With years of experience in the music industry, having worked with some of Egypt’s biggest names like Marwan Pablo, Hady Moamer, Lege-Cy, and Moscow, rap connoisseur Speko’s take on Egyptian hip-hop is clear: the scene needs serious change. A creative who wears many hats—from A&R and music video production to artistic direction and career management—the 30-year-old knows the ins-and-outs of the game probably better than anyone, which is why we handed the pen over to him to share some insights on the current climate of the industry.
I’ve recently been feeling nostalgic when listening to Egyptian hip-hop. There was a time, back in 2018 and 2019, when Marwan Pablo, who in my opinion is the godfather of Egyptian trap, breathed fresh life into a dying scene. He brought in new themes with a modern twist that felt both authentic and raw. The courage and audacity he had to break the traditions of this sonic craft was contagious, and this contagiousness incentivized many other artists to jump on board and try their shot at sharing stories from our country’s streets.
These days, it feels like we’re stuck in a loop. New artists don’t seem to be innovating; they’re just recycling old formulas. It’s as if they’re trapped in the shadow of their predecessor who first paved the way, attempting to emulate his recipe without truly understanding it. The current music scene right now reminds me of 2016, where most tracks were either politically-charged or aimed at dissing someone. That’s said, it’s high time for a change. Here are some thoughts.
Breaking the Cycle
For the scene to evolve, artists need to step out of their comfort zones. They should embrace new life experiences, meet different people, explore new places, and immerse themselves in studying the culture, and most importantly, themselves. Artists should live to rap, not rap to be able to live. Understanding how global artists achieved their success could also provide valuable insights on how they could forge their own paths.
Currently, the Egyptian hip-hop scene feels local but not globally resonant. The music production and audio-engineering often lacks the quality needed to appeal to a wider audience and the solution, in my opinion at least, is the courage to take risks and be open to new influences and experiences. Despite a promising start, I feel like we haven’t managed to export our music and culture effectively. The authenticity of the beats and our overall sound need a significant boost to be able to be heard outside of Egypt.
Hope
I once had high hopes for Molotof. To me, he was destined to lead this wave of change, especially after hits like Free featuring Marwan Pablo and Dorak Gai with Wegz. His collaborations with Double Zuksh and Sadat were also promising. At one point, I even envisioned him featuring on a Travis Scott album. Unfortunately, Molotof returned to the underground scene, seemingly uninterested in exporting and merging our sound with the global music industry as others in the region have done. Take Moroccan producer Ramoon, for example. His journey from making beats reflecting the sounds of his homeland to eventually working with 6ix9ine is truly impressive.
That said, I found renewed hope through artists like Hady Moamer (who’s also known as Jean Bleu). His work with Marwan Pablo and other global icons like Drake, J. Cole, and Offset is truly inspiring, meeting global standards while embodying the aforementioned risk-taking spirit needed to step out of the comfort zone. We need more producers like him to elevate Egyptian music to a global stage, establish our presence, and firmly wedge our identity in the industry.
Visual Storytelling
Let’s not forget the importance of visuals. Independent production houses like Droogs have played a crucial role in showcasing our rap culture. Prominent figures from the film and advertising industries, such as Mohsen Sherif and Mohamed Ibrahim, have also elevated this realm’s standards. Yet, lately, it seems as if these creative teams have dropped the ball, no longer investing as much in visual storytelling as they did early on. A low budget doesn’t mean poor quality, and high production costs don’t always equate to rich in value.
What we lack is the initiative and the unwavering determination to improvise and overcome obstacles. Sometimes, a low budget production can have its own charm and may be the right choice even if a high budget is available. It all depends on the vision you and the team have. Budgeting is a tool, not an end in itself, and facing obstacles can force you—if you have what it takes—to be more creative. You just need to strike the right balance.
The Drill Influence
Drill music has introduced a heavier dose of violence into Egyptian hip-hop, attracting a new audience but also alienating some core fans. If you ask me, Drill is the fast food of hip-hop music, while Trap represents the genre’s natural evolution. Drill often lacks meaning and depth, though it is great when it comes to energy and hype. It touches on a specific part of the human experience that may be forgotten over time. A track may work and generate noise through temporary trends and short-lived viral moments, but rarely establishes itself as a classic on the long run. The 2018 Trap wave resonated with people because it was emotional, uplifting, and relatable, addressing themes like hometown pride, ambition, and mental health. These elements are often lacking in Drill music, which could explain why some listeners feel disconnected from it.
Artist Development
Another issue is the lack of A&R managers in Egypt. Here, artists often peak and then stagnate, burned out by the market. Booking shows and selling ads is a good marker of popularity, not real success. True success comes from sustainable growth, carefully planned steps, and a solid team. We need A&R managers who focus on developing artists, working on their image, sound, and career-longevity. Instead, we have agents who prioritize short-term, self-interested gains, which ultimately harms the artist’s potential.
Final Thoughts
Egyptian hip-hop has come a long way, but there’s still a lot of room for growth. We need fresh experiences, improved production quality, and a stronger focus on artist development. By doing so, we can break out of the current cycle and even exceed our perceived limits. It’s been long enough, and change couldn’t happen any sooner. The future of Egyptian hip-hop depends on our willingness to innovate, take risks, and push the boundaries of what’s possible. Let’s embrace this challenge and take our music to the next level.
