Change is sweeping through North Africa’s music scenes, crystallizing two opposing trends: the rise of commercial music-making and the return to slow, collaborative projects.
In 2025, the Middle East and North Africa were named the world's fastest-growing recorded music region for the second time in three years. Local music industries are increasingly becoming dominated by Western labels setting up shop (in the Gulf), enticing artists with dreams of “making it globally” and promising them actual money.
Talking to OkayAfrica, Founding Editor-in-Chief of Rolling Stone MENA, Danny Hajjar, and music journalist Deana Soni Hassanein raised concerns about authenticity and whether local artists are really benefiting from this growth. “What stood out to me in the report was that most of the streamed artists from the Middle East and North Africa were regional artists,” said Hassanein. “But I see all the investments being pumped into diaspora artists who infuse [their music with] western influences.”
The arrival of Western music labels and their writing camps results in a lot of new music sounding the same. I have witnessed several artists who had an organic breakthrough with an interesting song get swooped up by a label, and from then on, nothing they release is as original as that first song.
There are, of course, those who resist this. 2025 saw a bunch of well-crafted and thoughtful albums, inviting listeners to delve into conceptual projects that intimately explore life in North Africa and its diaspora. "I think we'll hear music that feels like more time has been spent making it,” Egyptian rapper Marwan Moussa told OkayAfrica in May, between two album releases. “ I can feel it and am excited to be a part of it."
Artists who are not simply merging “western and eastern rhythms” are searching for new sounds and finding inspiration in different places, most notably in the genres of North African streets that have long been shunned as unsophisticated. In Egypt, it’s mahraganat; in Tunisia, it’s mezoued folk music; and in Algeria and Morocco, it’s raï.
Raï translates to “opinion,” because it’s an art form of the working classes that allows them, especially women, to directly address socio-political issues, injustice, and taboo topics like love and lust.“Everyone listens to it. It's not charted. It's not on the radio. It's nowhere, but it out charts everyone on YouTube,” producer-artist Adam Lenox aka Zouj told OkayAfrica. “People [have always] loved raï, but they didn’t own the fact that they loved it. Now it’s easier to say, and nobody’s going to judge,” agreed Moroccan star Manal in a conversation about her new raï-inspired release “Carta Rouge.”
In the exact opposite sonic direction, Sudanese rapper Bas, Moroccan powerhouse Small X, and, to a lesser extent, Marwan Moussa were drawn to more lo-fi, atmospheric synth melodies that helped them express the manifold personal and collective challenges of our time. "We talked about the sound frequency the hip-hop scene in Morocco needs," Small X told OkayAfrica in an interview about his EP Nafida. "Not what people need from us. Most young artists create what is mainstream; if it's trap, they do trap. If it's drill, they do drill. Everybody sounds like everybody. We don't need that right now."
Finally, you’ll notice recurring elements of spirituality, whether it’s Guedra Guedra’s electronic fusion of Amazigh chants or Soulja and MaMan incorporating Sufi prayer rhythms and instruments into their songs. This speaks to the geopolitical reality of instability and the ongoing genocides in Palestine and Sudan, which makes it difficult for artists to create and take up space in the face of atrocities happening at their doorstep. Many of the best releases this year respond to the world artists are navigating, whether that be patriarchy, migration, or loss.
The songs in this list are not in hierarchical order. Many of them will transport you straight to the club, others will evoke nostalgia for R&B’s heydays, and make you feel your feelings. You will hear the sounds of the Atlas mountains and the Cairo metro, young people playing with an old synthesizer, channeling Sufi rituals, or paying homage to the ones that came before them. All of this is North Africa; we hope you love its music as much as we do.
Soulja - “Argeen” (Sudan)
Sudanese rapper Soulja had a quiet year, but “Argeen,” named after the Sudanese-Egyptian border crossing, had to be on this list. Produced by 77, the song uses traditional North African instrumentals and syncopated rhythms as a sonic connector for Soulja to reflect on his life between the two countries. At the same time, he narrates the stark difference between Sudan and Egypt, tapping into a theme of duality in identity (specifically: a comfortable halal/haram ratio) that many ponder during Ramadan.
