div><strong>2. If someone heard just one track from you, which should it be, and why? </strong></div><div><br></div><div><em>"واصل"&nbsp;with Nour Yamm </em><em>because I feel like my higher self is the one who wrote it. I'd rather people hear that side of my personality because it's motivating and only sees success ahead. </em></div><div><br></div><div><br></div><div><strong>3. Weirdest place you’ve ever written a bar/lyric? </strong></div><div><br></div><div><em>Honestly, I usually write in the comments sections of YouTube videos, so I don't know how weird or normal that is. But one time I was waiting for a bus and a bar popped into my head. I was scared I'd forget it, so I borrowed a pen from a random stranger passing by. The problem was, he didn't have any paper. We got on the bus and I ended up writing the bar on a cigarette pack.</em></div><div><br></div><div><br></div><div> <strong>4. What’s your toxic creative habit? </strong></div><div><br></div><div><em>I can't disclose that. </em></div><div><br></div><div><br></div><div><strong>5. What’s something you had to unlearn to grow musically? </strong></div><div><br></div><div><em>When it comes to developing musically, I haven't really thought about it that much. I just trusted that I can do something new, and I'm constantly proving to myself that I actually can. It changes depending on how I'm thinking during a certain period. </em></div><div><br></div><div><br></div><div><strong>6. What word from your dialect hits hardest in your scene/crowd, and why? </strong></div><div><br></div><div><em>Honestly, I might be a little autistic or something. I don't pay attention to these things. So I can't really answer. </em></div><div><br></div><div><br></div><div><strong>7. Who’s an artist from your city that deserves more love? </strong></div><div><br></div><div><em>Not one artist. They're all my friends and they all deserve more love. Nobody knows what each one of them is going through, or how hard it is to choose the path of making art in Lebanon. </em></div><div><br></div><div><strong><br></strong></div><div><strong>8. Dream collab: who’s on your wishlist &amp; why?</strong> </div><div><br></div><div><em>Abyusif. Because he's Abyusif. </em></div><div><br></div><div><br></div><div><strong>9. If your music were a place, where would it be? </strong></div><div><br></div><div><em>My room. </em></div><div><br></div><div><br></div><div><strong>10. How do you get re-inspired when you hit a creative block? </strong></div><div><br></div><div><em>I don't know. For all I know, I go to sleep with a creative block, wake up, and write three songs. I don't really understand myself either.<br></em></div>

Behind the Sound: Meet Nuj

<div>We asked&nbsp;<a href="https://harfanharfan.com/artist-profile/3965" target="_blank">Astroye</a> about her music, her creative process, and the words that carry the most weight in her scene.<br><br></div><div><strong>1. What almost ended up being your artist name before you landed on ‘Astroye’?<br></strong><br><em>I actually started out under the name 'Qannas,' and I still have a lot of respect for those early days.&nbsp;</em><em>It’s a name that a core group of my original listeners still remembers me by. But as my sound evolved, I realized I needed a name that actually reflected the world I was building. </em></div><div><em><br></em></div><div><em>I transitioned to 'Astroye' because it fits the character and the specific style I’ve developed over time. It feels more like a true representation of where I am now.</em></div><div><br></div><div><br></div><div> <strong>2. If someone heard just one track from you, which should it be, and why?<br></strong><br><em>I’ve never really liked the idea of having one 'perfect' single and a bunch of filler tracks. I want someone to be able to hit 'shuffle' on my profile and, no matter what comes up, feel like they’re getting the real me. Every song has its own vibe, but the quality stays the same. I’d rather a listener find the track that fits their mood in that moment than try to force-feed them one specific 'first impression.</em>&nbsp;<br></div><div><br></div><div><br></div><div> <strong>3. Weirdest place you’ve ever written a bar/lyric?<br></strong><br><em>I’m a firm believer that inspiration doesn't wait for the 'perfect' moment. I do my best work when I’m navigating new spaces and staying curious. </em></div><div><em><br></em></div><div><em>One of my favorite tracks was actually written on my way from University to work. I ended up crouched on the sidewalk with my notebook because I was so determined to capture the idea in the moment. To me, the lack of a traditional workspace isn't a barrier; it's just part of the process.&nbsp;</em><br></div><div><br></div><div><br></div><div> <strong>4. What’s your toxic creative habit?</strong><br><br><em>I’m incredibly prolific, but I’m also my own toughest critic. Because I’m constantly evolving with my producer, we often find that our newest work outshines what we did just a few weeks prior. </em></div><div><em><br></em></div><div><em>While I’ve left projects behind in the past to chase a higher standard of quality, I’ve recently focused on 'finishing for the sake of growth' so that my best ideas actually reach the audience.</em> <br></div><div><br></div><div><br></div><div><strong>5. What’s something you had to unlearn to grow musically?</strong><br><br><em>For a long time, I think I was creating from a place of 'humility' that actually ended up being a limitation. I had to intentionally unlearn those guards and the habits that were keeping my sound and lyrics safe. By breaking down those walls, I’ve been able to put much more genuine effort into the work. </em></div><div><em><br></em></div><div><em>It’s allowed me to balance vulnerability with strength, and I think my music is much more impactful now because it’s finally coming from an authentic place.</em><br><br><br><strong>6. What word from your dialect hits hardest in your scene/crowd, and why?<br></strong><br><em>I’ve found that my audience really resonates with the authentic elements of my local dialect. There’s a specific way we blend the 'a' and 'o' vowels in my community that feels very 'home' to people. I used to think of it as just the way we speak, but I’ve realized it’s a powerful cultural touchstone. </em></div><div><em><br></em></div><div><em>Embracing those original Arabic accents has allowed me to connect with my listeners on a deeper, more nostalgic level, and they’ve shown a lot of appreciation for that cultural honesty.</em> <br><br><br><strong>7. Who’s an artist from your city that deserves more love?</strong><br><br><em>While he’s not from my city, I’d have to point to REVU. He’s the producer who really pushed me to evolve and find my new sound. What I appreciate most about him is his work ethic; he has a way of stressing the quality of every detail that really changed how I approach my own projects. </em></div><div><em><br></em></div><div><em>He’s one of those rare creative artists who genuinely cares about the community and creates space for others to grow. His influence on my career has been huge, and his work definitely deserves a wider spotlight.</em> <br><br><br><strong>8. Dream collab: who’s on your wishlist &amp; why?</strong><br><br><em>I’ve been lucky that every feature and collaboration I’ve done has felt like the right fit. It’s also been a goal of mine to do this interview for some time, so it’s great to be here. As for the future, I’m really interested in 'multimedia' collaborations.</em></div><div><em><br>My dream would be to partner with a graffiti or canvas artist. I’m fascinated by how music and visual art can feed into each other, and I’d love to bring that kind of raw, street-art energy into my creative process.</em></div><div><br><br><strong>9. If your music were a place, where would it be?</strong><br><br><em>If I had to visualize my music, I’d describe it as a magenta-colored planet somewhere in deep space. I’m really drawn to creating 'spacey' atmospheric vibes that feel immersive, but I balance that with a lot of individuality in the lyrics.</em></div><div><em><br></em></div><div><em> I want the listener to feel like they’ve stepped into a specific world that’s visually and sonically distinct, where the production feels vast but the words feel personal.</em> <br><br><br><strong>10. How do you get re-inspired when you hit a creative block?</strong><br><br><em>I’m a firm believer in the idea that to be a great creator, you have to be a great observer. I spend a lot of my time studying other artists, not just in music but in visual arts too, to understand their process and the elements they use. </em></div><div><em><br></em></div><div><em>It’s how I recharge my own inspiration and discover new flows or production techniques. My ultimate goal is to turn that around and be just as much of a spark for my audience as other artists have been for me.</em></div>

Behind the Sound: Meet Astroye

<div>Taking over El Sawy Culturewheel on June 4, Zaid Khaled introduces “Layali,” a new concert series shaped around the unpredictability and emotional pull that make his live shows resonate beyond the stage. </div><div><br></div><div>Joined by a full band, special guests, and longtime collaborators, Zaid slips between fan favorites, newer releases, unreleased moments, and unexpected turns without ever sitting in one place for too long. By the time the first chorus hits, most of the room is already singing along. </div><div><br></div><div>There’s a sense of old Arabic pop spectacle running through “Layali”, the drama, the scale, the feeling that the night is unfolding in chapters, but filtered through Zaid’s own left-field lens.  </div><div><br></div><ul><li>Layali Zaid Khaled Vol.1 </li><li>El Sawy Culturewheel – Zamalek </li><li>June 4, 2026 </li><li>Doors Open: 7:30 PM S</li><li>how Starts: 8:30 PM </li><li>Tickets are now on sale for 400 EGP</li></ul>

Concert

Zaid Khaled | زيد خالد

Zaid Khaled LIVE in Zamalek

<div><strong>Lyrics Explained”</strong><em> When Artists Explain Their Own Words </em></div><div><br></div><div>Song lyrics are often open to interpretation, but what happens when the explanation comes directly from the artist? </div><div><br></div><div><strong>Lyrics Explained</strong> is a series by <strong>Harfan Harfan</strong>, dedicated to documenting and exploring Arabic song lyrics <strong>through the artists themselves</strong>, moving away from fixed meanings or purely literal readings.</div><div><br></div><hr><div><strong><br></strong></div><div><strong>Episode Two: <a href="https://harfanharfan.com/artist-profile/3756" target="_blank">The Synaptik </a></strong></div><div><br></div><div>In the second episode of Lyrics Explained, <a href="https://harfanharfan.com/artist-profile/3756" target="_blank">The Synaptik</a> breaks down selected lyrics from two of his songs: <a href="https://harfanharfan.com/song/706" target="_blank">Al Qamar wal Moheet</a> &amp; <a href="https://harfanharfan.com/song/701" target="_blank">La Shay2 Yoz3ejoni</a>, discussing their meaning, emotional context, and creative background.  </div><div><br></div><hr><div><strong><br></strong></div><div><strong>Your Role </strong></div><div><br></div><div>At Harfan Harfan, we don’t believe in a single, final interpretation. After the artist shares their perspective, the conversation continues with you. Add your own interpretations and personal reflections, every contribution earns you points on the platform.  </div><div><br></div><hr><div><strong><br></strong></div><div><strong>What are points for?</strong></div><div><br></div><div>Points are our way of recognizing meaningful participation and unlocking future features and experiences within Harfan Harfan. </div><div><br></div><div>👉 <a href="https://harfanharfan.com/gamification" target="_blank">How it works</a></div><div><br></div><div><hr> </div><div><strong><br></strong></div><div><strong>What’s next? </strong></div><div><br></div><div>The Lyrics Explained" series will continue with more Arab artists, each episode offering a deeper look into lyrics, music, and the human experience behind them. </div><div><br></div><div>If you care about words, and believe every song holds more than one meaning, <strong>this is for you</strong>. </div><div><br></div><div>📩 <a href="https://harfanharfan.com/" target="_blank">Sign up</a> and join the conversation.<br></div>

Lyrics Explained: The Synaptik 🗣️ Episode 2

<div> Harfan Harfan is expanding. What began around artist profiles, rappers, bands, singers, and producers now takes an essential step forward with the introduction of Record Label Profiles. </div><div><br></div><div>We continue this journey with <a href="https://harfanharfan.com/artist-profile/3960" target="_blank">HiGHWAV Records,</a> an independent label from Alexandria, Egypt, bringing their world onto the platform and helping document the structures, collaborations, and communities surrounding the music.</div><div><br></div><div> Record Label Profiles create a <strong>dedicated space for labels</strong> to showcase the artists they represent, highlight discographies, and present the catalogs they’ve built. By giving labels a home on the platform, Harfan Harfan becomes a fuller archive of the culture, capturing not only the voices, but the networks and creative worlds behind them.</div><div><br></div><div>HiGHWAV Records’ page features artists and collaborators across their network, including:</div><div><br></div><ul><li><a href="https://harfanharfan.com/artist-profile/3968" target="_blank">Skinny Huss</a></li><li><a href="https://harfanharfan.com/artist-profile/3969" target="_blank">WillyWav</a></li><li><a href="https://harfanharfan.com/artist-profile/3970" target="_blank">El Kiki</a></li><li><a href="https://harfanharfan.com/artist-profile/3972" target="_blank">Al Farid</a></li><li><a href="https://harfanharfan.com/artist-profile/3967" target="_blank">Kiggz </a></li></ul><div>Their label page is now live on Harfan Harfan, showcasing their artists, collaborations, and catalog. </div><div><br></div><div><a href="https://harfanharfan.com/artist-profile/3960" target="_blank">HiGHWAV Records</a> joins a growing network of labels on the platform, as we continue documenting and celebrating MENA music in all its layers. </div><div><br></div><div>Harfan Harfan is growing, and we’re excited to grow together.<br></div>

Harfan Harfan x HiGHWAV Records 🌊

Listening is not passive, and this piece captures that beautifully. Scenes are shaped by artists and collectives, but listeners are who play a real role in how these scenes evolve.

