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BRSRB Pop Up Exp at Channel 4+: three days of fashion, music, community, and experimentation.

Day one opened with The Body Knows Before The Mind, an immersive culinary experience where food, visuals, lighting, sound, and space came together around one communal table.
@thesagexperience

Day two shifted into a live music and nightlife experience with performances, visuals, and a room built around youth culture, community, and collective energy.

The takeover closed with an open conversation led by Xander Ghost exploring independent creative practice, cultural identity, and building within the region, followed by the launch of an open design competition for emerging creatives.

Part pop-up, part cultural intervention, part temporary world built inside Channel 4+.

BRSRB Pop Up Exp at Channel 4+: three days of fashion, music, community, and experimentation.

Day one opened with The Body Knows Before The Mind, an immersive culinary experience where food, visuals, lighting, sound, and space came together around one communal table.
@thesagexperience

Day two shifted into a live music and nightlife experience with performances, visuals, and a room built around youth culture, community, and collective energy.

The takeover closed with an open conversation led by Xander Ghost exploring independent creative practice, cultural identity, and building within the region, followed by the launch of an open design competition for emerging creatives.

Part pop-up, part cultural intervention, part temporary world built inside Channel 4+.

BRSRB Pop Up Exp at Channel 4+: three days of fashion, music, community, and experimentation.

Day one opened with The Body Knows Before The Mind, an immersive culinary experience where food, visuals, lighting, sound, and space came together around one communal table.
@thesagexperience

Day two shifted into a live music and nightlife experience with performances, visuals, and a room built around youth culture, community, and collective energy.

The takeover closed with an open conversation led by Xander Ghost exploring independent creative practice, cultural identity, and building within the region, followed by the launch of an open design competition for emerging creatives.

Part pop-up, part cultural intervention, part temporary world built inside Channel 4+.

BRSRB Pop Up Exp at Channel 4+: three days of fashion, music, community, and experimentation.

Day one opened with The Body Knows Before The Mind, an immersive culinary experience where food, visuals, lighting, sound, and space came together around one communal table.
@thesagexperience

Day two shifted into a live music and nightlife experience with performances, visuals, and a room built around youth culture, community, and collective energy.

The takeover closed with an open conversation led by Xander Ghost exploring independent creative practice, cultural identity, and building within the region, followed by the launch of an open design competition for emerging creatives.

Part pop-up, part cultural intervention, part temporary world built inside Channel 4+.

BRSRB Pop Up Exp at Channel 4+: three days of fashion, music, community, and experimentation.

Day one opened with The Body Knows Before The Mind, an immersive culinary experience where food, visuals, lighting, sound, and space came together around one communal table.
@thesagexperience

Day two shifted into a live music and nightlife experience with performances, visuals, and a room built around youth culture, community, and collective energy.

The takeover closed with an open conversation led by Xander Ghost exploring independent creative practice, cultural identity, and building within the region, followed by the launch of an open design competition for emerging creatives.

Part pop-up, part cultural intervention, part temporary world built inside Channel 4+.

BRSRB Pop Up Exp at Channel 4+: three days of fashion, music, community, and experimentation.

Day one opened with The Body Knows Before The Mind, an immersive culinary experience where food, visuals, lighting, sound, and space came together around one communal table.
@thesagexperience

Day two shifted into a live music and nightlife experience with performances, visuals, and a room built around youth culture, community, and collective energy.

The takeover closed with an open conversation led by Xander Ghost exploring independent creative practice, cultural identity, and building within the region, followed by the launch of an open design competition for emerging creatives.

Part pop-up, part cultural intervention, part temporary world built inside Channel 4+.

BRSRB Pop Up Exp at Channel 4+: three days of fashion, music, community, and experimentation.

Day one opened with The Body Knows Before The Mind, an immersive culinary experience where food, visuals, lighting, sound, and space came together around one communal table.
@thesagexperience

Day two shifted into a live music and nightlife experience with performances, visuals, and a room built around youth culture, community, and collective energy.

The takeover closed with an open conversation led by Xander Ghost exploring independent creative practice, cultural identity, and building within the region, followed by the launch of an open design competition for emerging creatives.