Guedra Guedra - “Tamayyurt” feat. Foulane Bouhssine (Morocco)
Moroccan producer Abdellah M. Hassak, aka Guedra Guedra, released his album MUTANT, a pan-African sonic archive of carefully sculpted dance rhythms. He works with analog synths and drum machines, which he blends with percussive fragments and field recordings from across Africa. “Tamayyurt,” (“full moon” in Amazigh) is a collaboration with Amazigh singer Foulane Bouhssine, built around his meditative chanting and the rebab. The track is inspired by Ahwach, a cultural practice of community expression through dance, song, and poetry that is deeply rooted in Amazigh villages of the High and Anti-Atlas Mountains. Guedra Guedra’s work is a great example of how technology can connect with tradition in meaningful, rather than harmful, ways.
DJ Habibeats & Felukah - “Hayati” (Egypt / Palestine / US)
Taking us back to the early 2000s, Palestinian American DJ Habibeats and Egyptian rapper and singer Felukah threw a garage party on “Hayati,” a dance track that makes me yearn for summer. Over Habibeats’ trap rhythms and R&B textures, Felukah delivers bilingual Arabic and English vocals that explore diasporic identity, a theme relevant to both US-based artists. The mood switch halfway through the track makes me want to hit repeat every time it ends, and I’m not the only one - New York City's mayor-elect Zohran Mamadani played the track at his acceptance speech, quoting “Hayati” (“my life” in Arabic) when speaking about his wife Rama Duwaji.
Ahmed Ben Ali - “Jara” (Libya)
You're sleeping on Libyan Reggae, aren't you? Don't worry; there's much more from where Ahmed Ben Ali's "Jara" came from! Habibi Funk Records released Habibi Funk 031: A Selection Of Music from Libyan Tapes from the late 80s to the early 2000s, featuring a diverse range of genres, from disco to reggae to pop. One of its tracks, "Jara," is a classic Libyan reggae jam that tells the story of a man who is in love with his neighbor, who is unaware of his existence. The beat of Libyan shaabi rhythms is quite similar to reggae. Put together, it became its own syncretic genre, which still has thousands of listeners in Libya.
Kore, Cheikha Rimitti - "Rimitti Riddim 2" (Algeria)
Algerian DJ and producer Kore had a great year reviving Raï’’n’B, the genre that fuses Algeria’s raï with contemporary R&B, rap, or funk, on his new album Raï’N’B Fever: Part 1. On "Rimitti Riddim 2," he samples the late Algerian raï icon Cheikha Rimitti, who was on his earlier record Raï’N’B Fever in 2004. A pioneer of Algerian women singing songs of lust in public, Rimitti has been revisited by many Moroccan and Algerian artists as they attempt to step into her footsteps and reinvent the genre. On this continuation of their 2004 track “Rimitti Riddim,” her vocals weave into a syncopated beat and synth scapes accompanied by the mizmar, ready to conquer any party.
Marwan Moussa - “Kalemeny Belel” feat. Lege-Cy (Egypt)
Marwan Moussa had a stellar year, releasing not one, but two albums! “Kalemeny Belel,” a collaboration with Lege-Cy, who also soared this year, is on The Man That Lost His Heart, a 23-track journey through the five stages of grief after losing his mother. Over a simple, syncopated beat and dream-like synth chords, Moussa and Lege-Cy sing to a woman they wish would call them at night. Lege-Cy’s voice is at times distorted, making it sound like he’s pleading for the impossible. As he teased in an interview with OkayAfrica, Moussa was done processing his grief after this album and promptly released the braggadocious matador a few months later.