<div>One of the most important roles the listener plays in shaping the underground music scene is <strong>meaning-making</strong>. Basically, it’s tuning into the music and making out of it what moves you, comforts you, or resonates with you. This concept alone tells us a lot about the role we play when we (really) listen to music.&nbsp;</div><div><br>Making meaning is not twisting or manipulating; <strong>it’s simply engaging</strong> and, therefore, demanding. It’s demanding more of what speaks to us on all these emotional levels. That’s what the passionate artist usually aims to deliver. At the end of the day, being generous enough to share your work with the world is akin to wearing your heart on your sleeve; and our response to this openness invites even more of it.&nbsp;</div><div><br>We play our part as listeners <strong>by doing more than just listening.</strong> We tune into the music, let it spark something in us, and before we know it, <strong>we’re compiling it in playlists, sharing it, talking about it, writing about it,</strong> and playing a part we don’t realize we’re playing. By doing this, we’re keeping the conversation going - not just between each other, but with the artist as well.&nbsp; &nbsp; </div><div><br></div><div>As social media has evolved to become what it is today, its negatives usually outweigh the positives - but not when it comes to this topic. Virtual spaces allowed music lovers an opportunity to propagate what they love and gather over it, creating communities that shape scenes as much as artists do. <strong>Harfan Harfan is one of those spaces,</strong> and it’s particularly contributing to the regional music scene through the aspect of meaning-making. <strong>Offering listeners a space to type out lyrics and annotate them,</strong> Harfan Harfan is not only a space for making meaning out of our words and music, but also a platform for us to ensure that they speak to a much wider audience. This is necessary at all times, but especially at times when our voices are being forcefully silenced.&nbsp;</div><div><br>Recently, during the escalation of the war on Lebanon, followers of the Harfan Harfan <strong>community</strong> were invited to share tracks they found themselves returning to. They submitted their responses through a few Instagram stories, and thus the playlist <strong><a href="واحد من أهم الأدوار اللي بيلعبها المستمع بتشكيل مشهد الأندرغراوند هو “صناعة المعنى”. ببساطة، إنك تسمع الموسيقى وتاخد منها الشي اللي بيحرّكك، بيريّحك، أو بيشبهك. هاي الفكرة لحالها بتحكي كثير عن الدور اللي منلعبه لما نسمع الموسيقى فعلًا، مش بس نمرّ عليها مرور.  صناعة المعنى مش معناها تحريف أو تحميل الأشياء فوق طاقتها، بالعكس، هي نوع من التفاعل الحقيقي مع الموسيقى. ولما نتفاعل، طبيعي نصير نطلب أكثر من الشي اللي بيحكي معنا عاطفيًا. وهذا غالبًا أصلًا اللي الفنان الشغوف بيحاول يوصله. بالنهاية، مشاركة الفن مع الناس فيها نوع من المكاشفة، كأنك لابس قلبك على كمّك، والطريقة اللي الناس بتستقبل فيها هالصدق بتشجّع الفنان إنه يكمل ويعطي أكثر.  ودورنا كمستمعين ما بيوقف عند السماع. منسمع أغنية، تلمسنا بطريقة معيّنة، وفجأة منلاقي حالنا عم نضيفها لبلايليست، نشاركها، نحكي عنها، نكتب عنها، ونساهم بالمشهد بدون حتى ما ننتبه. بهالأشياء الصغيرة، منكون عم نكمّل الحوار، مش بس بين بعض، لكن مع الفنان كمان.  ومع تطور السوشال ميديا وصيرورتها بالشكل اللي منعرفه اليوم، صار إلها كثير سلبيات، لكن بهالموضوع تحديدًا، كان إلها دور مهم. المساحات الرقمية أعطت محبّي الموسيقى فرصة يشاركوا الأشياء اللي بحبوها ويتجمّعوا حولها، ويبنوا مجتمعات بتشكّل المشاهد الموسيقية قد ما الفنانين بيشكّلوها.  حرفًا حرفًا واحدة من هالمساحات. المنصة بتحاول تساهم بالمشهد الموسيقي بالمنطقة من خلال “صناعة المعنى”، عن طريق إعطاء المستمعين مساحة يكتبوا كلمات الأغاني ويضيفوا شروحاتهم وتفسيراتهم عليها. بهالطريقة، الموسيقى والكلمات ما بتضل محصورة بمكانها، بل بتوصل لجمهور أوسع وتحمل معها سياقها ومعناها. وهاد الشي بصير أهم بكتير بوقت تكون فيه أصواتنا عم تنقمع أو يتم إسكاتها.  مؤخرًا، وخلال التصعيد والحرب على لبنان، طلبنا من مجتمع حرفًا حرفًا يشارك الأغاني اللي رجع يسمعها بهالفترة. ومن خلال كم ستوري على إنستغرام، تولّدت بلايليست “منكم مش منّا”. البلايليست جمعت بين السخرية السياسية الخالدة عند زياد الرحباني والشيخ إمام، وبين أصوات ثورية معاصرة مثل جعفر طفّار ودبور.  بوقت مليان ضجيج وسرديات متصارعة، طبيعي نرجع للشي اللي بيحسسنا إنه حقيقي. عشان هيك منكتب، ومنقرأ، ومنحكي، ومنتفاعل، ومنسمع. بهالسياق، الاستماع مش فعل سلبي. هو طريقة للرجوع لشي منّا. وكل بلايليست، توصية، شرح، أو نقاش، بيساعد الموسيقى تكمل طريقها وتضل عايشة حتى بعد ما تخلص الأغنية." target="_blank">منكم مش منّا</a></strong> was curated. The tracklist ranges from the timeless sociopolitical satire of <strong>Ziad Rahbani </strong>and <strong>Sheikh Imam</strong> to modern revolutionary voices like <strong>Jaafar Touffar</strong> and <strong>Daboor</strong>.&nbsp;</div><div><br>In a time filled with noise and warring narratives, it’s only natural to return to what feels real. That’s why we write, read, talk, engage, and listen. In this context, listening isn’t passive. It’s a deliberate return to what’s ours. <strong>Every playlist, recommendation, annotation, and conversation helps carry the music further, keeping it alive long after the song ends.&nbsp;</strong><br></div>

How Listeners Move the Underground Music Scene

<div>We asked Zeyne about her music, her creative process, and the words that carry the most weight in her scene.</div><div><br><strong>What almost ended up being your artist name before you landed on ‘Zeyne’?&nbsp;</strong></div><div><em><br>I actually considered ‘Yafa’ for a while, which is my mom’s hometown in Palestine. I felt really drawn to it because of everything it represents historically and emotionally, especially as someone who grew up hearing stories about it and understanding what it means to my family. There’s so much weight and beauty in that name. But the more I sat with it, the more I realised I wanted my artist name to reflect me more directly and personally. So, I eventually landed on Zeyne, which comes from my own name, and just changed the spelling slightly to create a bit of differentiation and make it feel more like its own identity as an artist name.</em></div><div><strong><br></strong></div><div><strong><br></strong></div><div><strong>If someone heard just one track from you, which should it be, and why?&nbsp;</strong></div><div><br><em>That’s a tough one, but I’d probably say either Asli Ana or Bali. Both of those songs come from a really important period of my life, not just as an artist but as a person as well. They reflect a time when I was learning a lot about myself, about where I come from, and about the kind of music I wanted to make. So in that sense, they hold a lot of honesty and clarity for me. I think if someone hears one of those tracks, they understand more than just my artistic style or my tone of voice. They get a sense of the emotions, the identity, and the perspective that shape the music I make. Those songs say a lot about who I am and what I want my music to stand for.</em></div><div><br></div><div><br></div><div><strong>Weirdest place you’ve ever written a bar/lyric?&nbsp;</strong></div><div><em><br>Probably a random farm in Madaba, which honestly doesn’t sound that weird when I say it out loud. But I remember being there and suddenly writing something down, which was funny because it wasn’t a place I expected to be thinking about music at all. Ideas genuinely can show up anywhere, even when you’re completely outside of your usual environment, and I think it’s a funny thing because I could be in the most random place and suddenly write a line that actually ends up making it into a song.</em></div><div><br></div><div><br></div><div><strong>What’s your toxic creative habit?&nbsp;</strong></div><div><strong><br></strong><em>I think one of my toxic creative habits is that sometimes I start thinking too much from the perspective of the listener. Instead of just creating freely, the voice in my head starts editing things and wondering how people will hear and receive it, which can get confusing in the process. It’s a tricky balance because some awareness is important, but if you lean too far into it, it can take you out of the instinct of why you’re making the track in the first place.</em></div><div><strong><br></strong></div><div><strong><br></strong></div><div><strong>What’s something you had to unlearn to grow musically?&nbsp;</strong></div><div><strong><br></strong></div><div><em>Honestly, I had to get over myself a little bit and just execute the ideas in my head, even if they weren’t perfect. For a long time I would hold back because I’m quite a perfectionist, so if something didn’t feel fully formed or exactly how I imagined it, I’d hesitate to follow through with it. But I realised that a lot of growth comes from actually making things and getting them done, even when I'm not convinced. Sometimes the idea you think is ‘bad’ ends up leading you somewhere unexpected, or it unlocks something better. Learning to let myself experiment and not over-polish every thought before it exists was a big shift for me creatively.</em></div><div><br></div><div><br></div><div><strong>Who’s an artist from your city that deserves more love?&nbsp;</strong></div><div><em><br>I’d say Yazan Roussan for sure. He’s an incredible songwriter, and the way he translates emotion into lyrics is really expressive and thoughtful. There’s a lot of depth in the way he writes that comes across as so natural and super honest. His vocals and musicianship are also really, really special, and I think he deserves a lot more attention for the kind of artistry he brings to his music and to the industry as a whole.</em></div><div><br></div><div><br></div><div><strong>Dream collab: who’s on your wishlist &amp; why?&nbsp;</strong></div><div><strong><br></strong><em>Wow, another tough question. I couldn’t just pick one, so I’ll give two from opposite ends of the spectrum, which are Fairouz and Lauryn Hill. So self-explanatory, I feel, because their music is so transcendental in different ways. They’ve both created work that feels timeless, the kind of classics that really can’t be matched. I grew up listening to them, and in their own way, they both pushed me toward pursuing music. The emotional depth, the storytelling, the presence they carry in their voices, it’s something that stays with you for sure.</em></div><div><br></div><div><br></div><div><strong>If your music were a place, where would it be?&nbsp;</strong></div><div><br><em>Honestly, I have no clue. I don’t think that place exists yet. I’d probably have to imagine building it first… or ask AI to generate it, but for environmental reasons...  we’ll leave it to the imagination.</em></div><div><strong><br></strong></div><div><strong><br></strong></div><div><strong>How do you get re-inspired when you hit a creative block?&nbsp;</strong></div><div><strong><br></strong></div><div><em>When I hit a creative block, the first thing I try to do is look inward and understand why it’s happening. Sometimes it’s just mental exhaustion or pressure, so I try to slow down and reset a bit. That could be through therapy, meditation, going for a long walk, or spending time in nature. I could come off a bit cliché, but those things genuinely help me decompress and reconnect with myself before trying to force any creativity. </em></div><div><br></div><div><em>Once I’ve created that space, I usually turn to other forms of art for inspiration. I like to step outside of music and look at films, poetry, fine art, dance, things that express emotion in completely different ways. There’s something about seeing how other mediums translate feeling or storytelling that always sparks something in me. At some point, that inspiration naturally finds its way back into music, whether it’s through a melody, a lyric, or just a new way of approaching a song.<br></em></div>

Behind the Sound: Meet Zeyne

<div>Berlin. Munich. It’s happening.</div><div><br>HESS x CAFI CHANTA present Bu Kolthoum live in BERLIN. </div><div><br></div><div>Bu Kolthoum arrives in Berlin and Munich for two nights where rap, soul, and Arabic textures collide.<br><br>As part of a tour moving through Germany, France, and Tunis, the sound carries raw emotion, heavy atmospheres, and stories that hit deep.<br>Hosted by HESS x CAFI CHANTA (MAZIJ), this is more than a concert<br><br>it’s a gathering for the ones who already know. 🖤<br>No mainstream noise.<br>No filters.<br><br>Just energy, bass, voices, and a room connected by sound.<br><br>Berlin — 13.06<br><a href="https://tzkrti.com/en/events/3819" target="_blank">Munich — 19.06</a></div>

