When did you discover your passion for music? What was your first step into the industry like?
I’ve loved music for as long as I can remember—it’s always been a vital part of my life. I picked up drums when I was about 10, started playing guitar as a teenager (and some piano too), wrote and sang songs in a band when I was around 20, and then got into music production from there.

My first step into the music industry was through networking online. I met other writers, and with one in particular, we created a bunch of songs together and started reaching out to publishers and labels to book as many meetings as we could.

You’ve worked with dozens of artists and produced hits from Europe to Japan, India, and the Middle East. What would you say have been the highlights of your career?
There are a few that I’m really proud of. My song with KREAM, which has over 50 million Spotify streams, my own artist project that has generated over 19 million Spotify streams, my cuts in Korea and Japan, as well as some Billboard charting placements.

You recently worked with Indian singer Arjun Kanungo on "Unspoken." What was it like seeing your work achieve such massive success in a completely different market?
It was really cool, but honestly, it's hard to fully grasp how far a song can reach in a completely different part of the world.

Do you approach production differently when you know it’s aimed at different regions of the world?
For me, it’s always about the artist and their vision for the project first and foremost. Different regions often have their own distinct sounds—even in pop—so it’s all about adapting to that while keeping the artist’s goal the top priority.

Are there any specific elements from international music you’d like to bring into your work in the future?
Good question! I go through different phases, but I always enjoy incorporating some sort of organic element into the song to make it feel real and human.

Arabic Pop is very grateful for the two hits you’ve produced with Bashar Zidane [laughs]. What was the journey like from “E7mini” to “Tayeb”?
We made E7mini back in 2022, and then worked on Tayeb two years later. I think we both naturally evolved in our sound, and that evolution is reflected in each song.

We know there’s a third track on the way. What can you reveal about it?
The new song is very different from Bashar Zidane’s previous singles—it shows a much more vulnerable and emotional side of him. When we started working on it, our ideas clicked instantly, and the whole process was a really fun and quick creative journey. I couldn’t be more excited about how it turned out!

Music production can make a song sound timeless. What do you think makes a song always feel fresh, as if it was just released?
A big part of that comes down to production choices, but also the way the song is mixed. If you listen back to pop songs from 2010 and compare them to today’s, you’ll instantly hear the sonic differences—like brighter highs, less bass, etc. Those details play a major role.

How important is it for an artist to always bring something new—a surprise factor or sense of evolution—to their music?
I think every artist wants to evolve in some way over time, and introducing new elements or unexpected twists can definitely help make that happen.

How do you strike the right balance between the artist’s identity, the song’s character, and your own voice as a producer?
It’s all about creating something I genuinely like, while still keeping the artist’s vision and the song’s identity at the forefront. It’s always a delicate balance—and ultimately, the artist has the final say when it comes to sound choices. For me, it’s about being a good creative match for the song.

Sometimes, after writing a song, artists struggle to figure out how it should sound production-wise. What advice would you give them?
Great question! Using reference tracks is definitely my favorite way to communicate how something could sound. Also, listening to a wide variety of new and different music is a great way to spark fresh inspiration.

Do you think music production today is influenced by how people consume music on social media and streaming platforms? How do you take that into account when working on a new track?
You could definitely approach it that way, but I think it depends on the goal of the song. Is it meant to go viral on TikTok? Fit into specific Spotify playlists? I’d figure that out first and then shape the production around it.

Your social media content is also so fun to watch! Do you enjoy sharing your creative process with people?
Yes! It’s been a fun challenge. I’m not usually someone who likes being in the spotlight, so it’s been a process of getting over that and just putting myself out there.

How would you describe your dream project? And who are your dream artists to collaborate with?
A dream project for me is one where both the artist and I are genuinely happy with the result—just working on music that excites and motivates me to head into the studio every day.

Where would you like to take your career next? Do you hope to produce your own music and perform on big stages?
I want to keep making great music, work with new artists, and just be happy. The big stage isn’t for me, but I’d love to produce music for it.