Bas, The Hics, Saba - “Erewhon” (Sudan / UK / US)
Multi-Grammy nominated Sudanese American rapper Bas teamed up with longtime collaborators The Hics for Melanchronica, my most listened to album this year. Drawing inspiration from 70s prog, 80s pop, and 90s hip-hop and R&B, the project was seven years in the making and centers vulnerability in a culture that, in Bas’ words, has become devoid of emotion. “Erehwon” with Saba is yet another beautiful song born of their unreal chemistry as the Hics pull you in with their catchy hook over string and guitar arrangements before Saba and Bas take over with spirited rap verses. The nostalgia it taps into carried me through all of this year’s seasons.
KTYB, John Six, Nordo - “Ghazali” (Tunisia)
Originating in 6th-century Arabia, a ghazal is a poem or song about romantic or spiritual love. For their slow-paced duet "Ghazali," Tunisian musicians KTYB, John Six, and Nordo teamed up to create a modern take on this beloved art form. Letting their introspective, thoughtful vocal lines interweave with the minimalist instrumentation and percussion, they bear their souls and ask God for guidance.
Maman - “Al7amdullilah” feat. Ninjaon249 (Sudan)
Sudan's MaMan offers listeners his very own syncopated vocal sound, never hitting the notes you'd expect him to sing next. In his own rhythm and bilingual blend, his songs are more like stories than structures. "Al7amdulilah" opens his EP Garmboza, which he released at an underground party in Cairo in February, becoming a testament to a thriving Sudanese music scene in exile. The track is dominated by eerie voices and synth pianos, carried by drums that evoke the rhythms of Sufi rituals, a visual and sound that is gaining widespread attention in the region and becoming a popular aesthetic in music videos.
Ammar 808 - “Aman Aman” feat. Meriem Bettouhami (Tunisia)
Mezoued folk music is to Tunisians what raï is to Algerians and mahraganat to Egyptians: infectious music that celebrates the lived realities of the working class and, therefore, has been disparaged for its artistic value. As part of a movement that reclaims this narrative, Tunisian producer Sofyann Ben Youssef, aka AMMAR 808, released his third album, Club Tounsi, which blends Mezoued rhythms and instrumentation with bass-heavy futurism. Track three, “Aman Aman,” is a Tunisian folk song infused with TR-808 drum machine rhythm and bass. Performed by Mariem Bettouhami, it narrates the story of heartbreak after a lover is torn away, leaving behind the scent of jasmine.
Lella Fadda - “Tarat Tarat Tat” (Egypt)
Egypt's most-streamed female artist of 2024, Lella Fadda, released Magnün, an experimental rap album that had been highly anticipated since "Fokak Meni." Keeping up her unapologetically confident air, the album's standout track, "Tarat Tarat Tat," produced by her long-time collaborator Abyusif, showcases Fadda's versatility as a rapper and a singer who is done accepting and unafraid to call out patriarchal double standards.
Small X & Saib - “Albi” (Morocco)
Marking his debut at NYC hip hop label Mass Appeal, Moroccan powerhouse Small X teamed up with Moroccan Lofi legend Saib for their joint EP NAFIDA. On the EP’s lead single, “Albi,” atmospheric synths and a simple drum beat underpin Small X’s observations of the pressure social media puts young people under, a theme that is frequently echoed by other Moroccan rappers. NAFIDA taps into the calm, minimal sound frequency that Small X and Saib feel is absent from the Moroccan hip-hop scene, and which resonated with many other releases in the region this year.
Youssra El Hawary - “Douri” (Egypt)
On the Taraddud EP, her first release since her 2017 debut No’oum Nasyeen, Egyptian songwriter and sound designer Youssra El Hawary blends field recordings of Cairo with jazz, folk, ambient music, and electronic textures. The first of three long tracks, “Douri” takes listeners on a journey through El Hawary’s perception of her maddening and transfixing hometown. The cello, piano, percussion, and sagat create a hypnotic soundscape as El Hawary sings “We all are scared, we all are helplessWe all stay silent …” continuing a tradition of Egyptian indie music: to reflect life in its complexity by defying censorship and oversimplification.
