Shifting sounds: Saudi musician EON talks reinvention

Dawood is keeping one eye on his sense of duty to the community. (Supplied)
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Updated 04 March 2022
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Shifting sounds: Saudi musician EON talks reinvention

  • Sliman Dawood’s short career has seen him build a healthy following already

BELGRADE: “I have this weird connection with eternity.” So says Jeddah-based songwriter and producer Sliman Dawood, discussing his ‘stage name’ of EON — an apt artistic epithet considering his proclivity for playing the long game.

Dawood is certainly not intimidated by wholesale reinvention. Only a couple of years ago, he was better known as Jinx, an up-and-coming rapper, when he had a change of heart.

“I was going through a transition, personally and musically,” he says, “so I felt that name didn’t suit me anymore. My horizons were expanding, I was experimenting with my sound to find something that actually works for me, and things just fell into place with ‘EON.’”




Only a couple of years ago, he was better known as Jinx, an up-and-coming rapper, when he had a change of heart. (Supplied)

One major aspect of Dawood’s evolution was his focus on broadening his range as a performer. “I really worked on my voice, which allowed me to be a lot more diverse in the way that I approach my music,” he explains. “From an emotional perspective, being able to sing hits all the right notes, so to speak.”

As EON, the composer has not yet played a single show and is currently working on his debut album. But the handful of singles he has released thus far have already caught the eye (and ear) of Saudi indie label Wall of Sound Records, who signed Dawood at the end of 2020.

“Everyone there is like family to me. The conventional wisdom is that you fear and distrust record labels, but with Wall of Sound, they not only help me as an artist, but on a personal level, too. It’s almost like having a therapist. That’s how great they are.”




One major aspect of Dawood’s evolution was his focus on broadening his range as a performer. (Supplied)

The self-assurance and comfort that he draws from the relationship with his label are evident in the way Dawood has crafted his Wall of Sound releases to date. The seamless fusion of ethereal synthwave, electro-R&B beats and delicate vocal passages that define 2020’s “Again” are a clinical showcase of a promising emerging talent coming into his own.

Last year’s “Precious Nightmare” saw Dawood take a turn into darker, more pensive territory with nocturnal instrumentation that only serves to further illustrate the musician’s depth and confidence in his newfound identity. Fans took notice, too; the track garnered more than 300,000 streams on Anghami during its first week on the platform.

“I have a clear vision for what I want. I feel it’s important to keep it diverse, but I’m also trying to lock in a specific sonic character. There will be songs that are more hip-hop/trap sounding, while others will have a more R&B flavor,” Dawood tells Arab News. “I usually tell stories about my own experiences, and now I feel a shift happening in my life, so the music is definitely going to reflect that.”




His passion for musical exploration is equally fueled by what he sees in the local and regional scene around him. (Supplied

0Dawood’s self-professed eclecticism is on display on “Gemini,” his most recent release. Elegantly atmospheric and irresistibly rhythmic at the same time, the track is, he says, “about love and how much change I can see around me. There’s a new world just around the corner… I wanted to convey the feeling of warping through two different lives.”

Dawood is an avid gamer and admits that “it can be a way to procrastinate, but I try to turn it into a strength, especially when it comes to story-based games with rich, relatable worlds and inspiring soundtracks.” He also cites a varied range of influences, from Kendrick Lamar and Kanye West to rock acts like Evanescence and Pierce The Veil.

His passion for musical exploration is, however, equally fueled by what he sees in the local and regional scene around him. “I’m excited by how much talent we have not only in Saudi but around the Middle East in general. People are constantly innovating by combining different styles of music and engaging in the kind of experimentation that we need to make our mark on a wider scale.”

As he continues to craft his debut album and looks ahead to first performances as EON, Dawood is keeping one eye on his sense of duty to the community. “The way I hope to represent all of that is to show that we can make music that stays true to our influences but also has a special flavor to it that makes it very unique,” he says. “The creativity is there, and I’m thrilled to be part of it.”


Kennedy Center Christmas Eve jazz concert canceled after Trump name added to building

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Kennedy Center Christmas Eve jazz concert canceled after Trump name added to building

  • According to the White House, the president’s handpicked board approved the decision, which scholars have said violates the law
  • Numerous artists have called off Kennedy Center performances since Trump returned to office, including Issa Rae and Peter Wolf

NEW YORK: A planned Christmas Eve jazz concert at the Kennedy Center, a holiday tradition dating back more than 20 years, has been canceled. The show’s host, musician Chuck Redd, says that he called off the performance in the wake of the White House announcing last week that President Donald Trump’s name would be added to the facility.
As of last Friday, the building’s facade reads The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts. According to the White House, the president’s handpicked board approved the decision, which scholars have said violates the law. Trump had been suggesting for months he was open to changing the center’s name.
“When I saw the name change on the Kennedy Center website and then hours later on the building, I chose to cancel our concert,” Redd told The Associated Press in an email Wednesday. Redd, a drummer and vibraphone player who has toured with everyone from Dizzy Gillespie to Ray Brown, has been presiding over holiday “Jazz Jams” at the Kennedy Center since 2006, succeeding bassist William “Keter” Betts.
The Kennedy Center did not immediately respond to email seeking comment. The center’s website lists the show as canceled.
President Kennedy was assassinated in 1963, and Congress passed a law the following year naming the center as a living memorial to him. Kennedy niece Kerry Kennedy has vowed to remove Trump’s name from the building once he leaves office and former House historian Ray Smock is among those who say any changes would have to be approved by Congress.
The law explicitly prohibits the board of trustees from making the center into a memorial to anyone else, and from putting another person’s name on the building’s exterior.
Trump, a Republican, has been deeply involved with the center named for an iconic Democrat after mostly ignoring it during his first term. He has forced out its leadership, overhauled the board while arranging for himself to head it, and personally hosted this year’s Kennedy Center honors, breaking a long tradition of presidents mostly serving as spectators. The changes at the Kennedy Center are part of the president’s larger mission to fight “woke” culture at federal cultural institutions.
Numerous artists have called off Kennedy Center performances since Trump returned to office, including Issa Rae and Peter Wolf. Lin-Manuel Miranda canceled a planned production of “Hamilton.”