Part pop-up, part cultural intervention, part temporary world built inside Channel 4+.

BRSRB Pop Up Exp at Channel 4+: three days of fashion, music, community, and experimentation.

Day one opened with The Body Knows Before The Mind, an immersive culinary experience where food, visuals, lighting, sound, and space came together around one communal table.
@thesagexperience

Day two shifted into a live music and nightlife experience with performances, visuals, and a room built around youth culture, community, and collective energy.

The takeover closed with an open conversation led by Xander Ghost exploring independent creative practice, cultural identity, and building within the region, followed by the launch of an open design competition for emerging creatives.

Part pop-up, part cultural intervention, part temporary world built inside Channel 4+.

BRSRB Pop Up Exp at Channel 4+: three days of fashion, music, community, and experimentation.

Day one opened with The Body Knows Before The Mind, an immersive culinary experience where food, visuals, lighting, sound, and space came together around one communal table.
@thesagexperience

Day two shifted into a live music and nightlife experience with performances, visuals, and a room built around youth culture, community, and collective energy.

The takeover closed with an open conversation led by Xander Ghost exploring independent creative practice, cultural identity, and building within the region, followed by the launch of an open design competition for emerging creatives.

Part pop-up, part cultural intervention, part temporary world built inside Channel 4+.

That’s a wrap on Egypt’s first music summit.

Channel 4+ brought together some of the region’s leading artists, producers, songwriters, founders, and industry voices for a series of conversations around the future of music.

From hit-making and festival culture to mahraganat, artist infrastructure, ownership, and the business behind the sound, the summit opened up the discussions shaping Egypt’s music scene today.

An exclusive conversation with @directorx — one of the most influential visual storytellers in music culture, behind iconic work with global artists that shaped generations.

As part of @ch4plus the first Music Summit in Egypt, we explored creativity, visual identity, storytelling, and the power of culture-driven imagery.
________________________________
@marakezegypt @ch4plus #District5

The way we listen to music keeps changing.

From radio and vinyl to downloads and streaming platforms, access to music has evolved faster than ever. In this session, Hossam El Gamal explored that evolution through the lens of Anghami, discussing listening habits, audience behavior, peak activity times, and how music platforms became spaces for discovery, community, and culture.

The way we listen to music keeps changing.

From radio and vinyl to downloads and streaming platforms, access to music has evolved faster than ever. In this session, Hossam El Gamal explored that evolution through the lens of Anghami, discussing listening habits, audience behavior, peak activity times, and how music platforms became spaces for discovery, community, and culture.

The way we listen to music keeps changing.

From radio and vinyl to downloads and streaming platforms, access to music has evolved faster than ever. In this session, Hossam El Gamal explored that evolution through the lens of Anghami, discussing listening habits, audience behavior, peak activity times, and how music platforms became spaces for discovery, community, and culture.

The way we listen to music keeps changing.

From radio and vinyl to downloads and streaming platforms, access to music has evolved faster than ever. In this session, Hossam El Gamal explored that evolution through the lens of Anghami, discussing listening habits, audience behavior, peak activity times, and how music platforms became spaces for discovery, community, and culture.

The way we listen to music keeps changing.

From radio and vinyl to downloads and streaming platforms, access to music has evolved faster than ever. In this session, Hossam El Gamal explored that evolution through the lens of Anghami, discussing listening habits, audience behavior, peak activity times, and how music platforms became spaces for discovery, community, and culture.

The way we listen to music keeps changing.

From radio and vinyl to downloads and streaming platforms, access to music has evolved faster than ever. In this session, Hossam El Gamal explored that evolution through the lens of Anghami, discussing listening habits, audience behavior, peak activity times, and how music platforms became spaces for discovery, community, and culture.

What does music look like before it becomes sound?

In Inside the Mind of Hany Farahat, the audience stepped into the creative process behind orchestration, composition, and musical storytelling through a live orchestra experience that turned imagination into performance in real time.

Joined by Ines Abdeldayem, media and cultural executive and former Minister of Culture, alongside Mohamed El Ashi, Hana Radwan, and Messery, the session explored how music is felt, visualized, arranged, and transformed long before it reaches an audience.

