After more than a decade of political instability and economic turmoil, Libya has finally opened its doors to culture—specifically rap music— to flood through its revitalized streets. For the first time in about 15 years (or more), the North African state hosted a carnival of events, featuring some of the region’s most popular artists who were invited to make their debut before a generation of hip-hop fans who were likely too young to experience live music the last time Libya was able to hold such events.
As part of the Benghazi Summer Festival (BSF), which kicked off on Aug. 1, over 20 regionally acclaimed artists—including Afroto, Wegz, and El Grande Toto, among others— made their way to the concert-starved country to soundtrack its ongoing cultural recovery. After many years marked by trauma and visible scars on the city’s skyline and its citizens’ personal stories, needless to say that 20-somethings from all corners of the nation were ecstatic to finally see their favorite lyricists perform on home soil— especially since many still face strict travel restrictions due to their passports. “Before I came, my close circle was a bit concerned,” Egyptian rapper Afroto told MILLE backstage. “But since I experienced it for myself and after my performance, all of my friends back home wish they actually made the trip here with me,” the 27-year-old added.
@milleworlddotcom @AFROTO | عفروتو LIGHTING AD-DHARRATH ARENA UP IN #LIBYA AS PART OF THE #BENGHAZI SUMMER FESTIVAL #عفروتو #ليبيا ♬ original sound – milleworlddotcom
The rapper, who made his debut in Libya with two back-to-back shows on Aug. 2 and 3 is well-aware of the impact his presence has on the local scene. “It’s a big responsibility. I’m aware that by being here I’m helping reshape the country’s image, and I’m happy to be a part of that process,” he said, emphasizing on some of the similarities he’s noticed between Libya and his native Egypt. “We share the same blood. In some places, it feels like I’m in Egypt—the people, the way they speak, and the number of Egyptians here make me feel at home,” he continued.
As much as locals were thrilled at the prospect of pulling stank faces in front of artists they never thought they would witness live— unless they traveled abroad— from the artists’ standpoint, although the desire to perform in Libya was palpable, the invitation also came with a certain apprehension. Unlike artists from other parts of the world, who might hastily label a country a no-go-zone without a real cause, BSF performers faced genuine concerns after a whole revolution, a civil war, and the spread of radical ideologies.
All that considered, the Brazil hitmaker’s performance in Libya was a milestone he thought was just a pipe dream. “It’s my first time here. I never thought I’d ever be able to perform here,” he shares, crediting BSF’s organizer and his close friend, Kwifya, for making it happen. “As things have gotten better and the country was apparently ready to have me, it was impossible for me to turn the opportunity down,” he confessed.
Both those onstage and in the crowd are witnessing history being written and made in a field where their regional neighbors have by-now long excelled in. While Libya has not yet achieved the musical prominence of countries like Egypt, Tunisia, or Morocco, BSF is setting the stage for a major transformation. And given the efforts invested into it, it wouldn’t be surprising to see this status quo shift in the near future.
Afroto also revealed that he’s here to do more than just rock the Ad-Darrath Arena with his high-voltage sound. Looking to shine a spotlight on a country that’s been in the dark for a little too long, the Wadini singer also wants to spend time with local MCs, and perhaps, even collaborate with some of them on a track. “I came here with the intention of performing but also to make music. I brought my whole sound system with me to get creative with those I meet and have been telling everyone, especially rappers, to come over to my crib to work together,” he revealed, clearly wanting to turn this moment into a movement.
Reflecting on his set from the previous night, it was evident that Palestine was front and center. From his first step on stage to his final bow, every moment of the performance was punctuated with a nod to the embattled parcel of land. When asked about his decision to incorporate these mentions and prayers, he explained that for him, it goes beyond a surface-level tribute. It’s a way to bridge the gap between his own moment of triumph and the ongoing struggles of those currently suffering just a few hundred miles away.
“It’s important to remember what they’re going through at all times,” he posits. “I can’t be on stage, performing, dancing, and singing while people are dying and suffering. It’s also part of my job as an artist to speak up. I don’t want anyone to think that I don’t care, or that we as artists don’t care about the cause. I do it in Egypt, and it felt natural to do it here as well.”
