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The National
a day ago
- Entertainment
- The National
Eight reasons why Nancy Ajram still matters in 2025
The sound and image are familiar: Nancy Ajram walking down a sunlit street in a coastal town, waving to neighbours with an effortless smile that has charmed the region for more than two decades. Her latest single, Warana Eh, doesn't break new ground, but its breezy mix of Arabic pop and Mediterranean rhythms fits the season well. It's the kind of summer release we've come to expect from Ajram – light, catchy and anchored by a casual phrase that loosely translates to 'what do we have to lose?', used here to suggest a sense of freedom and letting go. The track is part of Ajram's new album, Nancy 11, and while it doesn't aim for reinvention, it continues a pattern that has quietly defined her career. Ajram's catalogue may not be as shape-shifting as that of some of her peers, but it has consistently delivered enough to stay afloat in the region's musical and cultural backdrop. Here are eight reasons why she's remained relevant for so long. 1. She has never disappeared Consistency breeds success – a motto Ajram has followed throughout her career. Without any definitive peaks or periods in the wilderness, she has remained visible on record, on screen and commercially for over two decades. Even the relative public absences, when she retreated to the studio or stepped back for a time, felt like part of a calculated rhythm. At the same time, it rarely felt like she was overexposed. 2. She knows when to pivot Given Ajram's evergreen appeal, it's easy to forget she first made a splash as a young pop provocateur. Her 2003 breakout Akhasmak Ah was full of lyrical innuendo and came with a suggestive video clip that caused controversy even as it thrilled fans. To be fair, Ajram wasn't the only one testing boundaries at the time. Fellow Lebanese singer Haifa Wehbe's 2006 hit El Wawa, with its sultry visuals, drew censorship and bans from conservative broadcasters, while Ruby's Leih Beydary Keda, released in 2005, faced similar scrutiny. Ajram, however, showed marketing instinct by adjusting course and opting for safer waters since then. 3. She pioneered the family-friendly star Ajram's foray into children's music was more than a side project. Albums such as Shakhbat Shakhabit (2007) and Super Nancy (2012) gave her permanent place in the lives of Arab families. The music was technically not a far cry from her pop formula. While it was simple and unsophisticated, it still retained those earworm melodies that made it a commercial success. More importantly, Ajram became the first fully-fledged Arabic pop star to take the children's market seriously, releasing albums and performing child-friendly shows. Others such as Tamer Hosny and Kadim Al Sahir only released sporadic singles. It was a move that led her to become a judge on the inaugural season of The Voice Kids: Ahla Sawt in 2016, an Arabic version of the talent quest, and performing a children-themed concert at Dubai's Modhesh World in 2015. 'I love performing for children and, you know, it's not just a fun thing to do, it is very important for me both as a person and artist,' she told The National ahead of that show. 'For me, I think it's the purest kind of love when a child loves you. That's because they have no barriers, they say what they feel and they are very brave.' 4. She owns formats and genres Ajram's cross-generational appeal is finely curated. As a television judge on Arab Idol, she presented herself as aspirational and slightly distant. On The Voice Kids: Ahla Sawt, she adopted a warmer, more maternal presence resonating with younger contestants and their families. This subtle shape-shifting is also heard in her musical choices. Classy ballads such as Akhasmak Ah (2003) and Ehsas Jdeed (2008) appeal to adult listeners, while fizzy pop works such as Ah W Noss (2004) and Maakoul El Gharam (2017) are geared towards younger audiences. This is all done without biting the latest music trends or compromising her evergreen persona. The result is fanbase spanning multiple generations. Some fans began as children listening to the 2012 hit Ya Banat (from the album Super Nancy), which surpassed 100 million YouTube views, and continued as adults singing along to later releases such as the latest single Warana Eh. By all measures, this represents a masterclass in audience development and brand longevity within the Arabic pop landscape. 5. She does things on 'Nancy time' Ajram's catalogue has rarely chased trends. There are no viral campaigns, no TikTok dances, no hashtags attached to her releases. Even Nancy 11 arrived with minimal fanfare – just the occasional teaser announcing a new single. While the Arabic pop industry increasingly measures success in streams and virality, Ajram works according to her own tried-and-tested timeline. Her albums are uniform, for better or worse, with few tracks standing out beyond the selected singles. Even the occasional experiment, such as the 2022 dance-pop track Sah Sah with Marshmello, stayed within her register. The blazing synths didn't override her steady, melodic tone. This measured pace isn't designed to beat the algorithm. With Ajram, you get what you expect. 6. She keeps her feelings in check An interesting aspect of Ajram's work is the emotional restraint throughout her lyrics. Unlike some of her peers, she rarely sounds desperate to confess or exorcise pain. The songs are romantic but never raw, heartfelt but never truly melancholic. In a pop music scene where emotional visibility is often equated with authenticity – consider Elissa and Carole Samaha – Ajram's restraint is a notable contrast. Whether it's an artistic or commercial decision, or simply a reflection of her peppy persona, Ajram's music has remained a consistent and familiar reference point for fans. 7. She is vibe, not a brand What defines Ajram's sound and career is not sonic innovation but emotional consistency. Like Amr Diab, she builds a world of feeling rather than genre exploration. But their methods differ. Where Diab raised production standards for recording and what it means to be a mega pop star, with all its ego and controversies, Ajram's influence has been rooted in something more domestic across the decades. Her brand is built on warmth, familiarity and low-stakes intimacy. You can hear her in the car, at home, at a wedding or during a Ramadan television campaign, and she never feels out of place. That ubiquity isn't just popularity, it's the kind of trust that virality can't buy. 8. She holds her ground Ajram's role in Arabic pop isn't measured by her influence. Few younger Arab artists name her as a direct influence – a reflection, perhaps, of changing tastes and a more fragmented industry. But her relevance comes from consistency rather than pioneering a new path forward. Her voice, image and tone remain steady in a scene shaped by churn and generational shift. Instead of reinventing or launching into era-like cycles, she simply remains on point. And for her generation of fans, they wouldn't want it any other way.