A major highlight of the conversation was hearing from Dr. Ines Abdeldayem, whose perspective connected music not only to artistry, but to culture, memory, and identity itself.

Through live orchestration and breakdowns of melodies and arrangements, the talk revealed how the exact same notes can carry completely different emotions depending on timing, instrumentation, and interpretation.

One of the most fascinating ideas throughout the session was the relationship between sound and imagery, how every sound carries its own texture, movement, and even color.

“Music is the only language every person on this planet speaks. No translation needed.”

More than a workshop or performance, the session felt like a rare look inside the invisible world behind music itself, the emotions, instincts, and imagination that exist before a single note is played.

What does music look like before it becomes sound?

In Inside the Mind of Hany Farahat, the audience stepped into the creative process behind orchestration, composition, and musical storytelling through a live orchestra experience that turned imagination into performance in real time.

Joined by Ines Abdeldayem, media and cultural executive and former Minister of Culture, alongside Mohamed El Ashi, Hana Radwan, and Messery, the session explored how music is felt, visualized, arranged, and transformed long before it reaches an audience.

A major highlight of the conversation was hearing from Dr. Ines Abdeldayem, whose perspective connected music not only to artistry, but to culture, memory, and identity itself.

Through live orchestration and breakdowns of melodies and arrangements, the talk revealed how the exact same notes can carry completely different emotions depending on timing, instrumentation, and interpretation.

One of the most fascinating ideas throughout the session was the relationship between sound and imagery, how every sound carries its own texture, movement, and even color.

“Music is the only language every person on this planet speaks. No translation needed.”

More than a workshop or performance, the session felt like a rare look inside the invisible world behind music itself, the emotions, instincts, and imagination that exist before a single note is played.

What does music look like before it becomes sound?

In Inside the Mind of Hany Farahat, the audience stepped into the creative process behind orchestration, composition, and musical storytelling through a live orchestra experience that turned imagination into performance in real time.

Joined by Ines Abdeldayem, media and cultural executive and former Minister of Culture, alongside Mohamed El Ashi, Hana Radwan, and Messery, the session explored how music is felt, visualized, arranged, and transformed long before it reaches an audience.

A major highlight of the conversation was hearing from Dr. Ines Abdeldayem, whose perspective connected music not only to artistry, but to culture, memory, and identity itself.

Through live orchestration and breakdowns of melodies and arrangements, the talk revealed how the exact same notes can carry completely different emotions depending on timing, instrumentation, and interpretation.

One of the most fascinating ideas throughout the session was the relationship between sound and imagery, how every sound carries its own texture, movement, and even color.

“Music is the only language every person on this planet speaks. No translation needed.”

More than a workshop or performance, the session felt like a rare look inside the invisible world behind music itself, the emotions, instincts, and imagination that exist before a single note is played.

What does music look like before it becomes sound?

In Inside the Mind of Hany Farahat, the audience stepped into the creative process behind orchestration, composition, and musical storytelling through a live orchestra experience that turned imagination into performance in real time.

Joined by Ines Abdeldayem, media and cultural executive and former Minister of Culture, alongside Mohamed El Ashi, Hana Radwan, and Messery, the session explored how music is felt, visualized, arranged, and transformed long before it reaches an audience.

A major highlight of the conversation was hearing from Dr. Ines Abdeldayem, whose perspective connected music not only to artistry, but to culture, memory, and identity itself.

Through live orchestration and breakdowns of melodies and arrangements, the talk revealed how the exact same notes can carry completely different emotions depending on timing, instrumentation, and interpretation.

One of the most fascinating ideas throughout the session was the relationship between sound and imagery, how every sound carries its own texture, movement, and even color.

“Music is the only language every person on this planet speaks. No translation needed.”

More than a workshop or performance, the session felt like a rare look inside the invisible world behind music itself, the emotions, instincts, and imagination that exist before a single note is played.

What does music look like before it becomes sound?

In Inside the Mind of Hany Farahat, the audience stepped into the creative process behind orchestration, composition, and musical storytelling through a live orchestra experience that turned imagination into performance in real time.