Bu Kolthoum | بو كلثوم

Bu Kolthoum Live in Germany

<div>LINE-UP:</div><div>Saint Levant</div><div>Dystinct</div><div>Zeyne</div><div>Omar Souleyman </div><div><br></div><div>A first-of-its-kind, all-day outdoor celebration, Mahrajan is a cultural statement born from collaboration between Live Nation and ABU Recordings. Together, they have created a platform designed to honour Arabic music across all generations, from its foundational legends to its new global voices, bridging heritage, diaspora, and contemporary expression in one immersive cultural experience. </div><div><br></div><div>The debut edition will be headlined by Saint Levant and DYSTINCT, in what will be their exclusive London performances, with Zeyne, Omar Souleyman and more artists to be announced in the coming weeks.</div><div><br></div><div>Door Time: 13:00 </div><div>Curfew: 22:30</div><div><br></div><div>Age Restrictions: Under 5s not permitted. Ages 5-15 must be with an adult (18+) who stays on-site. Age 16+ can attend independently; valid photo ID required for entry and age verification. </div><div><br></div><div>Please note that anyone aged 5 or over must purchase a ticket.  <br><br></div>

Zeyne | زين

Saint Levant at Mahrajan Festival

<div>Zeyne takes the world of AWDA on the road with a tour that transforms her debut album into an intimate live experience. Blending alternative pop, soul, and Arab musical textures, the tour moves through themes of identity, longing, and return — bringing Zeyne’s emotionally charged universe to stages across Europe and beyond.</div><div><br></div><div>For more info on the tour dates and location check Zeyne's official tour page <a href="https://zeyne.co/pages/tour" target="_blank">here</a>.&nbsp;</div>

Tour

Zeyne AWDA EU/UK

<div>Yasmine Hamdan burst on the scene at the end of the 1990s with Soapkills, the pioneering duo of Lebanon’s alternative scene, and went on to become one of most unique voices in the Arab world.</div><div><br></div><div> She is based between Beirut and Paris, and her career takes her wherever she chooses, crossing languages, cultures, and aesthetics. Her music combines Arab song, electronic textures, and pop or folk influences in a refined, almost minimalist style of writing, featuring voice. </div><div><br></div><div>Through her albums, she develops a world that is both intimate and direct, where she eschews categories and reinvents the codes of contemporary Arab music. </div><div><br></div><div>With her recent album, I Remember I Forget (2025), Yasmine Hamdan continues to explore the territories of memory, displacement, and reinvention.</div>

Yasmine Hamdan | ياسمين حمدان

Yasmine Hamdan in Morocco

<div>Whether producing dreamy pop, dusty funk, or unexpected hybrids - at its heart, TootArd is simply a place for original music to grow. </div><div><br></div><div>Founded by Hasan Nakhleh (voice, guitar), and Rami Nakhleh (bass, dums), the brothers will be stopping at Oslo, Hackney for the UK leg of their tour.</div><div><br></div><div>Doors open at 7pm.&nbsp;</div><div>This is an 18+ event </div><div>Presented by Magnetic Live.</div><div><br></div><div> You can&nbsp;get a refund&nbsp;if:</div><div>- It’s within 24 hours of buying tickets</div><div>- This event is rescheduled or cancelled </div><div><br></div><div>You can't get a refund within 24 hours of the event start time.</div>

TootArd | توت أرض

TootArd Live in London

<div>Vancouver… it's finally happening. 🇪🇬🔥<br>WEGZ — LIVE — June 22.<br>The night after Egypt's game, we're turning the whole city up.&nbsp;we're celebrating the right way.&nbsp;🏆🎶<br>One night. One vibe. One unforgettable show.<br>🔞 19+ event only</div><div>Doors open at 7:00 pm </div><div>Show starts at 8:00 pm </div><div>Harbour Event &amp; Convention Centre </div><div>760 Pacific Blvd, Vancouver, BC V6B 5E7</div>

Wegz | ويجز

Wegz Live in Vancouver

<div>🔥&nbsp;BIG SAM IN BEIRUT!&nbsp;🔥<br>🎤&nbsp;One Night. One Energy. Zero Limits. The viral rap sensation&nbsp;BIG SAM&nbsp;lands in&nbsp;Beirut Hall&nbsp;for a massive night full of hits, hype, and pure showtime energy!<br>Get ready for a wild performance, breakout tracks, and the beats that took over the region. </div><div>🪑 Lounges: 76 37 72 37 </div><div>📍&nbsp;Beirut Hall – Sin El Fil<br>📅&nbsp;11 July<br>🚪&nbsp;Doors open at 9:00 Pm, Show starts at 10:30 Pm. </div><div>TICKETS ARE SELLING FAST!! </div><div>⚡&nbsp;This isn’t a concert. It’s an experience. Be there.</div>

BiGSaM | بيج سام

Big Sam in Beirut

<div>People can be overexposed and under-documented at the same time. Some places are photographed to death and still left on thin record.&nbsp; </div><div><br></div><div>A thin record shows that something existed, but leaves out the people, context, and stories that gave it shape and memory. The Arab world has lived under this arrangement for years, reduced again and again to the same exportable images of smoke, oil, militias, towers, princes, ruins, danger, excess.</div><div><br></div><div> Harfan Harfan is built around what thin records leave behind: the scenes around songs, the histories behind them, and the frame that keeps them from blurring. </div><div><br></div><div>A thin record leaves too much room for misreading. Places get pinned to one rough association and rarely escape it. Iraq enters through OutKast’s “Bombs Over Baghdad”. Beirut turns up in Redman’s “I execute like wars in Beirut”. None of this is even considered a distortion. That is what makes it so unjust. Shabjdeed pushes back on that assumption. In “Arab Style”, the line “War zone is where I die” throws that assumption back sarcastically instead of letting it pass as truth. </div><div><br></div><div>Arab names, cities, accents, and even fragments of language circulate easily when tied to drama. What crosses borders too often is sound stripped of memory. A track may travel, but the context that made certain lines land (and others sting) usually does not. In underground Arabic music, songs get misfiled, folded into vague “Middle Eastern” categories, and heard as if they came from nowhere. Sounds move across the region freely, but are too often documented as though they belong to separate worlds. </div><div><br></div><div>War usually leaves a stronger record than ordinary life. Of course it does: destruction is easier to archive than the life around it. What falls away more quickly is Arab wit, nightlife, experimentation, local style, and all the smaller textures that do not announce themselves as history. In a region so often read through rupture and separation, that imbalance helps keep the record thin. </div><div><br></div><div>The record will never be complete. That is not the problem. The problem is what happens when it stays thin. It leaves Arab culture easy to summarize from the outside, and easy to misunderstand from a distance. In the absence of context, the most dramatic version of a place is often the one that survives. </div><div><br></div><div>A thin record leaves behind its own afterlife. Harfan Harfan exists to keep the sound and its story together. <br></div>

Why Documentation Matters: The Thin Record of Arabic Underground

<div>We asked&nbsp;<a href="https://harfanharfan.com/artist-profile/3751" target="_blank">Mojanad</a> about his music, his creative process, and the words that carry the most weight in his scene. <br><br></div><div><br></div><div><strong>1. What almost ended up being your artist name before you landed on ‘Mojanad’?</strong>&nbsp;&nbsp;</div><div><br></div><div><em>Honestly, the name “Mojanad” has been with me for many years, since I was young. So if I could go back in time, I’d choose “Mojanad” again because it represents me the most.</em> </div><div><br></div><div><br></div><div><strong>2. If someone heard just one track from you, which should it be, and why?</strong></div><div><br></div><div><em>I feel like the song that represents me the most, or rather, the one I made for myself more than for people is “<a href="https://harfanharfan.com/song/1039" target="_blank">اثم</a>”. If someone wants to get to know Mojanad a bit, that’s a track I’d play for them to understand a part of me.</em> </div><div><br></div><div><br></div><div><strong>3. Weirdest place you’ve ever written a bar/lyric?</strong></div><div><br></div><div><em>The weirdest place was in summer 2022. I had a show at Summer Jam in Amman, and something happened backstage that made me write a whole song, which is “<a href="https://harfanharfan.com/song/1040" target="_blank">Ansak</a>.” The song stayed hidden on the shelf for years and was never planned to be released, but about a year and a half ago I decided to share it with the world, and thankfully people loved it, it was the right decision.</em> </div><div><br></div><div><br></div><div><strong>4. What’s your toxic creative habit?</strong></div><div><strong><em><br></em></strong></div><div><em>This is a strange question to be asked, but I’m the type of person who can’t write unless I genuinely feel something. I can’t fake emotions, so sometimes I go down paths that hurt me mentally just to express a certain feeling hidden inside me. </em></div><div><em><br></em></div><div><em><br></em></div><div><strong>5. What’s something you had to unlearn to grow musically?</strong></div><div><br></div><div><em>Honestly, I gave up a lot of things over the years while building my career. The first being my social life. At one point I realized my energy was drained when I was outside the studio, so I decided to invest all my time and energy into music. For nearly 5 years, I barely went anywhere or saw anyone except a few people in my daily life. I even mentioned this in my song “<a href="https://harfanharfan.com/song/1039" target="_blank">اثم</a>” in the line: “I consumed myself in loneliness, asking how long, days pass with a few friends, and the day loops into night.”</em> </div><div><br></div><div><br></div><div><strong>6. What word from your dialect hits hardest in your scene/crowd, and why?</strong></div><div><br></div><div><em>As Ayham, I’ve always had a curiosity and love for space, especially stars. Early on, that was clear in my lyrics, where I often used stars and planets as metaphors. Over time, I noticed the Arab scene adopting similar imagery, and honestly, it made me proud to have influenced and inspired others with those meanings.</em> </div><div><br></div><div><br></div><div><strong>7. Who’s an artist from your city that deserves more love?</strong></div><div><br></div><div><em>After years of working as a producer and composer, one of the people I’ve most enjoyed building projects with, and someone I genuinely hope to see in a much bigger place, regardless of our strong friendship, is <a href="https://www.google.com/search?q=saif+safadi&amp;sca_esv=62d5690ced025e5a&amp;sxsrf=ANbL-n7zA-CpDdmAVPaIL2oWQriimKfvng%3A1776861999212&amp;ei=L8PoaaDYDOP_7M8Pm9jYsQo&amp;biw=1680&amp;bih=872&amp;ved=0ahUKEwjgq5zivoGUAxXjP_sDHRssNqYQ4dUDCBE&amp;uact=5&amp;oq=saif+safadi&amp;gs_lp=Egxnd3Mtd2l6LXNlcnAiC3NhaWYgc2FmYWRpMgYQABgHGB4yCxAAGIAEGIoFGJECMgUQABiABDIEEAAYHjIEEAAYHjIEEAAYHjIEEAAYHjIEEAAYHjIEEAAYHjIEEAAYHkiyCVDnBFjnBHACeACQAQCYAZoBoAGaAaoBAzAuMbgBA8gBAPgBAZgCA6ACpgHCAgsQABiABBiiBBiwA8ICCxAAGIkFGKIEGLADmAMAiAYBkAYCkgcDMi4xoAfJBLIHAzAuMbgHoAHCBwUxLjAuMsgHCIAIAQ&amp;sclient=gws-wiz-serp" target="_blank">Saif Al-Safadi</a>. He deserves to be in a much bigger position because he puts a lot of energy and effort into his music.</em> </div><div><br></div><div><br></div><div><strong>8. Dream collab: who’s on your wishlist &amp; why?</strong></div><div><br></div><div><em>There are many names honestly, but in the Arab world I’d go with <a href="https://www.google.com/search?q=Iyad+Rimawi&amp;sca_esv=62d5690ced025e5a&amp;sxsrf=ANbL-n7hvUbH-gOvvFj5C3tDGM8hFwc-jg%3A1776862070313&amp;ei=dsPoaYLwErClkdUPyZLSQA&amp;biw=1680&amp;bih=872&amp;ved=0ahUKEwiCg5CEv4GUAxWwUqQEHUmJFAgQ4dUDCBE&amp;uact=5&amp;oq=Iyad+Rimawi&amp;gs_lp=Egxnd3Mtd2l6LXNlcnAiC0l5YWQgUmltYXdpMgoQLhiABBiKBRhDMgUQLhiABDIKEAAYgAQYigUYQzIFEC4YgAQyBRAuGIAEMgUQABiABDIFEAAYgAQyBRAAGIAEMgUQABiABDIFEC4YgAQyGRAuGIAEGIoFGEMYlwUY3AQY3gQY3wTYAQFI-AZQlQJYlQJwAXgBkAEAmAF5oAF5qgEDMC4xuAEDyAEA-AEBmAICoAKCAcICChAAGEcY1gQYsAOYAwCIBgGQBgi6BgYIARABGBSSBwMxLjGgB6oTsgcDMC4xuAd_wgcFMC4xLjHIBweACAE&amp;sclient=gws-wiz-serp" target="_blank">Iyad Rimawi</a>. His music has always been, and still is, my main source of inspiration and a companion throughout my musical journey. Internationally, I’d choose <a href="https://www.google.com/search?q=FINNEAS&amp;oq=finneas&amp;gs_lcrp=EgZjaHJvbWUqBggAEEUYOzIGCAAQRRg7Mg0IARAuGMcBGNEDGIAEMg0IAhAuGMcBGNEDGIAEMg0IAxAuGIMBGLEDGIAEMgcIBBAuGIAEMgcIBRAAGIAEMgcIBhAAGIAEMgcIBxAuGIAEMgcICBAuGIAE0gEIMjE3OWowajeoAgCwAgA&amp;sourceid=chrome&amp;ie=UTF-8" target="_blank">FINNEAS</a>.&nbsp;I’m fascinated by how he approaches production and how his ideas come together when creating songs, whether for himself or for Billie Eilish. <br></em><br><br><strong>9. If your music were a place, where would it be?</strong></div><div><strong><br></strong></div><div><em>At one point, I felt like my music really resembled Amman, and its presence in my songs is very noticeable in my lyrics and in how I describe places. </em></div><div><em><br></em></div><div><em><br></em></div><div><strong>10. How do you get re-inspired when you hit a creative block?</strong></div><div><br></div><div><em>Movies &amp; series, especially novelistic ones, inspire me a lot. I often find inspiration in stories that touch my soul or reflect my own life. But what has always impacted me the most is hearing real stories from people close to me, when they tell me about their day and how their lives are unfolding</em><br></div>