Elmiene - “Useless (Without You)” (Sudan / UK)
Sudanese British soul singer Elmiene released his album Heat The Streets, teased by “Useless (Without You).” With his silky voice that turns just about any song into a hit, he sings a simple but powerful vocal line over an early 2000s R&B beat, turning the memory of Elmiene laughing at himself as a child into a love song and paying homage to a genre that continues to strongly influence his music. In a landscape where diaspora artists feel the need to constantly rep their culture in often cringe ways, Elmiene is a refreshing example of an artist who shows up as himself wholly, without the need to fit into anyone’s expectations of what it means to be Sudanese.
Saint Levant, Marwan Moussa - "Kalamantina" (Algeria / Palestine / Egypt)
When Algerian Palestinian sensation Saint Levant released his album Love Letters on Valentine’s Day, I was initially resistant to its hyper-romance. As the year progressed, I could not help but accept that fan-favorite “Kalamantina,” with Egyptian rapper Marwan Moussa, might be the most infectious Arab banger of 2025 (despite the cringe lyrics). It’s the little percussive bop in the beginning, paired with the catchy hook, that made me hit repeat more often than I care to admit. Bridging two worlds that are usually kept separate — the “region” and the “diaspora” — Saint Levant and Moussa managed to intrigue both audiences.
DYSTINCT - “YAMA” (Morocco / Belgium)
DYSTINCT’s Moroccan interpretation of Nina Skye and Jabba’s “Move your body” is one of our favorite bops of the year. It takes real skill not to ruin such an iconic sample, but on “YAMA,” DYSTINCT manages to create a very Arabic, rhythmic vocal line that switches between the Levantine and Iraqi accent and incorporates vibrato-like drama, successfully balancing the line between humor and club banger. The music video is great, too.
DJ Snake - "Patience" (Algeria / France / Mali)
On "Patience," Algerian French DJ and record producer DJ Snake paid homage to Amadou & Mariam's 2008 classic, "Sabali." Snake told OkayAfrica that he has loved "Sabali" for years. "I used to listen to it on repeat. One day, I played a loop from an edit I had been working on for my team, and everyone felt the same thing: this was something special," he says. "But I didn't want to just release a song. I felt the urge to give it depth and purpose. The migrant crisis is often reduced to numbers and headlines, but behind it are stories of hope, loss, and courage." The seven-minute cinematic music video for "Patience" was shot in Senegal, telling the story of a young man navigating the emotional and physical terrain of departure as he leaves home in search of something better.
Nadah El Shazly - “Laini Tani” (Egypt)
Egyptian musician Nadah El Shazly released her vibrant album Laini Tani. On its title track, “Lani Tani,” hypnotic qanun strings set a melodic theme, conversing with nothing but her haunting voice for the majority of the song. This call-and-response structure is broken by heavy percussive elements in a maqsum-like rhythm that you can feel reverberate in your chest, even through the tiniest earphones. El Shazly made a name for herself as one of the region’s most eclectic and experimental artists; while mixing “eastern and western sounds” has become a trend, El Shazly’s music reimagines the sounds of Egypt without compromising their core.
Zouj, Rita L’Oujdia - “2choufat” (Morocco)
“What first caught my attention was how chaotic it was,” Moroccan producer Zouj told OkayAfrica about way-way, a subgenre of raï. “The lead synthesizer is very particular. It comes from this one grey box that’s been around since the 2000s.” Zouj had the honor of learning way-way from Cheba Mamia’s “guys” and went on to release Sabahu Al Kheir Men Zouj, a mixtape of way-way-inspired collaborations. “2choufat” with Rita L’Oujdia is the project’s standout track; fun, playful, and true to a genre that we will be hearing much more frequently in 2026.