Joined by Ines Abdeldayem, media and cultural executive and former Minister of Culture, alongside Mohamed El Ashi, Hana Radwan, and Messery, the session explored how music is felt, visualized, arranged, and transformed long before it reaches an audience.

A major highlight of the conversation was hearing from Dr. Ines Abdeldayem, whose perspective connected music not only to artistry, but to culture, memory, and identity itself.

Through live orchestration and breakdowns of melodies and arrangements, the talk revealed how the exact same notes can carry completely different emotions depending on timing, instrumentation, and interpretation.

One of the most fascinating ideas throughout the session was the relationship between sound and imagery, how every sound carries its own texture, movement, and even color.

“Music is the only language every person on this planet speaks. No translation needed.”

More than a workshop or performance, the session felt like a rare look inside the invisible world behind music itself, the emotions, instincts, and imagination that exist before a single note is played.

What does music look like before it becomes sound?

In Inside the Mind of Hany Farahat, the audience stepped into the creative process behind orchestration, composition, and musical storytelling through a live orchestra experience that turned imagination into performance in real time.

Joined by Ines Abdeldayem, media and cultural executive and former Minister of Culture, alongside Mohamed El Ashi, Hana Radwan, and Messery, the session explored how music is felt, visualized, arranged, and transformed long before it reaches an audience.

A major highlight of the conversation was hearing from Dr. Ines Abdeldayem, whose perspective connected music not only to artistry, but to culture, memory, and identity itself.

Through live orchestration and breakdowns of melodies and arrangements, the talk revealed how the exact same notes can carry completely different emotions depending on timing, instrumentation, and interpretation.

One of the most fascinating ideas throughout the session was the relationship between sound and imagery, how every sound carries its own texture, movement, and even color.

“Music is the only language every person on this planet speaks. No translation needed.”

More than a workshop or performance, the session felt like a rare look inside the invisible world behind music itself, the emotions, instincts, and imagination that exist before a single note is played.

What does music look like before it becomes sound?

In Inside the Mind of Hany Farahat, the audience stepped into the creative process behind orchestration, composition, and musical storytelling through a live orchestra experience that turned imagination into performance in real time.

Joined by Ines Abdeldayem, media and cultural executive and former Minister of Culture, alongside Mohamed El Ashi, Hana Radwan, and Messery, the session explored how music is felt, visualized, arranged, and transformed long before it reaches an audience.

A major highlight of the conversation was hearing from Dr. Ines Abdeldayem, whose perspective connected music not only to artistry, but to culture, memory, and identity itself.

Through live orchestration and breakdowns of melodies and arrangements, the talk revealed how the exact same notes can carry completely different emotions depending on timing, instrumentation, and interpretation.

One of the most fascinating ideas throughout the session was the relationship between sound and imagery, how every sound carries its own texture, movement, and even color.

“Music is the only language every person on this planet speaks. No translation needed.”

More than a workshop or performance, the session felt like a rare look inside the invisible world behind music itself, the emotions, instincts, and imagination that exist before a single note is played.

What does music look like before it becomes sound?

In Inside the Mind of Hany Farahat, the audience stepped into the creative process behind orchestration, composition, and musical storytelling through a live orchestra experience that turned imagination into performance in real time.

Joined by Ines Abdeldayem, media and cultural executive and former Minister of Culture, alongside Mohamed El Ashi, Hana Radwan, and Messery, the session explored how music is felt, visualized, arranged, and transformed long before it reaches an audience.

A major highlight of the conversation was hearing from Dr. Ines Abdeldayem, whose perspective connected music not only to artistry, but to culture, memory, and identity itself.

Through live orchestration and breakdowns of melodies and arrangements, the talk revealed how the exact same notes can carry completely different emotions depending on timing, instrumentation, and interpretation.

One of the most fascinating ideas throughout the session was the relationship between sound and imagery, how every sound carries its own texture, movement, and even color.

“Music is the only language every person on this planet speaks. No translation needed.”

More than a workshop or performance, the session felt like a rare look inside the invisible world behind music itself, the emotions, instincts, and imagination that exist before a single note is played.

What does music look like before it becomes sound?