The National
08-07-2025
- Entertainment
- The National
Palestinian singer Lina Makoul gives Arabic pop new emotional language
How does one express contentment within Arabic pop music? The genre, shaped by grand emotional declarations of heartbreak, passion and longing, is often designed to overwhelm or uplift. But Palestinian singer Lina Makoul is reaching for more subtle ways of expressing the human condition. Her latest single, Radiya, which translates to 'being content", is a quiet provocation. Not a love song, nor an anthem of defiance, the track offers something that is heard less today – a moment of stillness. Set against the backdrop of the Gaza war, it is a song about survival, not through the chaos, but by finding an inner balance. 'Trying to find this balance without giving in or giving up is contentment,' Makoul tells The National. 'It is also about being grateful for the things that you are blessed with, such as a bed, a roof above your head, food in your fridge, having your loved ones next to you and not losing yourself.' It is something the US-born Makoul often considers herself, as she struggles with the enduring grief and destruction of her homeland. Radiya opens with a washed-out vocal loop, followed by a gleaming bass-synth line. Makoul takes stock of the perceived weight she carries – 'every little and big thing, I carry so much on my shoulders' – before the song pivots to a cool, measured chorus that simply declares: 'I am content.' It is a nuanced delivery that matches the subject. 'Usually, I make music that helps me go through what I go through, and this song kept going in my head all the time,' she says. 'Every time I felt like something wasn't working out for me, I would repeat it like a mantra: 'I'm content with whatever comes. I know I'm divinely protected.'' The idea of contentment is a rich vein in Arabic spiritual and literary thought. But what makes this song interesting is that the subject hasn't really been explored directly in Arabic pop music. The classics of Umm Kulthum and Abdel Halim Hafez are layered, often charting the extremes of the emotional scale – the ecstasy of falling in love, as well as gnawing heartbreak. But even in their more reflective ballads, such as Umm Kulthum's Fakkarouni or Hafez's Mawood, the notion of inner peace is at best implied. Makoul's decision to focus a song on contentment, not as a fleeting feeling but a chosen state of being, mines new lyrical territory she deems essential in addressing the world today. 'I missed having this kind of message growing up,' she says. 'I missed hearing it in my own language, in my own dialect. As a teenager, as a grown-up, I didn't have that emotional vocabulary in Arabic music. So now I feel like it's my responsibility to offer it.' These are not isolated gestures. Taken together, they point to a subtle but growing shift – particularly among Levantine artists operating outside major commercial circuits – towards emotional transparency in Arabic music. Jordanian-Palestinian rapper The Synaptik discussed ADHD and depression in his album Al Taman, while Lebanese band Adonis reflected on dislocation in their latest release Wedyan, and Palestinian singer and rapper Saint Levant navigated diaspora identity and longing in Deira. Makoul says it is vital that her peers use their work to explore these important emotional spaces. 'I believe that art shapes the consciousness,' she says. 'If you don't consume art, it's very easy for you to become a robot that just repeats what the system wants you to repeat. So I want to liberate the mind, the soul, the heart – that's my way of resisting.' This idea of reclaiming your emotional agency has long been central to Makoul's creative process. During the Covid-19 pandemic, she launched #Yom, a songwriting project that invited Palestinian teenagers to submit original texts through Instagram. Makoul set those submissions to music, turning everyday reflections into delicate pop songs. One entry, Biji Abali, shifted her perspective completely. The lyrics read: 'I feel like stopping time, so I can focus on what the universe has to offer. Take deep breaths and just be present.' Makoul says she was floored by the couplets from author Sherry Mwai when the submission arrived in her inbox. 'I opened that message during Covid, when everything had stopped, and I realised I wasn't even being present,' Makoul recalls. 'The girl who wrote it had just come back from a chemotherapy session. She was 23. And she saw my challenge on Instagram and decided to write me this. It completely rewired my brain. 'That experience changed how I write. It reminded me how powerful simple words can be and how presence is everything. Without realising it, I think Radiya started there. That was the first time I truly stopped to reflect. It stayed with me.' That moment, and the shift it triggered, echoes in Radiya, where the idea of presence becomes a form of strength. In an industry where Arab pop songs are seemingly more interested in big emotions, to explore a feeling as measured as contentment feels almost radical. 'We need more songs that represent how we really feel,' she says. 'Even love songs, where's the complexity? Where's the need to be loved, the confusion, the vulnerability? I feel like we're missing so much potential in reshaping the next generation.' If Radiya signals a quiet shift in Arabic pop's emotional vocabulary, Makoul's live performances have amplified that message on a global stage. She joined Saint Levant on tour, performing across North America and Europe to sold-out crowds. 'It was such a beautiful experience,' she says. 'Being outside of Palestine, seeing how people turned the concerts into something spiritual, almost like a protest, it recharged me in a way I can't explain. But then when I returned home, I felt it again: the rupture. The reality here is different. There's no infrastructure for music. We do everything ourselves – manage, direct, fund, book, promote.' That contrast, Makoul notes, is part of what fuels music she describes as 'the soul beneath the surface". It also means no longer being interested in streaming numbers, in viral campaigns, or charts. True contentment, or feeling 'radiya', now stems from creating work that feels honest. 'I just want to make sure my light keeps shining,' she says. 'And maybe if it does, it attracts other lights. And maybe together, we can make some of the darkness we are going through feel a little smaller.'
