Egyptian artist Omar Fayyad has experienced different realities of electronic music in the Middle East since relocating to Dubai. Some are built quietly through independent communities, while others operate within strict structures and transient audiences. We caught up with Omar at XP Music Futures to talk about how these contrasting environments have shaped his journey, perspective and approach to culture.
Although Omar left Egypt ten years ago, he keeps a close eye on his home country’s music culture. “The scene is actually pretty nice,” he explains. “The approach there is a little different, more like individual communities working in silos. There’s a club culture, yes, but also very independent parties. Great promoters, great DJs, great bookings, but everyone does their own thing.” Festivals like Sandbox Festival, set on the Red Sea with multiple stages and diverse lineups, as well as collectives like Playhaus and Geeza Records, showcase the potential and scale of Egypt’s scene. “It proves that there is a huge scene there and that people are doing it for the right reasons.” Independent record stores are also playing a role in cultivating culture. Omar highlights Yellow Tape, a new shop founded by Hazem Hossam. “Beyond clubbing events, record stores like this help build a foundation for music culture. It’s lovely and nourishing to see.”
Since moving to Dubai, Omar has witnessed the city’s electronic music scene develop under unique constraints. “The scene in Dubai is quite a tricky one,” he says. “Most of the city’s population are expats, so the scene is always in transit. People live here for a few years and move on to their next destination, which makes it challenging to build long-term loyalty for a collective or brand.” Legal and logistical hurdles further complicate the scene. By law, it is primarily hotel-based establishments that are able to obtain alcohol licenses, which limits where parties can take place. “If you want to do an underground party, you have to go through the Fairmont lobby or something similar. This is not underground…but we work with what we have. You’re also dealing with F&B managers most of the time who, I’m sorry to say, don’t understand club culture, which is a constant challenge.”
On top of that, events must finish by 3 a.m., which isn’t very compatible with the after-hours concept that defines the scene. “You have to start your parties early, but people go out late. They might start coming after midnight, and after just a couple of hours it finishes and they have to leave. For this reason, people are shying away from bigger events and there are a few independent collectives now moving toward DIY setups – proper underground, ‘if you know, you know’ kind of thing.”
Yet Omar sees growth and innovation. Independent collectives and smaller parties are gaining traction, creating more intimate, community-focused spaces. “Even the younger generation of DJs are really well educated and trying to be more alternative. Genuine people, wanting to do something different from the norm.” Omar himself has entered a new venture with some like-minded friends and artists, co-owning Phono Sound System, a locally designed and built sound system in the UAE, developed with the help of legendary Jamaican sound-system builder Ronald “Uncle Ronnie” Jarrett and Quintin Christian. The project delivers a new level of clean, warm audio in pristine quality. “It’s not just about parties anymore,” he says. “It’s about catering to a culture, and I really love that.”
Looking further back, Omar talks about when he joined Analog Room as a resident DJ. “They really had the best DJs playing and the most ballsy bookings I had seen in the region. I saw artists there I hadn’t even seen anywhere in Europe; Anton Zap, Moritz von Oswald, Juan Atkins. Really great bookings.” Today, he continues to be a resident there alongside Noctuary, cementing himself as a key player in the region.
When asked about DJs who inspire him, Omar highlights both technical mastery and originality. “Zip is incredible.” He also sees Christian AB as one of the top five DJs in the world right now, alongside Dyed Soundorom. “Dyed is one of the best DJs, hands down, if not the best, in my opinion. Always maintaining his style, very classy and very chic.” Francesco Del Garda is also among his favourites. “As DJs, these guys have incredible styles.”
If he were to give a message to young DJs and producers in the region, Omar emphasises honesty above all. “Be honest about your art. You don’t have to be the greatest or the most amazing, but you have to be the most honest, otherwise, what’s the point? If it’s genuine, that’s what matters.”
Today, Omar feels that the region is beginning to move in a more connected direction. “What’s encouraging now is that it doesn’t feel as fragmented as before. There’s more dialogue happening across countries, more shared purpose.” He points to initiatives like XP Music Futures as an important catalyst in that shift, not just as a conference, but as a platform actively investing in education, infrastructure and long-term thinking around music culture in the region. “It’s one of the few spaces where people from different scenes actually come together, exchange ideas and try to build something sustainable. That kind of effort really matters.”
For Omar, the Middle Eastern electronic music scene is far from static. While challenges remain, there is a noticeable shift in mindset across the region, moving toward collaboration rather than isolation, and toward long-term cultural thinking over short-term gains. Whether in the studio, in the DJ booth, or through initiatives that bring the region together, Omar continues to push boundaries, connecting audiences and artists through shared experiences and honest musical expression.
More info on Omar Fayyad
Instagram | RA | Facebook | SoundCloud