In Inside the Mind of Hany Farahat, the audience stepped into the creative process behind orchestration, composition, and musical storytelling through a live orchestra experience that turned imagination into performance in real time.

Joined by Ines Abdeldayem, media and cultural executive and former Minister of Culture, alongside Mohamed El Ashi, Hana Radwan, and Messery, the session explored how music is felt, visualized, arranged, and transformed long before it reaches an audience.

A major highlight of the conversation was hearing from Dr. Ines Abdeldayem, whose perspective connected music not only to artistry, but to culture, memory, and identity itself.

Through live orchestration and breakdowns of melodies and arrangements, the talk revealed how the exact same notes can carry completely different emotions depending on timing, instrumentation, and interpretation.

One of the most fascinating ideas throughout the session was the relationship between sound and imagery, how every sound carries its own texture, movement, and even color.

“Music is the only language every person on this planet speaks. No translation needed.”

More than a workshop or performance, the session felt like a rare look inside the invisible world behind music itself, the emotions, instincts, and imagination that exist before a single note is played.

How do separate sounds become one song?

In this workshop, Mostafa Adel broke down the thinking behind music production, from the first idea to a fully formed track. Moving through layers, textures, and rhythm, the session explored how each element plays a role in shaping the final sound.

More than just tools, it was about understanding the logic. How producers listen, build, and make decisions in real time.

A hands on session focused on process, structure, and the mindset behind the music.

How do separate sounds become one song?

In this workshop, Mostafa Adel broke down the thinking behind music production, from the first idea to a fully formed track. Moving through layers, textures, and rhythm, the session explored how each element plays a role in shaping the final sound.

More than just tools, it was about understanding the logic. How producers listen, build, and make decisions in real time.

A hands on session focused on process, structure, and the mindset behind the music.

How do separate sounds become one song?

In this workshop, Mostafa Adel broke down the thinking behind music production, from the first idea to a fully formed track. Moving through layers, textures, and rhythm, the session explored how each element plays a role in shaping the final sound.

More than just tools, it was about understanding the logic. How producers listen, build, and make decisions in real time.

A hands on session focused on process, structure, and the mindset behind the music.

How do separate sounds become one song?

In this workshop, Mostafa Adel broke down the thinking behind music production, from the first idea to a fully formed track. Moving through layers, textures, and rhythm, the session explored how each element plays a role in shaping the final sound.

More than just tools, it was about understanding the logic. How producers listen, build, and make decisions in real time.

A hands on session focused on process, structure, and the mindset behind the music.

How do separate sounds become one song?

In this workshop, Mostafa Adel broke down the thinking behind music production, from the first idea to a fully formed track. Moving through layers, textures, and rhythm, the session explored how each element plays a role in shaping the final sound.

More than just tools, it was about understanding the logic. How producers listen, build, and make decisions in real time.

A hands on session focused on process, structure, and the mindset behind the music.

How do separate sounds become one song?

In this workshop, Mostafa Adel broke down the thinking behind music production, from the first idea to a fully formed track. Moving through layers, textures, and rhythm, the session explored how each element plays a role in shaping the final sound.

More than just tools, it was about understanding the logic. How producers listen, build, and make decisions in real time.

A hands on session focused on process, structure, and the mindset behind the music.

How do separate sounds become one song?

In this workshop, Mostafa Adel broke down the thinking behind music production, from the first idea to a fully formed track. Moving through layers, textures, and rhythm, the session explored how each element plays a role in shaping the final sound.

More than just tools, it was about understanding the logic. How producers listen, build, and make decisions in real time.

A hands on session focused on process, structure, and the mindset behind the music.

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

Under the panel title “Built to Break,” founders, investors, lawyers, label executives, and operators discussed the gaps currently holding artists back, and what needs to exist for the ecosystem to truly scale.

One of the panel’s defining moments came with a live commitment to build Egypt’s first music incubator, signaling a shift from simply discussing the industry’s problems to actively building solutions around them.

A big part of the conversation kept circling back to one thing: artists can’t do it alone anymore.

Ahmed El Sherif, founder of Engineer Room and Venture&, spoke about the “capital problem” artists face, and how even the right talent can hit a ceiling without proper funding and infrastructure behind them.