Al Bawaba
12-06-2025
- Entertainment
- Al Bawaba
Angie Khoury surprises fans with cover of Nancy Ajram 'Ya Tabtab'
ALABWABA - Angie Khoury surprises fans with bold Ya Tabtab song cover. Angie Khoury, a social media influencer and rising star, has astonished her admirers with a daring musical move: she has performed a version of one of Nancy Ajram's most famous tunes, which is titled Ya Tabtab. The unanticipated release was made available on TikTok, Instagram, and YouTube earlier this week. It immediately generated excitement among fans of Arabic pop music and prompted comparisons to the original. People widely regard the 2006-published album Ya Tabtab as a masterpiece of Arabic pop from the early 2000s. It is also credited with establishing Nancy Ajram as a regional sensation. Given that the song has been regarded for a long time as a signature piece that hardly any people are willing to touch, Khoury's decision to remake the music demonstrates both confidence and ambition. The infectious rhythm and flirty tone of the original are maintained in Khoury's rendition, which also incorporates a contemporary twist through the use of new visuals and improved design. A contemporary twist is added to the classic song by the video, which was shot in a studio that was filled with soft pink lighting, sparkly accessories, and a dynamic new dance. Khoury was heard saying, "I've always loved Ya Tabtab" in a little footage that was taken behind the scenes. "Just like me, it is full of energy, fun, and playfulness; it is just like me." I am doing this as a way of paying tribute to Nancy while also providing the younger generation with something current to vibe with. angiekhuorymy Instagram profile Online, people have responded to the cover in a variety of ways. While there were fans who lauded Khoury for her charisma and her bravery in paying respect to an icon, there were also those who were more critical of her particular vocal performance. Angie's star power and social media reach remain strong, as evidenced by the video receiving thousands of views in just a few hours. Regardless of whether or not her rendition of You Tabtab becomes a viral sensation, Angie Khoury's cover is already a topic of conversation. It serves as a reminder of how brave and contemporary musicians can revitalize classic songs.
Cosmopolitan ME
21-05-2025
- Entertainment
- Cosmopolitan ME
We're screaming! Elyanna joins Abu Dhabi F1 line-up
If you thought Elyanna's moment with Coldplay was iconic… you're absolutely right. After stealing the spotlight during their Abu Dhabi show – vocals on point, visuals unforgettable she didn't just perform, she made history. And now, she's coming back. But this time? It's all her. She's taking the spotlight solo at one of the biggest stages of the year: the Formula 1 Etihad Airways Abu Dhabi Grand Prix.. And yes, the vibes will be immaculate. It's a full-circle moment for the Palestinian-Chilean singer, who's been carving her own path from day one. Elyanna's not your typical pop artist. At just 22, she was the first artist to perform a full set in Arabic at Coachella, blending her unique fusion of Arabic lyrics, Latin rhythms, and dreamy pop energy has carved out a space in global music that feels fresh and deeply rooted at the same time. Whether it's Ghareeb Alay to the emotional pull of her unreleased tracks, she brings depth, soul, and serious stage presence – and F1 is about to get all of it.. This isn't just another gig – it's a full-on glow-up. She went from sharing the stage with Coldplay to now owning one of the biggest weekends in the region. Elyanna is making it clear: she's not the future of Arabic pop, she's the now. So if you're heading to F1, don't just go for the race. Go for Elyanna. She's bringing the vocals, the visuals, and the energy. And something tells us this is just the beginning. Did you know – Elyanna landed a spot on Billboard Arabia's Top 5 female artists?