Behind the Sound: Meet Mojanad

<div> Harfan Harfan is expanding. What began as a platform built around artist profiles: rappers, bands, singers, and producers, now takes an essential step forward with the introduction of Record Label Profiles. </div><div><br></div><div>We continue this journey with <a href="https://harfanharfan.com/artist-profile/3861" target="_blank">Scarab Records</a>, bringing their world onto the platform and further building out the ecosystems behind the music. </div><div><br></div><div>At the center of their roster is <a href="https://harfanharfan.com/artist-profile/3669" target="_blank">Zeyne</a>, the label’s signed artist, whose work anchors this collaboration.&nbsp; </div><div><br></div><div>Alongside her, a selection of key collaborators reflect the wider network Scarab Records has built across releases.</div><div><br></div><ul><li><a href="https://harfanharfan.com/artist-profile/3790" target="_blank">Autostrad</a> (Aleem Allah, Bas7ab Kalami)</li><li><a href="https://harfanharfan.com/artist-profile/3884" target="_blank">Shroof</a> (Minnak, Habbeitak)</li><li><a href="https://harfanharfan.com/artist-profile/3883" target="_blank">Roxanne</a> (Ensa)</li><li><a href="https://harfanharfan.com/artist-profile/3882" target="_blank">Ehab</a> (Meeli)</li><li><a href="https://harfanharfan.com/artist-profile/3881" target="_blank">Omar Al-Abdallat</a> (Orange Jordan – Dayman Maak Ya Bladi)</li></ul><div><a href="https://harfanharfan.com/artist-profile/3861" target="_blank">Their label page</a> is now live on Harfan Harfan, showcasing their artist, collaborations, and catalog. </div><div><br></div><div>Scarab Records join a growing network of labels on the platform, as we continue to document and celebrate MENA music in all its layers. </div><div><br></div><div>Harfan Harfan is growing, and we’re excited to grow together. <br></div>

Harfan Harfan x Scarab Records 🪲

<div>We asked&nbsp;<a href="https://harfanharfan.com/artist-profile/3849" target="_blank">Arsee</a> about his music, his creative process, and the words that carry the most weight in his scene.</div><div><br></div><div><strong>1. What almost ended up being your artist name before you landed on ‘Arsee’?</strong></div><div><strong><br></strong></div><div><em>Actually funny story, when I started like 11 years ago I went by Short. There’s probably an empty spotify account with that name somewhere on the internet.</em><br></div><div><em><br></em></div><div><em><br></em></div><div><strong>2.&nbsp;If someone heard just one track from you, which should it be, and why?</strong></div><div><strong><em><br></em></strong></div><div><em>I don’t even know I have a love-hate relationship with my music. I dislike almost all of them because I know I could’ve done better, but they are still all like my children. If i had to pick I’d say “<a href="https://harfanharfan.com/song/906" target="_blank">Wagti</a>”, “<a href="https://harfanharfan.com/song/893" target="_blank">I’m him</a>” or my latest “<a href="https://harfanharfan.com/song/986">Baby</a>”.<br></em></div><div><em><br></em></div><div><em><br></em></div><div><strong>3. Weirdest place you’ve ever written a bar/lyric?</strong></div><div><br></div><div><em>I mean, if my brain starts thinking it has to come out so a lot of places, on a plane, in a club, at work. </em></div><div><em>It’s so many places I could probably write lyrics about the places I wrote lyrics.</em><br></div><div><br></div><div><br></div><div><strong>4.&nbsp;What’s your toxic creative habit?</strong></div><div><em><br></em></div><div><em>I can’t stop. </em></div><div><em>As in if I play one key, even if I know it will be trash, I’m finishing the song down to mastering, I could spend 24 hours straight on no sleep working on a song just to delete it and go to sleep.</em><br></div><div><em><br></em></div><div><em><br></em></div><div><strong>5.&nbsp;What’s something you had to unlearn to grow musically?</strong></div><div><strong><br></strong></div><div><em>I used to be very into old school hip-hop back in the day, against auto-tune and any unnatural effects, now my music is more about all these tools making a vibe and I don’t start a session without a stacked effect channel.</em><br></div><div><em><br></em></div><div><em><br></em></div><div><strong>6.&nbsp;What word from your dialect hits hardest in your scene/crowd, and why?</strong></div><div><strong><br></strong></div><div><em>I feel like ‘Wala’ is a good one, it’s super expressive for some reason and depending on the tone everyone around you understands the context. I don’t even know what wala would be in English.</em></div><div><em><br></em></div><div><em><br></em></div><div><strong>7.&nbsp;Who’s an artist from your city that deserves more love?</strong></div><div><strong><em><br></em></strong></div><div><em>All of us, the hip-hop and alternative scene here has some of the most creative people in the region in my biased opinion but for some reason it’s hard for anyone to break out of the “underground” so to say.</em><br><br></div><div><br></div><div><strong>8.&nbsp;Dream collab: who’s on your wishlist &amp; why?</strong></div><div><strong><br></strong></div><div><em>Pre February 6th I would’ve said Lil Wayne and that’s a rapper answer to be honest. </em></div><div><em>But after J. Cole released his album it changed to him, I think he’s really cool.</em><br></div><div><br></div><div><br></div><div><strong>9.&nbsp;If your music were a place, where would it be?</strong></div><div><br></div><div><em>Is inside of my head an answer you’d accept? (We accepted!)&nbsp;</em></div><div><em>I know that if it was a place it wouldn’t be anyone's dream destination though.</em></div><div><em><br></em></div><div><em><br></em></div><div><strong>10.&nbsp;How do you get re-inspired when you hit a creative block?</strong></div><div><strong><br></strong></div><div><em>I usually listen to my own music and get mad more than inspired because I know I can do better so it kind of annoys me that I didn’t, sometimes it works and sometimes it doesn’t.</em><br></div>

Behind the Sound: Meet Arsee

<div>In a 2023 panel at XP Music Futures, Malikah - also known as the queen of Arabic hip hop - talks about when early followers of the culture were called the “yo yo people”. That title may sound ridiculous today, but it made sense to most back then. Hip hop was still under the radar in the MENA region and years away from becoming a space artists could claim, but rejection and cynicism weren’t new to us.&nbsp; </div><div><br></div><div>When Ziad Al Rahbani graced us with Lebanese jazz, his genius took listeners by storm because he made Western music speak our language. Kind of like when Rachid Taha fused Raï with rock, making waves among the North African diaspora. Just as these musical innovations were welcomed with awe, the disruption they created also invited criticism. So when hip hop landed in the hands of MENA visionaries, its dismissal as “yo yo” culture revealed how little it was understood. </div><div><br></div><div>Yet here we are now, with hip hop thriving as something undeniably ours. How did a genre born in the Bronx become part of our own musical lineage? </div><div><br></div><div>The answer partly lies in how contemporary artists reshape the soundscape, layering 808s with darbuka, maqamat, and regional rhythms until the genre sounds more rooted than imported. </div><div><br></div><ul><li>Syrian artist Shams' Ahwak is an intentional tribute to Abdel Halim Hafez that is reminiscent of the tenderness and feminine sway of icons like Warda and Najat Al Saghira, but with contemporary production.&nbsp;</li><li>Egyptian rapper <a href="https://harfanharfan.com/artist-profile/3843" target="_blank">Wegz</a> makes the darbuka prominent in <a href="https://harfanharfan.com/song/850" target="_blank">كلام فرسان</a>, evoking traditional Shaabi while the track pulses with modern energy.&nbsp;</li><li>Moroccan artist Khtek's Kiya draws on traditional Moroccan influences, weaving them into a hip hop framework.&nbsp;</li><li>And 3li3bboud doesn't simply layer an 808 beat over traditional instrumentation – he creates a mélange of traditional sounds that fits the complexity of our microtonal maqamat.</li></ul><div><br></div><div>This fusion makes sense because hip hop has always been a sonic space for expressing struggle – oppression, economic disparity, injustice – while still making room for love, nostalgia, pride, and hope. This duality makes the genre feel almost native to a region whose history is marked by colonial legacies and ongoing political turbulence.&nbsp; </div><div><br></div><div>Besides, the rhythmic nature of rap was bound to resonate in countries where lyricism is inherently poetic and metered. To our generationally-trained ears, MENA rap and hip hop ring the way Zajal, Shaabi, and Raï rang to the generations that came before us.&nbsp;<br></div>

From the Bronx to the Balad: How Hip Hop Speaks Our Language

Super cool interview! would love to see a collab with Elissa come to life 🙀 <3 

5. What’s something you had to unlearn to grow musically?

Really raw and humble answer. We always think artists have to carry the belief that they're the absolute best, but I think removing comparisons is what really elevates an artist to true uniqueness.

<div>We asked <a href="https://harfanharfan.com/artist-profile/3640" target="_blank">Emsallam</a> about his music, his creative process, and the words that carry the most weight in his scene.<br><br></div><p><strong>1. What almost ended up being your artist name before you landed on ‘EMSALLAM’?</strong></p><div><br></div><div><em>My name was going to be Msallamvdie, and the “V” was from the movie V for Vendetta.</em></div><div><br></div><div><br></div><p><strong>2. If someone heard just one track from you, which should it be, and why? </strong></p><div><br></div><p><em>This is one of the hardest questions, and it’s really hard to answer because since I started making music, I’ve tried as much as possible not to repeat myself. So I don’t have one song I can say represents me, but if I had to choose right now, it would be “Rah Tetla3 AlShams,” because it reminds me of a very difficult phase, and at the same time carries a strange kind of pride.</em></p><div><br></div><div><br></div><p><strong>3. Weirdest place you’ve ever written a bar/lyric?</strong></p><div><br></div><p><em>Maybe a shawarma restaurant.</em></p><div><br></div><div><br></div><p><strong>4. What’s your toxic creative habit?</strong></p><div><br></div><p><em>I don’t have toxic or healthy habits, I just write whenever the words come out of my head.</em></p><div><br></div><div><br></div><p><strong>5. What’s something you had to unlearn to grow musically?</strong></p><div><br></div><div><em>I taught myself to accept that I’m not the best at making music, and that every day I might hear someone or a project better than mine. That helped me love music more.</em></div><div><em><br></em></div><div><em><br></em></div><div><strong>6. What word from your dialect hits hardest in your scene/crowd, and why?</strong></div><div><strong><br></strong></div><div><em>اجرمن عنهن – A Palestinian rural word meaning “(That’s why!)” with emphasis. I love it because it’s not used much, and I was lucky enough to help spread it through a <a href="https://harfanharfan.com/song/724" target="_blank">song</a> of the same name. </em></div><div><br></div><div><br></div><div><strong>7. Who’s an artist from your city that deserves more love?</strong></div><div><br></div><div><em>I’ve stopped liking to answer these questions.</em></div><div><br></div><div><br></div><div><strong>8. Dream collab: who’s on your wishlist &amp; why?</strong></div><div><br></div><div><em>I feel it could be amazing if I did a project with Elissa.</em></div><div><br></div><div><br></div><div><strong>9. If your music were a place, where would it be?</strong></div><div><strong><br></strong></div><div><em>I feel like my music would be stored in the same warehouse where Van Gogh kept his paintings.</em></div><div><br></div><div><br></div><div><strong>10. How do you get re-inspired when you hit a ‘creative’ block?</strong></div><div><br></div><div><em>There’s no such thing as a creative block. Art is like a muscle, the more you train it, the easier it gets.<br></em></div>

