the saudi music scene: from thirsty to FLOURISHING

This synthesis is derived from interviews conducted with three members of the Saudi music industry: Anmar Madani, veteran DJ and cofounder of 9SICKSICK Creative; Faisal Al-Alamy, guitarist from 9Six6 and lawyer; and Haya Al-Hejailan, guitarist from Seera and cultural professional.

Over the past decade, Saudi has been undergoing transformative developments across all sectors. The music industry is no exception with the scene: from being hidden, grassroots and completely underground, to becoming a multi-million ever-growing industry. With these developments, the music industry is expected to bring a range of opportunities, platforms, and experiences for both local artists and audiences. Even though these fruitful progresses are undeniable, Saudi being a young entertainment economy brings it unique challenges.

Before these developments, the music industry was uniform with limited room for creative exploration. Haya Al-Hejailan, cultural professional and the guitarist from alternative rock band Seera, explains: “there were very limited platforms for musicians, the only major record label I can remember [pre-2030] is Rotana that platformed mainstream Arab music and Khaleeji pop– which is not inherently bad, it just really restricted creativity”. For the ones who sought to challenge the boundaries of mainstream music, there was a clear gap in resources. Inversely to the mainstream music scene, their industry – or, more so, community – was small, intimate and kept to itself. Faisal Al-Alamy, a practicing lawyer and guitarist from metal band 9Six6, shares insights from his own experience in the 2000s: “the scene was more underground, more niche — [music] felt like this quiet passion shared by smaller circles[…] we were creating music in a bubble.” With scarce labels, venues, legislation, and overall resources available to support alternative musicians, they were forced to creatively make way for themselves and built their scene from the ground up. Veteran DJ and founder of 9SICKSICK Creative, Anmar Madani, shares his experience as a DJ in a pre-2030 music scene: “exposure and resources were much harder to come by. I had to print flyers and burn CDs to promote myself and my nights. We drove to different cities to buy vinyls or had to wait for weeks for online shipments to come in”.

Today, the landscape is vastly different. Music as a creative platform has gained public acceptance, appreciation and support, giving room for mainstream and alternative artists alike. Live events year-round, new venues, and government-backed efforts and initiatives like Riyadh Music Week and XP Music Futures have made the diverse art of music a visible and celebrated cultural force in the country– and the region at large. For artists, this shift has brought them unprecedented opportunities. Haya notes that factors such as licensing policies and the opening of music education centers and grassroots venues have given artists space to develop their craft– taking the scene from thirsty, to flourishing. Anmar reflects on these changes: "I didn’t expect it to change this fast, and I’m very eager and excited to see where we go".

This newfound accessibility comes with its drawbacks. With the underground music scene entering the mainstream and music production becoming more accessible, there has been an influx of mass-produced content. This phenomenon has led some to approach their craft with less dedication than before. Anmar contrasts his early days of crate digging and CD burning to promote his work with today’s electronic scene: "anyone can get any track anytime and can reach millions without leaving their living rooms”. While technology plays a role and has opened new doors, it also diluted the value of the hustle and bustle required in earlier days, often impacting the quality of the work produced. 

Simultaneously, however, the scene faces another challenge: genuine competition. As in the past, the scene was very small and exclusive to only those who were members of it, there was very little to compete with. This is no longer the case. Faisal highlights this issue; “with more accessibility comes more competition, and standing out in a world where everyone has a platform can feel overwhelming”. The issue has shifted from fighting for a seat at the table, to making sure your voice cuts through the noise. Haya echoes this concern, observing how electronic music now dominates both the underground and mainstream scenes due to its accessibility. This results in the industry coming short with resources and gigs for musicians playing other genres, and musicians being incentivized to pursue a career in electronic music– even when it may not be their true calling.

Even though there are challenges artists are facing within the music industry, there are everlasting opportunities to combat them. With new venues opening up, there is space for event organizers to diversify event lineups, giving the stage to alternative and underrepresented genres. Efforts as such will broaden audiences' exposure, encourage the exploration of diverse musical tastes, and even help garner larger crowds. Additionally, music education accessibility could support in fostering the next generation of musicians; with music education, workshopping and mentorship, artists can find their calling, hone their skills, and develop their own unique sound, ultimately becoming refined musicians with their own identity.

Despite the tremendous progress made in the Saudi music industry, there still is a long way to go and so much to learn. The rapid transformation of the music scene to what is now a bursting music industry unlocked immense potential. By addressing the challenges the industry and artists face today, we are making way for a thriving and inclusive musical landscape, one that can compete within the global market. From further developing music industry infrastructure, to platforming niche genres and artists, and to making way for accessible music education, the future of the Saudi music scene can be nothing short of exciting.