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Spotify introduces ‘Fresh Finds Saudi: Class 2k24’ residency program for emerging talent

Spotify introduces ‘Fresh Finds Saudi: Class 2k24’ residency program for emerging talent
‘Fresh Finds Saudi: Class 2k24’ is dedicated to the promotion and development of the emerging music scene in the Kingdom. (Supplied)
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Updated 20 November 2024

Spotify introduces ‘Fresh Finds Saudi: Class 2k24’ residency program for emerging talent

Spotify introduces ‘Fresh Finds Saudi: Class 2k24’ residency program for emerging talent
  • Initiative covers songwriting and music production, music marketing, music rights and industry knowledge, and touring and performing
  • The Kingdom is an ‘incredibly exciting market’ for Spotify, says platform’s regional managing director

DUBAI: Spotify this month introduced Fresh Finds Saudi: Class 2k24, the first iteration of a residency program dedicated to the promotion and development of the emerging music scene in the Kingdom.

“We’re incredibly thrilled to launch Fresh Finds Saudi: Class 2k24 and are eager to see the impact it will have on the career growth of the selected artists,” Akshat Harbola, managing director of Spotify in the Middle East and North Africa region, told Arab News.

The residency, which ran from Nov. 6 to 11, represented “a long-term investment in nurturing up-and-coming talent, starting with a residency format this year,” he added.

It brought together four local talents who feature on Spotify’s Fresh Finds Arabia playlist, a showcase of the best new music by independent artists and labels from the region: BrownMusic, known for merging Arabic and English lyrics with contemporary experimental electronic beats; hip-hop artist Grzzlee; Kali-B, a singer, songwriter and producer; and Seera, an all-female Arabic psychedelic rock band.

They were chosen by Spotify’s local editorial team as “standout talent” that had “already made an impression on our Fresh Finds Arabia playlist,” Harbola said.

Spotify seeks to showcase different musical genres through the residency program, he added, and so “we took special care to prioritize a diverse range of styles that highlight the new generation of creators” from ֱ. The selected artists “have proven they can connect with listeners and are ready to elevate their careers.”

The residency program provided them with support, mentorship and a host of resources aimed at accelerating their growth as artists and expanding their presence in the Saudi music industry, Spotify said.

The residency’s curriculum focused on four topics: songwriting and music production; music marketing; music rights and industry knowledge; and touring and performing.

Experts such as lyricist, writer and creative director Menna El-Kiey, and musicians and producers Ntitled, El Waili, Soufiane Az and Ismail Nosrat, offered guidance to the participants on songwriting, beat-making, mixing and mastering.

Amin Kabbani, vice president of Arabic talent at entertainment company Live Nation Middle East, provided insights into planning and executing a successful tour, managing logistics and engaging with fans.

Sony Publishing MENA led the session on music rights and industry knowledge, during which the participants learned about intellectual property, and how to protect their work and navigate the business side of their art.

Spotify also worked with the artists to record new tracks at creative hub Merwas in Riyadh, and the results will be released by the end of the year. Nada Al-Tuwaijri, the CEO of Merwas, said the studio is “committed to nurturing talent and providing artists with the tools and environment they need to unlock their creative potential.”

She added: “The Fresh Finds Saudi: Class 2k24 initiative aligns perfectly with our vision of supporting emerging talent in the Kingdom, the region and beyond.”

Harbola said that the Kingdom is “an incredibly exciting market” for Spotify and although he was “unable to share specific listenership rankings, the level of engagement in ֱ is truly remarkable.”

The company is seeing a “strong surge” in the popularity of pop music, especially Egyptian pop, and Khaleeji music, “which remains central to Saudi listeners,” he added.

The platform’s focus on the Kingdom has grown in recent months through initiatives such as “Tarab,” a campaign that celebrated Khaleeji music, and music program RADAR Arabia that spotlighted Saudi-based artist Sultan Al-Murshed in New York’s Times Square.

Harbola said that the burgeoning local music scene and audience engagement on Spotify is driving the company’s efforts to introduce initiatives such as Fresh Finds Saudi: Class 2k24 and commit to them on a long-term basis

“While we don’t have set dates for future iterations (of the residency), our focus remains on curating unique experiences tailored to artists’ needs in different markets, whether through this initiative or other Spotify Music Programs across MENA,” he added.


Israeli prisons treated like another war front after Oct. 7, says freed Palestinian author

Israeli prisons treated like another war front after Oct. 7, says freed Palestinian author
Updated 04 November 2025

Israeli prisons treated like another war front after Oct. 7, says freed Palestinian author

Israeli prisons treated like another war front after Oct. 7, says freed Palestinian author
  • Brutality rose significantly in last 2 years, says Nasser Abu Srour

DUBAI: Palestinian author Nasser Abu Srour, who was released last month after 32 years in captivity, said torture and brutality inside Israeli prisons had intensified in the past two years, turning detention centers into “another front” of the conflict in Gaza.

Abu Srour was among more than 150 Palestinians serving life sentences who were freed under a US-brokered Gaza ceasefire deal. He was exiled to Egypt, where he was placed in a five-star hotel in Cairo — a jarring contrast, he said, to the conditions he endured during imprisonment.

After Oct. 7, 2023, beatings and deprivation of food and warmth increased in prisons. Even the guards’ uniforms were replaced with ones bearing tags that read “fighters” or “warriors,” he said.

Abu Srour added: “They started acting like they were in a war, and this was another front, and they started beating, torturing, killing like warriors.”

He described how areas without security cameras became “places for brutality,” where guards would tie prisoners’ hands behind their heads, throw them to the ground, and trample on them.

“All cultural life in the prison ended in the last two years,” he said, as all reading and writing materials were confiscated. Daily rations were minimal, and prisoners were only given one set of thin clothes.

He recalled that prisoners were always hungry, and because their bodies were weak they “couldn’t handle even a medium temperature.”

He added: “Whenever someone was leaving prison, everyone would try to become their friends so they would get their T-shirt or underwear, or anything.”

Abu Srour took part in the First Intifada, the Palestinian uprising between 1987 and 1993, when he was charged as an accomplice in the death of an Israeli Shin Bet security officer.

He was sentenced to life in prison without parole in 1993, based on a confession extracted under torture.

In his more than three decades behind bars, Abu Srour completed a bachelor’s and a master’s degree in political science and turned to writing. He began composing poetry and other works that were smuggled out of prison.

His memoir “The Tale of a Wall: Reflections on Hope and Freedom,” dictated to a relative through phone calls over two years, has been translated into seven languages and is a finalist for the Arab Literature Prize.

After years of torture and unheeded appeals, Abu Srour struggled to believe until the final moment that his name was on the list of prisoners to be released after the Oct. 10 ceasefire.

He said: “They were calling out cell numbers, and I was sitting on my bed in room number six feeling like I am not part of it.

“There were so many times when I should have been part of it over all those years. But the whole thing is so huge and so painful, I didn’t want to interact. It was a defense mechanism.”

The 24 hours before his release were particularly painful, as prisoners were subjected to an intense final round of beatings.

During the 48-hour transfer that followed, prisoners were not allowed to open the curtains on the buses until they reached Egypt.

It was only then that Abu Srour saw the sky for the first time outside prison walls.