Behind the Sound: Meet Emsallam

<div>A live rap night with Bu Nasser, with Aladin on the decks (DJ set &amp; live musical support).<br><br>Old tracks ✔️ </div><div>New tracks ✔️ </div><div>Everything in between.<br>High energy, heavy lyrics, and fire burning through the cold.<br><br>🎟️ Tickets are very limited — advance booking only<br>📍 In-person booking at Riwaq Beirut.<br>📞 Or via phone: 81953643<br><br>🎟️ Ticket: $15<br>🎟️+📕Ticket + Al-Qashnood book: $20<br><br>🕗 Doors open at 8:00 PM<br>🕘 Concert starts at 9:00 PM sharp<br></div>

Bu Nasser Touffar | بو ناصر الطفار

Aladin | علاء الدين

Bu Nasser Live @ RIWAQ

<div>Harfan Harfan is expanding. What began as a platform built around artist profiles: rappers, bands, singers, and producers, now takes an essential step forward with the introduction of <strong>Record Label Profiles.</strong> </div><div><br></div><div>Record Label Profiles create a dedicated space for labels to showcase the artists they represent, highlight discographies, and present the catalogs they’ve built. By giving labels a home on the platform, Harfan Harfan becomes a fuller archive of the culture, capturing not only the voices, but the ecosystems behind them.</div><div><br></div><div> Today, we’re proud to announce that this feature is launching in partnership with <a href="https://harfanharfan.com/artist-profile/3787" target="_blank">RAAD RECORDS</a>, an Egyptian artist and employee-owned label who are bringing  new artists (and more to come) to the platform. Their label page is now live on Harfan Harfan, featuring their artists, projects, and releases. </div><div><br></div><div>For listeners, it means deeper context and easier discovery.</div><div>For artists, more visibility and organized credit.</div><div>For the region’s music scene, a stronger digital footprint. </div><div><br></div><div>Each label will now have a full page showcasing its artists, catalog, and latest releases, connected seamlessly to the discovery tools our community already knows. </div><div><br></div><div><a href="https://harfanharfan.com/artist-profile/3787" target="_blank">Raad Records</a> is the first, but not the last. We invite labels from the MENA underground and beyond to join us and build a space that honors the craft, the histories, and the people behind the music. </div><div><br></div><div>This feature isn’t just an addition, it’s a natural step in Harfan Harfan’s mission to document and celebrate MENA music in all its layers. </div><div><br></div><div>Harfan Harfan is growing, and we’re excited to grow together.<br></div>

HH Launches Record Label Profiles with Raad Records

Loved the analysis! i would have loved if covered more how the lyrics reached North Africa aswell (Mediterranean) 

<div>Music doesn’t require fluency. Even when lyrics are foreign, listeners connect before they feel the need for translation. Heads bop before they search for literal meaning. If this is true across continents, then <strong>how does music travel between neighboring countries that share a language, but speak it differently?</strong> </div><div><br></div><div>In the Levant, the distance felt between us and our neighbors is not imagined. It’s enforced by borders drawn to keep us estranged. Still, music crosses them easily and quickly, carried by streaming platforms and social media. <strong>In Arabic hip hop, dialects may shift and vocabularies may differ, </strong>but the experiences being rapped about<strong> remain familiar.</strong> Struggles, frustrations and humor are shared. Our nostalgia draws from a collective memory, our stories reveal how closely we’re related, and our slang distinguishes us from each other without disrupting our sense of what we share.&nbsp; </div><div><br></div><div>This is especially clear in how slang travels between scenes. In “<a href="https://harfanharfan.com/artist-profile/3756" target="_blank">القمر والمحيط</a>,” <a href="https://harfanharfan.com/artist-profile/3756" target="_blank">The Synaptik</a> repeatedly uses the word هسّا, a term used in Palestine, Iraq, and Jordan meaning “now” or “still.” For Lebanese listeners, the word lands easily against its near-identical counterpart,إسّا, carrying the same meaning with only a slight change in sound.&nbsp;</div><div><br></div><div>Hip hop may be a universal language, but it never comes from a neutral place. <strong>Rap is rooted in intention</strong>. Lyrics are written from a specific position, but they are always received <strong>personally</strong>. We rarely hear a bar without folding it into our own social, cultural, or political context. <strong>Nostalgia</strong> particularly accelerates this process. When <a href="https://harfanharfan.com/artist-profile/3645" target="_blank">El Far3i</a> raps in “<a href="https://harfanharfan.com/song/796" target="_blank">Rayga Rayga</a>”: “عالويب عشبكة الكبار زي عنكبوت النونو,” the distance-breaking hook is عنكبوت النونو, a song that many of us grew up with. The reference doesn’t belong to one country, but rather to a <strong>shared childhood memory.&nbsp;</strong> </div><div><br></div><div>This is where the <strong>question of meaning shifts</strong>. As <a href="https://harfanharfan.com/artist-profile/3643" target="_blank">El Rass</a> has reflected in conversation on <a href="https://www.youtube.com/watch?v=rLmAHt34Pfg" target="_blank">Heidak El Podcast</a>, what is often labeled “flow” in rap is not just technical skill, but <strong>a state</strong> that moves the rapper out of self-consciousness and into a state of heightened spiritual awareness of their surroundings. That awareness shapes how lyrics travel, allowing them to move more freely.&nbsp; </div><div><br></div><div>Satire signifies this movement clearly. In “2areek,” a track by <a href="https://harfanharfan.com/artist-profile/3643" target="_blank">El Rass</a>, <a href="https://harfanharfan.com/artist-profile/3772" target="_blank">Al Nather</a>, and <a href="https://harfanharfan.com/artist-profile/3763" target="_blank">Shabjdeed</a>, El Rass asks “وش تبي؟” using the Gulf dialect in a moment of sarcastic submission. He follows it with “OPECنبي أرامكو و,” a phrase instantly <strong>understood across the region</strong> as a rejection of oil-led interests and false prophets.&nbsp; </div><div><br></div><div>Finally, collaboration becomes a statement in itself. In “فستق” by <a href="https://harfanharfan.com/artist-profile/3643" target="_blank">El Rass</a> and Haykal, Haykal raps about Lebanon’s currency collapse. A Palestinian artist <strong>giving voice</strong> to a Lebanese crisis reflects a regional care that goes beyond geography. It’s a reminder that while our borders <strong>insist on separation</strong>, our music continues to speak across them, intentionally, attentively, and with meaning that shifts, but is never compromised.<br></div>

How Arabic Lyrics Travel Across Borders

<div> Song lyrics are often open to interpretation, but what happens when the explanation comes directly from the artist? </div><div><br></div><div><strong>Lyrics Explained"</strong> is a series by <strong>Harfan Harfan</strong>, dedicated to documenting and exploring Arabic song lyrics <strong>through the artists themselves</strong>, moving away from fixed meanings or purely literal readings.</div><div><br></div><div><hr> </div><div><strong><br></strong></div><div><strong>Episode One: <a href="https://harfanharfan.com/artist-profile/3645" target="_blank">El Far3i</a></strong> </div><div><br></div><div>We launch the series with <a href="https://harfanharfan.com/artist-profile/3645" target="_blank">El Far3i</a>, as he breaks down selected lyrics from three of his songs (<a href="https://harfanharfan.com/song/796" target="_blank">Rayga Rayga</a>, <a href="https://harfanharfan.com/song/797" target="_blank">Mistareeh</a>, <a href="https://harfanharfan.com/song/798" target="_blank">Ontoqha</a>), discussing their meaning, emotional context, and creative background.</div><div><br></div><div><hr> </div><div><strong><br></strong></div><div><strong>Your Role </strong></div><div><br></div><div>At Harfan Harfan, we don’t believe in a single, final interpretation. After the artist shares their perspective, the conversation continues with you. </div><div><br></div><div>Add your own interpretations and personal reflections, every contribution earns you points on the platform.</div><div><br></div><div><hr> </div><div><strong><br></strong></div><div><strong>What are points for?</strong> </div><div><br></div><div>Points are our way of recognizing meaningful participation and unlocking future features and experiences within Harfan Harfan. </div><div>👉 <a href="https://harfanharfan.com/gamification" target="_blank">How it works</a></div><div><br></div><div><hr> </div><div><strong><br></strong></div><div><strong>What’s next?</strong> </div><div><br></div><div>The <strong>Lyrics Explained"</strong> series will continue with more Arab artists, each episode offering a deeper look into lyrics, music, and the human experience behind them. </div><div><br></div><div>If you care about words, and believe every song holds more than one meaning, <strong>this is for you.</strong> </div><div><br></div><div>📩 Sign up and join the conversation. <br></div>

Lyrics Explained: El Far3i 🗣️   Episode 1

<div>After two years away from the stage, El Rass returns to KED Beirut on Saturday, November 15. Doors open at 9 PM. </div><div><br></div><div><strong>Terms and conditions:&nbsp; &nbsp;&nbsp; </strong></div><ul><li>This event is strictly 18+ </li><li>Physical ID required. </li><li>Management reserves the right of admission. </li><li>Tickets are non-refundable and non-exchangeable. &nbsp; </li></ul>

El Rass | الراس

El Rass Live @ KED

<div>47soul Live at Metro! </div><div><br></div><div>The Palestinian musical collective formed in Jordan in 2013 with Tareq Abu Kwaik, Ramzy Suleiman, Walaa Sbait and Hamza Arnaout taking influence from hip-hop, electronica, and R&amp;B and melding it with the sounds of Dabke, a traditional folk dance, and other Shaa’bi roots music from the Levantine region. 47SOUL single-handedly sowed the seeds of the Shamstep genre.</div><div><br></div><div> Shamstep, their groundbreaking debut EP released in 2015, not only helped coin the genre’s name but also brought a new audience to the traditional music of Bilad Al Sham. </div><div><br></div><div>They continue to march the Shamstep movement forward with their unmistakable sound, infectious energy and thought-provoking Arabic and English lyrics exploring all themes from the political and philosophical to direct calls to the recognition of the common humanity of all people. </div><div><br></div><ul><li>Standing event </li><li>Tickets are non refundable and non exchangeable </li><li>Drinks available</li></ul>

47SOUL | السبعة وأربعين

47SOUL Live @ Metro

<div>Today, El Far3i officially drops his fourth rap album, <strong>“<a href="https://music.empi.re/rapsharqelnahir?fbclid=PAZXh0bgNhZW0CMTEAAacivQZNF-moj6laFDcTNOIfiEC0ffTWfjXReEcG_0GQpBrxfn7" target="_blank">Rap Sharq El Nahir</a>” (راب شرق النهر)</strong>: a name that lands like a marker on a map. It nods to Amman, the city east of the river, but also to a layered identity that flows like the water it references: fluid, rooted, and relentless. This project arrives after a decade away from his hometown, Amman.</div><div><br></div><div><strong>A New Chapter, Not a Repeat </strong></div><div>Affirming his dual identity as a singer and rapper, El Far3i steps back into rap with a sharp, collaborative spirit. Joining him on this record are some of the region’s sharpest lyricists: The Synaptik, Emsallam, BA, Satti, Almukhtar, Kazz Torabyeh, and ElSheefra. The beats are crafted by El Far3i himself under Arab Drumz, alongside the Syrian producer Wardenclyph; a pairing that gives the album its tight, grounded pulse ⚡️.</div><div><br></div><div><strong>Every Track, A Situation</strong> </div><div>Each track in “Rap Sharq El Nahir” speaks to personal, political, and artistic realities. Think of them like snapshots from different corners of the same city: each with its own light, noise, and energy. </div><div><br></div><ul><li><strong>“Haki” (حكي)</strong> with ElSheefra hits like a punch you saw coming but still felt. It’s one of the album’s loudest confrontations, referencing the conflicts of the past 3 years, and stripping away the “just talk” layer.<br> “طلع هذا العالم كله بس حكي… غير الطوفان ما في هون حكي.”</li><li><strong>“Rayga Rayga” (رايقة رايقة)</strong> with Emsallam shifts the mood, but not the message. It’s a crisp salute to independent artists in the region, a nod to those building the scene on their own terms. WOW.</li><li><strong>“Dnm Dnm” (دونم دونم)</strong> with The Synaptik feels like a return drive through memory. It traces Amman’s roads and personal history, holding love, faith, and identity together in one steady breath.</li></ul><div><br></div><div><strong>East of the River, Beyond the Border</strong></div><div> “Rap Sharq El Nahir” pushes forward with familiar faces and sharper edges. The album’s sound rides on clean yet heavy production, a balance of Far3i’s classic delivery with layers of new flows, fresh hooks, and shared breath with the next wave of rappers.</div><div><br></div><div>🔥 “Rap Sharq El Nahir” is out now, <a href="https://music.empi.re/rapsharqelnahir?fbclid=PAZXh0bgNhZW0CMTEAAacivQZNF-moj6laFDcTNOIfiEC0ffTWfjXReEcG_0GQpBrxfn7" target="_blank">everywhere</a>!</div><div><br></div>