Ahmed Hammouda, Co-Founder and CEO of Thndr, took it even further, arguing that artists should start thinking of themselves more like startups.

“The best evolution for management and artists is to transform into an investment vehicle.”

For Assem Tag, Co-Founder and CEO of RAAD Records, RAAD’s move from management into becoming a label came from necessity.

“There was a gap in the market.”

He also summed up one of the industry’s biggest realities pretty simply:

“Reaching people costs money.”

Entertainment and IP lawyer Khaled Metwally spoke about how rare it still is to see artists with the right ecosystem around them, while Ahmed Wassimy, Managing Partner of DROP, pointed to the untapped revenue streams still missing from the regional industry.

By the end of the panel, the takeaway felt pretty clear. Egypt isn’t lacking artists. It’s lacking the machine behind them.

@kaincodex @blacktee_selects @itswassimy @asemmtag @ahmadhammouda

And that’s a wrap on Egypt’s First Music Summit.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

What happens when a sound born in the streets grows into one of the most influential music movements in the region?

In Mahraganat: A Cultural Movement, Shehta Karika, Bassem Fanky, Dezel, Ortega, and Eslam Kabonga reflected on nearly 20 years of mahraganat, from sha3by weddings and homemade production to becoming a genre that reshaped Egypt’s music industry entirely.

“At our time there was no YouTube, no TikTok, no Instagram. We just had a dream,” said Shehta Karika, reflecting on the movement’s early days before it entered the mainstream.

The panel explored how artists like Oka & Ortega helped shape mahraganat into a recognizable genre rather than a passing trend.

“People thought it was simply a trend that would disappear, but we disrupted the industry.”

The conversation also highlighted how deeply the music is tied to place, with every neighborhood and city leaving its own fingerprint on the sound.

“To us, this was the sound of Egypt and its people and its streets,” said Bassem Fanky.

As mahraganat evolved, artists spoke about blending western influences with Middle Eastern sounds while constantly innovating without losing the genre’s roots.

Dezel reflected on seeing the genre travel far beyond Egypt.

“Not everyone there is singing along, but everyone is dancing. Not everyone understands it, but everyone is enjoying it. That’s the most important thing.”

Nearly 20 years later, mahraganat is no longer confined to sha3by spaces or dismissed as a passing phase. It has become one of the defining sounds of modern Egyptian music and a cultural movement that continues to evolve.

Why do certain songs end up becoming part of a country’s collective memory while others disappear just as quickly?

In this panel discussion, Hla Roushdy, Mostafa El Sweify, and Tarek El Sheikh unpacked the unpredictable journey behind hit songs, and the strange mix of instinct, timing, faith, and chance that can turn music into something that captivates an entire nation.

One of the strongest themes throughout the conversation was tawfiq, luck, rizk, and the belief that sometimes success comes from a feeling you trust before you fully understand it.

For Tarek El Sheikh, some of the biggest hits of his career started as risks he almost didn’t take.

“Some of my most famous songs, I was reluctant about in the beginning.”

The panel reflected on how stepping outside your comfort zone can sometimes lead to the songs people connect with most unexpectedly.

Mostafa El Sweify also shared how some of the most successful songs he worked on were never even meant to make the final album in the first place.

“Sometimes it’s the last minute additions that make the album.”

The conversation also explored how dramatically the songwriting process has changed over time. What once took months can now happen in a single day, changing not only the speed of music production, but the relationship artists have with creating music itself.

At the center of the discussion was one idea everyone seemed to agree on: no matter how much music evolves, there will always be an unexplainable element behind the songs that truly stay with people.

Why do certain songs end up becoming part of a country’s collective memory while others disappear just as quickly?

In this panel discussion, Hla Roushdy, Mostafa El Sweify, and Tarek El Sheikh unpacked the unpredictable journey behind hit songs, and the strange mix of instinct, timing, faith, and chance that can turn music into something that captivates an entire nation.

One of the strongest themes throughout the conversation was tawfiq, luck, rizk, and the belief that sometimes success comes from a feeling you trust before you fully understand it.

For Tarek El Sheikh, some of the biggest hits of his career started as risks he almost didn’t take.

