Over a Smokaholic-produced trap beat, Shabjdeed questions what he sees as the gap between Saint Levant’s outspoken support for Palestine and a discography centered largely on romance, while also venturing into more personal territory. The release arrived just weeks before the two artists are set to perform separate shows in Amman on the same night, fueling speculation that the scheduling clash may have sparked the feud.
Released in 2018, Madd’s Ey Ey Ey arrived as a direct response to 7ari’s diss track Amigos, escalating one of Moroccan rap’s most high-profile rivalries. Over a hard-hitting trap beat, Madd fires back with relentless bars questioning 7ari’s credibility while asserting his own place at the top of the scene, turning the back-and-forth into a defining moment in Moroccan hip-hop history.
Released in the early days of his feud with Marwan Moussa, Abyusif’s Megatron arrived as the highly anticipated response to Moussa’s Msh Okay. Fans expected a full-fledged diss, but the track instead leaned more heavily into self-assertion than direct attacks, with only a handful of jabs aimed at Marwan and his circle. Abyusif later clarified that Megatron was intended as a teaser for his album rather than a diss track, paving the way for the much more direct Sit and prompting Moussa’s follow-up, Megatroll.
Marwan Moussa’s 2021 song Big Mafia widened the scope of Egypt’s biggest rap feud by taking shots at multiple artists in a single track. Alongside fresh jabs at longtime rival Abyusif, the song also targeted Abo El Anwar, Marwan Pablo, and Wegz, triggering a new wave of responses and reigniting one of the Egyptian rap scene’s most sprawling beefs.
Moutanabbi was Dizzy Dros’ explosive seven-minute response to Don Bigg’s 170 KG, the track that ignited Morocco’s old school versus new school rap war. Named after the legendary Arab poet renowned for his razor-sharp verses, the 2019 song sees Dros dismantle Don Bigg through relentless punchlines and personal attacks, becoming an instant viral sensation that amassed millions of views and cemented itself as one of the most iconic diss tracks in Arab hip-hop history.
Released in 2025, ARTSHIT! saw Moroccan rapper Tchubi escalate his long-running feud with French-Moroccan artist Lartiste. Building on the shots he first fired in Chiron, Tchubi accuses Lartiste of using Morocco as a branding tool while questioning his authenticity and connection to the country’s rap scene. The blistering boom-bap diss was widely hailed by fans as one of the year’s most devastating responses, reigniting one of Moroccan hip-hop’s most closely watched rivalries.
The feud between Abo El Anwar and Ziad Zaza reached its boiling point with Behman, Abo El Anwar’s uncompromising answer to Fath Kalam (a direct response to Abo El Anwar’s track 8 Gharb). Rather than relying on subliminals, he leans into direct accusations, personal insults, and razor-sharp wordplay, delivering a track that quickly dominated conversations across Egypt’s rap scene and became one of the defining moments of their rivalry.
Rather than a single diss track, Small X’s DIKEÇ series became a sustained campaign against Moroccan rapper Shaw, unfolding across multiple releases. The feud began after a public disagreement over the growing influence of raï in Moroccan hip-hop before escalating into DIKEÇ #1, DIKEÇ #2, and DIKEÇ #3, with Shaw firing back through tracks like Lewla 7adaria and MIKEC. Named after Turkish Olympic shooter Yusuf Dikeç, what started as a disagreement quickly evolved into one of Moroccan rap’s longest-running back-and-forths.
Salameh wasn’t interested in picking a single target. On 2018’s Mhakama, the Jordanian-Palestinian-Algerian rapper declared war on much of his country’s rap scene, taking aim at artists including Emsallam, Kazz, and Arab Falcon in one uncompromising track. Rather than a one-on-one feud, Mhakama played out like a mass indictment, cementing Salameh’s reputation as one of Jordanian hip-hop’s most confrontational voices and setting off a wave of responses from the artists he called out.
Shabjdeed wasn’t the first rapper to empty the clip on Saint Levant. In 2025, Tunisian rapper Klay BBJ released Al-Tajriba Al-Amrikiyya (“The American Experience”), a blistering diss that samples the opening of Saint Levant’s Nari Nari Nari before launching into a barrage of insults. Much like Shabjdeed, throughout the track, Klay questions the Palestinian artist’s authenticity and accuses him of commercializing Arab identity.
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