“Rap Sharq El Nahir”, El Far3i Sets the Tone (Again) 🗺️

<p>Loved the new album! And the Tarab Podcasts are sooo good! can't wait for a Tarab x Harfan Harfan collab 😌💯</p>

<div>Yasmine Hamdan, one of the most influential voices in contemporary Arabic music, sat down with the Tarab Podcast for a deep conversation about her journey. Known for co-founding Soapkills and pioneering an alternative Arabic sound that blends heritage with electronic and indie influences, Yasmine has long been a bridge between past and future in the region’s music.</div><div><br></div><div>
Yasmine Hamdan’s new album, I Remember I Forget (« بنسى وبتذكر »), was released on September 19, 2025 via Crammed Discs. The 10-track album, co-produced with Marc Collin, explores themes of memory, identity, and the turmoil of Lebanon through a blend of traditional Arabic sounds and electronic textures. </div><div><br></div><div>
In the episode, she also discusses “Iza”, a track that was inspired by a taxi driver in Beirut, and how everyday stories echo into her music.
</div><div><br></div><div>The Tarab Podcast itself is dedicated to exploring the intersections of Arabic music, culture, and global sound. It provides a space for Yasmine to reflect on her creative path, the legacy of Soapkills, and her evolution as an artist balancing roots and innovation.
What stands out is her reflection on how Arab artists constantly traverse the line between tradition and experimentation. </div><div><br></div><div>She hints at the challenge of being heard, not just locally but across borders, and the role that supporting platforms and global audiences play in making that possible.</div>

Yasmine Hamdan on Tarab Podcast: New Album & New Horizons

<div><strong>🎸 About Cairokee
</strong></div><div>Cairokee is an Egyptian rock band that came to prominence after the 2011 Egyptian Revolution with their politically charged, protest-oriented music. </div><div>Their upcoming Europe Tour 2025 includes both classic hits and material from their latest works, making this a must-see for fans across the continent.</div><div><strong><br></strong></div><div><strong>📅 Cairokee Europe Tour</strong></div><div>Nov 19, 2025 - Milan, Italy</div><div>


Nov 22, 2025 - Utrecht, Netherlands</div><div>Nov 24, 2025 - Barcelona, Spain</div><div>Nov 26, 2025 - Paris, France</div><div>

Nov 29, 2025 - Berlin, Germany&nbsp; </div><div>

Dec 1, 2025 - Vienna, Austria&nbsp; </div><div>


Dec 4, 2025 - Geneva, Switzerland </div><div>Dec 7, 2025 - London, UK</div><div><br></div><div><em>Note: Show times and ticket prices may vary depending on the country.</em></div>

Cairokee | كايروكي

Cairokee Euro Tour

<p>The song is on repeat!!! I can't stop listening to it 🔥🔥🎵</p>

<div>This is “<strong>Danger - خطر</strong>”: Felukah and Zina Louhaichy capturing the spirit of a generation that’s Arab, African, diasporic, and moving on its own terms. The video shines a spotlight on Arab women laughing, letting out zalghouta, and moving freely in heels or djellabas. Unapologetic, joyful, and powerful in the way they claim space.</div><div><br></div><div><strong>Lyrics That Land</strong> </div><div>Felukah opens with an intimate confession:<br> “<strong>الدنيا بين يديك / And I let you in my life / Thought you'd be a danger (خطر، خطر) / So I made you mine.</strong>” It’s a play between trust and risk, danger and desire. </div><div><br></div><div>Then comes the flex that bridges worlds:<br> “<strong>Before the Luks, Lauryn Hill... فيها أم كلثوم</strong>”: placing Lauryn Hill’s soulful legacy side by side with Umm Kulthum, the eternal voice of the Arab world. This isn’t name-dropping, it’s lineage-claiming. Felukah insists Arabic women belong in the global canon of artistry.</div><div><br></div><div> Her verses also speak to diaspora weight: hustling between degrees, shifts, and stages, she carries multiple worlds “<strong>all up in my Nike 8s / Or in my Amina Muaddis.</strong>” It’s style, struggle, and swagger: the reality of migration in a verse.</div><div><strong><br></strong></div><div><strong>Symbols in Motion</strong>&nbsp; </div><div>The video is packed with layered cultural cues: old-school cassettes, keffiyeh, henna tattoos, bold necklaces, Moroccan and Egyptian flags, and flowing silhouettes that remix tradition with streetwear edge. Friends gather around her, rooting her voice in community rather than isolation. </div><div><br></div><div><strong>A Visual Manifesto</strong> </div><div>“خطر” is more than a track; it’s a statement. Felukah raps:<br> “<strong>I am your favorite artist's favorite rapper / بنت من البلاد / I represent diaspora too / I am the one who started up a movement.</strong>” She isn’t just performing; she’s documenting a moment where Arabic rap claims its place on the world stage. </div><div><br></div><div>With danger / خطر, the movement feels undeniable.<br></div>

Danger Never Sounded This Good: Felukah’s “خطر” 🎬⛵️

<div>Cyphers, raw bars, and the unfiltered energy of Arab rap, that’s what Rap Shar3 captures. It’s where voices from the corners and tunnels spit truth, no permission asked.</div><div><br><strong>Blvck B</strong>, born in Khartoum and now moving between Sudan and Egypt, started out dropping raw freestyles that spread fast online. From those street bars he built <a href="https://harfanharfan.com/artist-profile/3660" target="_blank">Rap Shar3</a>, turning it into a space where underground voices could connect.</div><div><br>Diving in with “كانت أيام يا وطني”: a track that’s been echoing since its drop, carrying both power and pain. <strong>HYPER249</strong>, a fast-rising rapper born in Khartoum and currently making moves from Egypt, flows with a bare delivery that lands heavy without flaunting it.</div><div><br>It’s more than a song, it’s a statement, and at Harfan Harfan, we break it down, line by line, through annotations, playlists, and the community that keeps this culture alive.</div><div><br></div><div><strong>So what makes this performance stand out</strong></div><ul><li>HYPER249’s delivery is stripped-down, no filter, no gloss.</li><li>The hook “وطني” (my country) feels like a heartbeat, fragile but relentless.</li><li>It’s a cipher that travels beyond its corner, turning a street performance into an anthem for displacement.</li></ul><div><strong>What it’s about </strong></div><div>“Kanet Ayam Ya Watani - كانت أيام يا وطني” is an anthem of loss and longing, echoing the wounds of a fractured homeland.</div><div><br></div><div>يا حليل زمن نميري… الزمن الواحد كان ما ف زاتو"<br> النص اتشرد النص التاني ماتوا… ساب البلد "ذكرياتو وحاجاتو </div><div><br></div><div>👉 Explore the <a href="https://harfanharfan.com/song/723?annotation=667-29-113" target="_blank">annotation</a> on Harfan Harfan! and yes, you can add your own. Drop facts, bios, media, and earn points for every contribution.</div><div><br></div><div><strong>Tap into the sound 🎧</strong></div><div>You’ll also find “Kanet Ayam Ya Watani - كانت أيام يا وطني” on Harfan Harfan’s playlist <a href="https://harfanharfan.com/playlist/5" target="_blank">هيب • هوب</a>&nbsp;- curated to highlight rap that moves, shakes, and documents a region’s voice.</div>

Rap Shar3: the streets speak. 🗣️🔊

<div>AMMAN, we are back.&nbsp;🔞 </div><div><br></div><div>On&nbsp;September 18, 2025, we return with a bigger venue, a heavier lineup, an exclusive show, and merchandise. A live performance at Madaboun. Expect an exclusive show. </div><div>Line-up: </div><div>- Shabjdeed </div><div>- Al Nather </div><div>- Daboor </div><div>- Fawzi </div><div>- Smokaholic </div><div>- Touch </div><div><br></div><div>MC: ABU3LI </div><div><br></div><div>Promoted by&nbsp;Al Wahida Presents Powered by&nbsp;The Foundation Venue:&nbsp;Madaboun</div><div><br></div><div>Limited tickets. </div><div>Exclusive Merchandise. </div><div>Exclusive music. </div><div>ALL SALES ARE FINAL. </div><div>NO REFUNDS. </div><div>EVENT ORGANIZERS HAVE THE RIGHT TO DENY THE ENTRY OF ANYONE.</div>

Shabjdeed & Al Nather | شب جديد والناظر

Daboor | ضبور

BLTNM

<p>Both amazing concerts!!! totally agree with what you said 🔥🔥🔥🔥</p>
<p>Can't wait for more.</p>

<div>Beirut isn’t just making noise, it’s booming.</div><div><br>On the weekend of August 1st, the city showed up for two standout hip-hop shows: <strong><a href="https://harfanharfan.com/artist-profile/3637" target="_blank">Bu Nasser Touffar</a></strong> at Metro Al Madina in collaboration with Beirut Records and <strong>Bu Kolthoum</strong> at KED, organized by Madad. What stood out wasn’t just the talent, but the back-to-back momentum. Two nights, two venues, and two very different energies that both point to one thing: the scene is alive, growing, and louder than ever. </div><div><br></div><div>The weekend kicked off with Bu Nasser Touffar dropping his new album Limbo live on stage. Opening the night were rising acts 3yooni, whose live oud twist gave the set a distinct and almost hypnotic edge, and Nuj, an emerging voice worth watching. But once Bu Nasser hit the stage, it became clear: this wasn’t just a show, it was a homecoming. The crowd? Pure superfans. Chanting every lyric, demanding deep cuts like <em><a href="https://harfanharfan.com/song/550" target="_blank">Tatleet</a></em> and <em><a href="https://harfanharfan.com/song/549" target="_blank">Hexaphobia</a></em>, and forever going back to those <a href="https://www.instagram.com/reel/DNDVwvmtrAY/?igsh=MTN2OGRrNmlnMmc4Zg==" target="_blank">OG songs that built the bond between artist and audience</a>. </div><div><br></div><div>Then came Bu Kolthoum’s long-awaited first performance in Beirut. The Damascus-born, Amsterdam-based artist finally brought his full energy to a packed KED, and they wanted to bring a live element to the stage, so <a href="https://www.instagram.com/madad.live/?hl=en" target="_blank">Madad</a> delivered. A brass section joined the set, with Ali Jradi on saxophone, Simon Salemeh and Mario El Hajj on trumpet, and it changed everything. The crowd was wall-to-wall, the sound was massive, and the vibe? Unmatched. He even dropped an unreleased track, and when El Rass jumped on stage as a surprise act, the room lit up. Two shows. </div><div><br></div><div>Two legends. A city that’s showing up for hip-hop, consistently, loudly, and together. </div><div><br></div><div>And we’re not stopping here 🎤 🗓️</div><div> August 23rd in Beirut: <a href="https://harfanharfan.com/announcements/event/16" target="_blank">Shabjdeed</a> @ Metro Al Madina📍<br></div>

🔥 Back-to-Back Fire 🔥  Beirut’s Hip-Hop Scene Lights Up

<p>Weeeeeheeeeee can't wait for this concert!! I couldn't see Shabjdeed when he last came to Beirut, so I'm so excited he's back!!&nbsp;</p>

<div>The iconic Jerusalemite rapper has become one of the leading figures in Arabic hip-hop, known for his lyrical mastery, bold style, and ability to build immersive musical worlds. His fearless authenticity and dynamic performances have earned him a global fan base and sold-out shows across the Middle East and Europe. His debut album Sindibad el Ward (2019) with Al Nather was hailed as a milestone for Arabic hip-hop, with the single Mtaktak recognized by the BBC as one of the greatest hip-hop songs ever. Their 2024 follow-up Sultan further cemented his status with its innovative sound and intricate storytelling.</div><div><br></div><div>Saturday 23 August 2025 Starting 8:30 PM </div><div><br></div><div>🎧 Lineup<br>— Opening Set: DJ Wad Na3na3<br>— Opening Act: BILLY TSTRK<br>— Headliner: Shabjdeed<br>— Closing: DJ Wad Na3na3</div><div><br></div><div>Presented by Al Wahida presents and Metro al Madina</div>

Shabjdeed Live

<p>Hi Hala!</p>
<p>Congrats on the platform, it looks SO GOOD &amp; SO EXCITING!</p>
<p>So happy to be part of the community, can't wait to see what's coming next 😈🌞🎵💯</p>

<p>Proud of you Hal!!!!!!!!!!!!!!!!!!!!!!!!!! Watching this space</p>

<p>👏👏 finally the exposure our artists deserve!&nbsp;</p>

<p>What a great idea!!! So beautifully written! Thank you for creating this platform ♥️</p>

<p>Great idea beautiful platform !! grateful for such an initiative and eager to learn more and the MENA artists 😍</p>