“Some of my most famous songs, I was reluctant about in the beginning.”

The panel reflected on how stepping outside your comfort zone can sometimes lead to the songs people connect with most unexpectedly.

Mostafa El Sweify also shared how some of the most successful songs he worked on were never even meant to make the final album in the first place.

“Sometimes it’s the last minute additions that make the album.”

The conversation also explored how dramatically the songwriting process has changed over time. What once took months can now happen in a single day, changing not only the speed of music production, but the relationship artists have with creating music itself.

At the center of the discussion was one idea everyone seemed to agree on: no matter how much music evolves, there will always be an unexplainable element behind the songs that truly stay with people.

Why do certain songs end up becoming part of a country’s collective memory while others disappear just as quickly?

In this panel discussion, Hla Roushdy, Mostafa El Sweify, and Tarek El Sheikh unpacked the unpredictable journey behind hit songs, and the strange mix of instinct, timing, faith, and chance that can turn music into something that captivates an entire nation.

One of the strongest themes throughout the conversation was tawfiq, luck, rizk, and the belief that sometimes success comes from a feeling you trust before you fully understand it.

For Tarek El Sheikh, some of the biggest hits of his career started as risks he almost didn’t take.

“Some of my most famous songs, I was reluctant about in the beginning.”

The panel reflected on how stepping outside your comfort zone can sometimes lead to the songs people connect with most unexpectedly.

Mostafa El Sweify also shared how some of the most successful songs he worked on were never even meant to make the final album in the first place.

“Sometimes it’s the last minute additions that make the album.”

The conversation also explored how dramatically the songwriting process has changed over time. What once took months can now happen in a single day, changing not only the speed of music production, but the relationship artists have with creating music itself.

At the center of the discussion was one idea everyone seemed to agree on: no matter how much music evolves, there will always be an unexplainable element behind the songs that truly stay with people.

Why do certain songs end up becoming part of a country’s collective memory while others disappear just as quickly?

In this panel discussion, Hla Roushdy, Mostafa El Sweify, and Tarek El Sheikh unpacked the unpredictable journey behind hit songs, and the strange mix of instinct, timing, faith, and chance that can turn music into something that captivates an entire nation.

One of the strongest themes throughout the conversation was tawfiq, luck, rizk, and the belief that sometimes success comes from a feeling you trust before you fully understand it.

For Tarek El Sheikh, some of the biggest hits of his career started as risks he almost didn’t take.

“Some of my most famous songs, I was reluctant about in the beginning.”

The panel reflected on how stepping outside your comfort zone can sometimes lead to the songs people connect with most unexpectedly.

Mostafa El Sweify also shared how some of the most successful songs he worked on were never even meant to make the final album in the first place.

“Sometimes it’s the last minute additions that make the album.”

The conversation also explored how dramatically the songwriting process has changed over time. What once took months can now happen in a single day, changing not only the speed of music production, but the relationship artists have with creating music itself.

At the center of the discussion was one idea everyone seemed to agree on: no matter how much music evolves, there will always be an unexplainable element behind the songs that truly stay with people.

Why do certain songs end up becoming part of a country’s collective memory while others disappear just as quickly?

In this panel discussion, Hla Roushdy, Mostafa El Sweify, and Tarek El Sheikh unpacked the unpredictable journey behind hit songs, and the strange mix of instinct, timing, faith, and chance that can turn music into something that captivates an entire nation.

One of the strongest themes throughout the conversation was tawfiq, luck, rizk, and the belief that sometimes success comes from a feeling you trust before you fully understand it.

For Tarek El Sheikh, some of the biggest hits of his career started as risks he almost didn’t take.

“Some of my most famous songs, I was reluctant about in the beginning.”

The panel reflected on how stepping outside your comfort zone can sometimes lead to the songs people connect with most unexpectedly.

Mostafa El Sweify also shared how some of the most successful songs he worked on were never even meant to make the final album in the first place.

“Sometimes it’s the last minute additions that make the album.”

The conversation also explored how dramatically the songwriting process has changed over time. What once took months can now happen in a single day, changing not only the speed of music production, but the relationship artists have with creating music itself.