<p>I love this! So well written. always proud ♥️</p>

<div>Hi, I’m Hala.</div><div><br>In 2020, somewhere between lockdown boredom, endless scrolling, and a new group of friends, I came across a track that sparked something in me: “<a href="https://harfanharfan.com/song/553" target="_blank">Tar</a>” by <a href="https://harfanharfan.com/artist-profile/3637" target="_blank">Bu Nasser El Touffar</a>. That was my entry point. From there, I’ve been deep in this world; from El Rass to Synaptik, Palestine to Sudan, to the MENA region entirely. I discovered a scene... but not a space.</div><div><br>Bits and pieces were everywhere: lyrics scattered across websites, interviews on niche blogs, songs that came and went. But there wasn’t one place where it all came together. So we created one... and it’s finally live. 🎉</div><div><br>Welcome to <strong>Harfan Harfan</strong>, a platform by the culture, for the culture. A real home for underground music in the region, and everything around it. <br>Why? Because there are so many artists out here doing incredible work, but their lyrics aren’t archived, their stories aren’t told, and their fans have nowhere to talk about it. We wanted to build something that makes space for all of it: the nuance, the slang, the collaborations, the history, the jokes, and the hyper-specific references only your city would get. <br>And honestly? Another big reason was me (only half joking!). I couldn’t even understand half the references myself. I’d call my friends just to decode bars. To this day, I’m still confused: who is Ali Cheaib? @El Rass, if you’re reading this… help!</div><div><br>On our platform, you’ll find lyrics. Artist pages. Deep dives. Events. Playlists. Forums. Community picks. Scene reports. And bars. Lots of bars.&nbsp; Scroll, search, annotate, comment, contribute, discover artists you’ve never heard of - or just lurk and enjoy the chaos. This space is yours. You can also gain points, level up, and earn rewards as you go. 🎮 <br></div><div><br></div><div>And this is just the beginning. So what’s next?&nbsp; <br>We’ll be adding more artists, more lyrics, more features, and so will you 🫵 And soon: meet &amp; greets, exclusive podcasts, behind-the-scenes drops, fan picks, artist takeovers, and a few surprises 👀 <br>And your feedback? Always welcome. If something feels off, confusing, or could be better - tell us. Let’s shape it together.</div><div><br>Come look around. Say something. Share something. Or just vibe. We’re so happy you’re here. </div><div><br></div><div>– Hala <br></div>

🚀 From One Song to a Whole Scene

<div>Bu Nasser is a Lebanese rapper and writer known for his politically charged lyrics and commitment to giving voice to marginalized communities. Launching his career in 2009 with Touffar, he’s since built a powerful solo path rooted in resistance and revolution, performing across Lebanon, Europe, and Turkey. His 2025 album Limbo captures the tension of the present and past through bold lyricism and regional/global collaborations. Beyond music, he’s also a published novelist with critically acclaimed works featured in international literary circles.
</div><div><br></div><div>LynnMayya is a Syrian DJ, producer, and multimedia artist based in Austria. With roots as a bassist in Syria’s first female rock band, she now crafts dark, groovy techno sets infused with experimental sound design and socio-political themes. Through immersive audiovisual performances, she bridges art, technology, and activism, performing at major venues and festivals across Europe and the Middle East.</div><div><br></div>

LynnMayya | لين ميّا

NUJ | نوج

3YOONI | عيــونــي

Bu Nasser

<div>Bu Kolthoum visits Beirut for the first time with a brand-new live show.<br>He’s diving deep into his rich catalog, reimagining fan favorites with fresh energy and new live elements. And woven into the set are hints of what’s next.</div>

Bu Kolthoum

<div>Get ready for an unforgettable night as&nbsp;Cairokee, Egypt’s biggest rock band, takes over&nbsp;Beirut Hall&nbsp;on&nbsp;August 9! Known for their powerful lyrics, revolutionary spirit, and massive fan base across the Arab world, Cairokee is finally bringing their electrifying energy to BEIRUT.</div><div><br></div><div>🚫&nbsp;No Age Restrictions&nbsp;&nbsp; <br></div>

Cairokee

<div><strong>TootArd</strong> is a genre-fluid duo of brothers Hasan and Rami Nakhleh, known for blending global pop, quarter-tone melodies, and retro funk into a distinctive disco-driven sound rooted in SWANA traditions. Their boundary-pushing music bridges cultures and continues to captivate audiences worldwide.</div><div><br></div><div><strong>Diouf</strong> is a collective and concert agency focused on curating powerful live music experiences. Driven by creativity and collaboration, Diouf connects global and local artists—bringing international acts to Lebanon while amplifying Lebanese talent across the region and beyond.</div>

TootArd

نتمنى تعجبكم أغنية «قلبي دق بحرارة» ❤️🎶
سمعوها كاملة وكولوا لينا: شنو أكثر حاجة عجباتكم فيها، الكلمات ولا الموسيقى؟

أغنية مصرية شبابية رومانسية جديدة بعنوان «قلبي دق بحرارة» من قناة وتر وإحساس – Watar Wa Ihsas 🎶❤️

نتمنى تنال إعجابكم، ونرحب بآرائكم وتعليقاتكم.

قلبي دق بحرارة | Albi Daq Be Harara – Egyptian Arabic Song

https://youtu.be/nx_LJlhzczA?si=lRcCo5QZ-uMQsvVb

I was watching Kanye’s Oxford talk from 2015 and honestly what stuck with me wasn’t even something specific he said, it was more the fact that he was there in the first place.

An artist sitting in front of university students talking about how he makes things, how he thinks about culture, art, and music made me think about what that looks like with artists from our region.


There are already some examples:

SOAS had El Rass and Chyno with a Why? come in for a talk about alternative music in Lebanon, but the conversation went into what it actually means to make independent music in Lebanon, how sustainable any of it is, what kind of industry exists around it, and how everything happening in the country affects the scene.

Narcy has also been teaching hip-hop at Concordia for years. He’s used it to talk about race, colonialism, religion, politics, art, the music industry, all of it. He’s even taught whole courses around Kendrick Lamar.

Omar Offendum has done workshops connecting Arabic poetry and hip-hop, putting someone like Nizar Qabbani next to Kendrick in a classroom.

Mashrou’ Leila have been taught in university courses too, and H. Sinno went from being someone whose work was studied to actually teaching music at Dartmouth.

And NYU Abu Dhabi literally has an Arab Music Studies minor, with courses on popular music in the Arab world alongside history, literature and anthropology.

So it’s already happening, just in different places and in different ways, but it made me wonder how far you could actually take it. You could teach Arabic through rap lyrics and look at how dialect is changing between cities. You could talk about class through mahraganat. You could study Palestinian hip-hop through geography and movement. You could look at sampling as a way into old Arab music archives. Even the rise of certain scenes through SoundCloud, YouTube or TikTok could probably teach you a lot about how music travels around the region now.


What if there was actually a university course on contemporary MENA music, what would you put in it? And who would you want teaching it?

What would a MENA music syllabus look like?

أغنية عربية رومانسية حماسية بعنوان «توأم الروح» من وتر وإحساس. عمل يجمع بين الحب والطاقة والإحساس، ونتمنى ينال إعجابكم. نرحب بآرائكم وتعليقاتكم ❤️🎶

توأم الروح – أغنية حب عربية حماسية

غنية رومانسية عربية جديدة بعنوان "لو تعلمين" من Watar Wa Ihsas. نتمنى تنال إعجابكم، ونرحب بآرائكم وتعليقاتكم ❤️🎶

لو تعلمين – أغنية رومانسية عربية

Zajal is sometimes treated like something preserved from an older Lebanon. But at its height, there was nothing particularly still about it.

Crowds gathered. Poets faced each other across a stage. Verses were answered with verses, melodies repeated, rivalries built, and the audience became part of the performance.

Talih Hamdan belonged to that world.

Born in Ain Anoub in 1944, he grew up following zajal before eventually becoming one of its defining voices. From his early encounters with Zain Shuaib and Zaghloul el-Damour to founding Jowqat al-Rabie‘, Hamdan spent decades carrying zajal from Lebanese villages to stages across the diaspora.

He once described zajal as something that grew up with people: laughing when they laughed, crying when they cried, carrying their stories and memories with it.


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Talih Hamdan and Zajal

فتاة العتمة مشروع فني غنائي يمزج بين الشعر العربي والموسيقى السينمائية، ويقدم أعمالًا تدور حول الحب والفقد والرحيل والوحدة، في أجواء موسيقية درامية يغلب عليها الغموض والشجن. تسعى فتاة العتمة إلى تقديم تجربة فنية مختلفة تجعل من الكلمة والصوت والصورة عالمًا واحدًا، بعيدًا عن الصورة التقليدية للفنان.

اغنية راحلة لفتاة العتمة

Searching for Sugar Man is a documentary that follows Sixto Rodriguez, a Detroit singer-songwriter whose two albums in the early 1970s sold poorly in the United States. His recording career stalled, and he returned to an ordinary working life in Detroit.

Except Rodriguez wasn't exactly unsuccessful everywhere.

Without really knowing the extent of it himself, his records had found an enormous audience in apartheid-era South Africa. He also had a following in Australia, where he toured years before the events shown in the documentary.

So Rodriguez wasn't simply an unknown musician waiting to be discovered. Depending on where you were standing, he could be a failed recording artist, a cult figure, a touring musician, or simply someone you'd never heard of.


What do we actually mean when we say that music has been “discovered”?


There are versions of this all over the Arab world.

Take Omar Souleyman. Before Sublime Frequencies introduced his music to a new international audience, he had already spent years performing at weddings and celebrations across Syria. Those performances were often recorded onto cassette. Souleyman has explained that a tape would be given to the bride, while guests at the wedding could buy copies themselves. People mentioned during the performance would sometimes go looking for the recording afterwards.

Hundreds of these tapes circulated. When Mark Gergis first travelled to Syria in 1997, he came across Souleyman's music not buried in an archive or sitting forgotten in a box, but as part of a living cassette culture: stalls playing and selling music that already had its own audience. Gergis began collecting the tapes, eventually connected with Souleyman and, with his permission, compiled recordings for Sublime Frequencies.

So was Omar Souleyman discovered? Certainly not by the people already dancing at his weddings. What happened was something more interesting: music that already belonged to one world found its way into another.


Habibi Funk's work tells a different version of the same story. Its reissues have brought recordings by artists like Issam Hajali and Rogér Fakhr back into circulation decades after they were made. Hajali's Mouasalat Ila Jacad El Ard, for example, was originally released on cassette in 1977 in a run he estimates at fewer than 100 copies. Fakhr's recordings from the same period remained largely out of circulation for decades before eventually reaching Jannis Stürtz through Hajali and being reissued by the label.

Here, “rediscovery” becomes difficult to pin down. A record might have sold poorly, circulated among a small community, become scarce as physical copies disappeared, or simply belonged to a musical world that wasn't preserved or documented in the places we now turn to for music history. Bringing that music back doesn't mean nobody knew it the first time around. It means another audience, in another time and place, gets to hear it too.


Music doesn't move evenly, neither does memory. Sometimes “discovery” isn't finding something nobody knew existed. It's one audience finally encountering something another audience knew all along.

So when we call an artist forgotten, obscure or undiscovered, maybe the more interesting question is: forgotten by whom?

What does it actually mean to discover music?

went to the Faraj Suleiman concert in Beirut Hall last night with my girl, was excellent 😁😁😁😁

got gifted the tickets since i'm the GOAAAAAATTTT [of harfan harfan that is ;) ] some competitors though so need to pick it up 

big thanks to this platform for everything. the music, the socializing, the scenes, the discovery. all is lovely and can't wait to see and do more ❤️❤️❤️❤️❤️❤️

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Faraj Suleiman Concert

there are artists whose stories feel complete. and then there are artists who leave behind the feeling that you only ever heard the beginning.

APOST  belonged to the second group.

from 2019 onward, he quietly built ambitious projects with every release feeling connected to the last, each song another piece of a much larger narrative and world.

then, suddenly, that world stopped growing.

it's difficult not to think about what could've been. not just the music we never got to hear, but the ideas that never had the chance to unfold. the story he intended to tell remains unfinished, leaving behind questions only he could have answered.

and yet, what's here is enough.

enough to revisit. enough to study. enough to remind us that some artists don't need decades of releases to leave a permanent mark.

rest in peace, APOST.

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APOST

this is such a fair and valid point so many arab creative works have been in isolation and left to collect dust so it is beautiful to see people such as Habibi Funk doing them justice. as you said though it's on us to make sure we can fill the gap in order to let our stars shine instead of fade in a vacuum. thank you for your contribution g!

Bachir thank you for this amazing post and even more great story for me (and hopefully others) to discover. 

On Harfan Harfan, thank you ❤️ This captures our mission better than we could have put it ourselves. The goal has always been to preserve not just the music, but the stories, meanings, and conversations around it before they're lost. We're really grateful this resonated and it all starts with people like you 😍

Habibi Funk is one of those projects that makes you realize how much incredible Arab music is still sitting just outside our memory.