At the center of the discussion was one idea everyone seemed to agree on: no matter how much music evolves, there will always be an unexplainable element behind the songs that truly stay with people.

Why do certain songs end up becoming part of a country’s collective memory while others disappear just as quickly?

In this panel discussion, Hla Roushdy, Mostafa El Sweify, and Tarek El Sheikh unpacked the unpredictable journey behind hit songs, and the strange mix of instinct, timing, faith, and chance that can turn music into something that captivates an entire nation.

One of the strongest themes throughout the conversation was tawfiq, luck, rizk, and the belief that sometimes success comes from a feeling you trust before you fully understand it.

For Tarek El Sheikh, some of the biggest hits of his career started as risks he almost didn’t take.

“Some of my most famous songs, I was reluctant about in the beginning.”

The panel reflected on how stepping outside your comfort zone can sometimes lead to the songs people connect with most unexpectedly.

Mostafa El Sweify also shared how some of the most successful songs he worked on were never even meant to make the final album in the first place.

“Sometimes it’s the last minute additions that make the album.”

The conversation also explored how dramatically the songwriting process has changed over time. What once took months can now happen in a single day, changing not only the speed of music production, but the relationship artists have with creating music itself.

At the center of the discussion was one idea everyone seemed to agree on: no matter how much music evolves, there will always be an unexplainable element behind the songs that truly stay with people.

Why do certain songs end up becoming part of a country’s collective memory while others disappear just as quickly?

In this panel discussion, Hla Roushdy, Mostafa El Sweify, and Tarek El Sheikh unpacked the unpredictable journey behind hit songs, and the strange mix of instinct, timing, faith, and chance that can turn music into something that captivates an entire nation.

One of the strongest themes throughout the conversation was tawfiq, luck, rizk, and the belief that sometimes success comes from a feeling you trust before you fully understand it.

For Tarek El Sheikh, some of the biggest hits of his career started as risks he almost didn’t take.

“Some of my most famous songs, I was reluctant about in the beginning.”

The panel reflected on how stepping outside your comfort zone can sometimes lead to the songs people connect with most unexpectedly.

Mostafa El Sweify also shared how some of the most successful songs he worked on were never even meant to make the final album in the first place.

“Sometimes it’s the last minute additions that make the album.”

The conversation also explored how dramatically the songwriting process has changed over time. What once took months can now happen in a single day, changing not only the speed of music production, but the relationship artists have with creating music itself.

At the center of the discussion was one idea everyone seemed to agree on: no matter how much music evolves, there will always be an unexplainable element behind the songs that truly stay with people.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

A music festival can start with a lineup, but the best ones end up reshaping how people experience a place.

At our panel discussing music festivals, culture, and tourism, some of the biggest names behind the region’s most influential festivals explored how festivals have evolved into cultural experiences that drive tourism, build communities, and create entire worlds, while also announcing the arrival of EXIT Festival to Egypt at the pyramids.

The conversation focused on one major idea: people no longer travel just for artists, they travel for experiences.

For Dušan Kovačević, EXIT Festival was always about more than music.

“EXIT served as a space for connection, reconnection, peace.”

As EXIT prepares for its Egypt edition at the pyramids, he emphasized how important location is to the festival’s identity: “Location is definitely part of our DNA.” - Dušan Kovačević.

The importance of worldbuilding and cultural representation came up repeatedly throughout the discussion. Speaking on behalf of MDLBEAST and Soundstorm, Ramadan Alharatani reflected on creating a festival that represented the Middle East through scale, variety, and unexpected collaborations.

“That’s where you create music history.”

Discussing Sandbox Festival, Tito El Khachab shared how the festival helped create an entirely new tourism moment for El Gouna, with occupancy rates now competing with major holidays.

“We try to represent as many genres as possible.”

The panel also explored how location itself shapes experience, from transforming warehouses into immersive spaces to activating historical areas without changing their identity.

“It’s about innovation and trying to give people space to experience new things.”

With EXIT aiming to welcome 15,000 attendees a day at the pyramids, the conversation made one thing clear: festivals today are no longer just events. They are becoming part of the cultural identity of a place itself.

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!

Join us for the final night of the Channel 4 music summit!