The song that has been stuck in my head lately is “Hanen” by Carthago. They were a Tunisian band formed in the late 1970s when members of Dalton and Marhaba Band came together. They were already playing hotels and nightclubs around Tunis and Sousse, but Carthago brought the disco scene into their North African sound at a time when the genre was spreading from Europe and North America.

I only found them because Habibi Funk brought the music back.

And that is the part I keep thinking about. This was our music to begin with. It was made here, played on our radios, danced to in our clubs, and understood by the people who lived around it. Yet somehow it had to leave, disappear for years, and then be brought back to us by someone from outside the region before many of us noticed it again.

This is not a criticism of Habibi Funk. They deserve real credit for finding these records and giving them another life. But it does make you wonder how much of our musical history is still sitting on an old cassette, in someone’s house, or only in the memory of the people who were there.

That is also why something like Harfan Harfan matters and why I really appreciate it. Writing down what a lyric means, what a song was reacting to, or how people understood it at the time might seem small, but years from now, that could be the only thing keeping the full story alive. Every translation, annotation and discussion becomes a small record of how Arab music is understood by the people actually listening to it.

The music being made in the Arab world right now will become history too. Maybe we should start treating it like history before we lose it.

Arab Music Was Never Lost. We Just Stopped Recording Its Story.

Whatever happens in tonight’s World Cup final, this tournament marked a milestone for football across the region. Eight MENA nations reached the 2026 FIFA World Cup—Algeria, Egypt, Iraq, Jordan, Morocco, Qatar, Saudi Arabia and Tunisia—making it the region’s most represented tournament ever.

Every World Cup leaves behind a soundtrack. Ours didn’t come from FIFA. It came from the artists documenting these scenes long before the opening whistle.

Eight nations. Eight songs from Harfan Harfan.

🇩🇿 Algeria — DARWIN — ELOSTAR
🇪🇬 Egypt — Gebt Goal — Skinny Hues
🇮🇶 Iraq — Baghdad — 3yooni
🇯🇴 Jordan — Nashama — Emsallam & Ayah Marar
🇲🇦 Morocco — Ghazali — DYSTINCT
🇸🇦 Saudi Arabia — Shoft Alhala — Vinyl Mode & Moayad
🇹🇳 Tunisia — FIX — Cosmic
🇶🇦 Qatar — We’re still missing one. Recommend a Qatari artist or song we should feature on Harfan Harfan. 👇

Enjoy the final. ⚽🎧

0283

2026 World Cup: a Milestone for MENA Football

Every oud has a family tree.

The soundboard is usually spruce, prized for being light enough to vibrate freely while remaining strong under tension. The bowl may be crafted from walnut, maple, rosewood, or mulberry, each subtly shaping the instrument’s resonance and tone. The fingerboard is almost always ebony, valued less for its sound than for its durability after decades of playing.

An oud isn’t carved from one piece of wood. It’s assembled from species that may have grown hundreds—or even thousands—of kilometers apart before meeting in the hands of a single luthier.

By the time the first note is played, the instrument is already carrying the history of multiple landscapes.

We spend a lot of time talking about players, composers, and makers. But not enough time talking about the forests that made the music possible.

0227

Oud: A Collection of Forests

Egypt and Morocco are both still alive and doing well this World Cup.

This feels like the right time to share some football-related tracks from the region.

For Egypt: Skinny Hues — Gebt Goal
For Morocco: DYSTINCT — Ghazali

Two songs to keep the energy going until the end.

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Egypt and Morocco World Cup run

I came across this old news footage of The Beatles stopping in Beirut in June 1964.

They weren’t here for a concert. Beirut was simply one of several refueling stops on their way to Hong Kong during their first world tour. They spent roughly an hour at the airport, where hundreds of fans had already gathered to catch a glimpse of them.  

The Beatles never actually performed in Lebanon. There was no concert, no tour date, no venue. Yet for a brief moment, Beatlemania reached Beirut anyway. You can see the excitement in the crowd and imagine what it would have been like if they had stayed just one more day.  

It also makes me wonder about another question.

If you could go back to Beirut in the 1960s or 1970s and watch one international artist who actually performed here, who would you choose?

Sometimes music history is shaped just as much by the concerts that never happened as the ones that did.

The Beatles Were Never Supposed to Be Part of Lebanon’s Music History. Yet They Almost Are.

I’ve had Shoft Alhala by Vinyl Mode and Moayad on repeat recently.

What grabbed me was hearing a house track built around vocals that feel unmistakably local.

A lot of dance music around the world is built on the same rhythms and structures. What makes tracks like this interesting is when the vocals, language, and cultural references remain intact rather than being smoothed out to fit an international template.

The result is a track that feels rooted in Saudi Arabia while still functioning as a club record.

It also made me curious about what else is happening in this space. Saudi house still feels like a scene that’s being built in real time, and tracks like Shoft Alhala feel like small glimpses into where it might be heading.

“Shoft Alhala” and the sound of Saudi house

this is so interesting gave me a new perspective to see this scene in i honestly thought it didn't go much further back than the current rappers we have cool to see such influence from anas

we want to feature your contributions in annotating could you dm harfanharfan_ on insta 

This by no mean an accurate post it's just to shed a pit of light on one of the most hidden influence in the scene 

Anas Arabi katbi formally known by Arabi katbi is a Syrian nationalist who currently lives in the us 

He is one of the earliest to do the the one man show of writing producing and performing 

Makhzan malan (helped support the arena) 

And many contributions and help to most of the rappers in the scene ranging from al nather in the levant to the gulf and all the way to Africa with Moroccans and Algerian rappers 

Shadow pillar

One of the more interesting football and MENA music stories is Wegz releasing Ezz Al Arab for the official FIFA World Cup Qatar 2022 soundtrack.

It placed Egyptian rap inside the biggest football event in the world, during the first World Cup held in the Arab world. The track was released in December 2022 as part of the Qatar 2022 soundtrack, produced by Tudor Monroe and Kareem Lotfy, and mixes afro-beats, electronic music, and Wegz’s own melodic rap style.  

What makes the moment bigger is that Wegz also performed at Lusail Stadium on the day of the World Cup final, becoming one of the most visible Arab rap figures tied to the tournament.  

Football songs usually become background noise. This one felt different because it caught Arab rap at the exact moment it was moving from regional scene to global stage.

Ezz Al Arab works as a football song, but also as a timestamp: Qatar 2022, Morocco’s run, Arab flags everywhere, and a rapper from Alexandria standing inside the machinery of FIFA.

What memorable MENA-related moments do you think we’ll see this time?

Could an Arab team make a serious run again, or even win it?

Wegz and the Qatar 2022 World Cup

my song of the day :/

Saw this video where someone sits with their professor and breaks down Kendrick Lamar line by line like a lit analysis.

Would genuinely love to see the same thing done with Arabic music.

Actual close reading by an Arabic professor and then a discussion around lyrics, metaphors, dialects, references, double meanings, delivery, context, and interpretation.

Feels like there’s so much material for it across rap, shaabi’, older Arabic music, Ziad Rahbani, El Rass, Shabjdeed, etc.

A lot of Arabic music already gets debated and annotated socially anyway. It would be amazing to see those conversations explored more deeply and technically.

Academic Take on Music

Al-Ghazali lived almost a thousand years ago, from 1058 to 1111, but his writing on music still feels present.

In a section of the Ihya’ ‘Ulum al-Din, he writes:

“There is no entry into the heart except through the antechamber of the ears. Musical tones, measured and pleasing, bring forth what is in the heart and make evident its beauties and defects… whenever the soul of the music and singing reaches the heart, then there stirs in the heart that which preponderates in it.”

What stands out is that he does not describe music as something that simply puts emotion into people, but rather as something that brings out what is already there.

That still rings true. The same song can make one person remember, another grieve, another feel calm, another feel exposed. Sound enters through the ear, but what rises from it depends internally on the listener.

Music carries feeling, place, memory, and the lives people attach to it over time.

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Al-Ghazali on Music

Walked into an abandoned building in Beirut and found a large graffiti portrait that looked a lot like Shabjdeed.

Mic in hand, painted inside a building that’s been rotting for years. Dust, wires, broken walls, everything falling apart around it.

Not sure if it’s actually him, or who painted it, but the contrast felt strong. A rapper’s image sitting inside all that decay.

If anyone knows the artist or has seen similar work, drop it here.

Shabjdeed on a crumbling wall in Beirut?

There’s something really exciting about seeing music and film meet properly like this.

Mesh Darouri is a collaboration between Faraj Suleiman and Mohammad Dayekh. Mohammad wrote the lyrics, directed the video, edited it, and acts in it alongside Taraf Al Taki, so the whole thing feels like one complete piece, almost even a continuation of the romance from Marhaba Dawle Season 2. Faraj Suleiman’s music gives it restraint, and the video gives that restraint a face and a body.

With everything going on, it’s easy to forget that we’re also living through a really interesting moment for Arab music. More artists are treating songs like full worlds now, not just tracks. Sound, writing, image, acting, and direction are all starting to come together in a way that feels serious without becoming heavy.


When a Song is a Short Film

reminds of something i recently bought from the local flea market, a CD, an album by an egyptian in the 00's band that barely gets +10k veiws on the internet, purely dedicated to JAZZ music and very well crafted work if you ask me

this made wonder about certain musc life cycles and timelines, also how does music travel in time and space

a lot of music in this region disappears because nobody documents it properly.

a track may stay buried with no context on youtube, an artist is famous in one city and nowhere else, lyrics are remembered for years but never written down, and a whole scene can matter deeply to the people inside it and still leave behind almost no public trace.

after a while music becomes harder to find, and also becomes harder to understand. 

the context thins out, names stop connecting to songs, songs stop connecting to places, moments, and people.

that is part of why Harfan Harfan exists.

to give this music a place where it can stay visible, connected, and easier to return to. a place where artists, songs, lyrics, and small pieces of scene memory do not have to live separately from each other.

you’re here early, and you can help shape that.

add artists, 
add songs, 
write annotations, 
leave behind something that helps the next person find their way in.

9507

what gets lost if nobody keeps track of it

happy easter everyone. here’s a little easter egg for you ;)

“Safeit bi 3akss el Seir” — "Fetna B' Akss el Seir" (Rayess Beik & Eben Foulen) ft. DJ Lethal Skillz (1998)

this is one of the tracks that really matter in the story of lebanese hi-hop because it was the very beginning. it was part of that early wave that helped lay the foundations for lebanese and arabic hip hop more broadly.

what hits is that it still feels relevant now too. almost three decades later, it still lands in a way that feels like those times bled into the present.

a lot from that era was never properly preserved online, which makes tracks like this even more important to revisit and keep in circulation.

if anyone here has more early lebanese hip hop favorites, drop them.

all the love, and stay safe my friends.

The Birth of Lebanese Hip-hop

Bu Nasser: khair al shaghab, Tar, Hexaphobia
El Rass: ma3rakati, fi el jalid, lebnen 2 (with Bu Nasser), beirut khaybetna

El Rass x Shabjdeed & Al Nather: 2areek 
El Rass – كاف نون (with Bu Kolthoum)


https://youtu.be/rcWeIpni_Pc?si=G2W01RoQpkRuEyhk

it was released in 2007, and went vira on TikTok recently for its lyrics, they describe accurately what is happening

Forums

قلبي دق بحرارة | Albi Daq Be Harara – Egyptian Arabic Song

قلبي دق بحرارة | Albi Daq Be Harara – Egyptian Arabic Song

What would a MENA music syllabus look like?

توأم الروح – أغنية حب عربية حماسية

لو تعلمين – أغنية رومانسية عربية

Talih Hamdan and Zajal

اغنية راحلة لفتاة العتمة

What does it actually mean to discover music?

Faraj Suleiman Concert

APOST

Arab Music Was Never Lost. We Just Stopped Recording Its Story.

2026 World Cup: a Milestone for MENA Football

Oud: A Collection of Forests

Egypt and Morocco World Cup run

The Beatles Were Never Supposed to Be Part of Lebanon’s Music History. Yet They Almost Are.

“Shoft Alhala” and the sound of Saudi house

Shadow pillar

Wegz and the Qatar 2022 World Cup

my song of the day :/

Academic Take on Music

Al-Ghazali on Music

Shabjdeed on a crumbling wall in Beirut?

When a Song is a Short Film

what gets lost if nobody keeps track of it

The Birth of Lebanese Hip-hop

War Songs From The Underground

🎤🔥 ويجز في الساحل يوم الجمعة

Sound on the Walls

👋 Introduce Yourself!

🛠 Feedback + Ideas

Wall of Fame: Who's Next? 😎

Last show you went to?

What collab needs to happen?