Saudi rapper Asayel discusses her debut single, ‘Asliyah’ 

Asayel Bishi is a Saudi rapper, singer and songwriter. (Supplied)
Short Url
Updated 13 September 2024
Follow

Saudi rapper Asayel discusses her debut single, ‘Asliyah’ 

DUBAI: Saudi rapper, singer and songwriter Asayel Bishi (who uses just her first name as an artist) has released her debut single, “Asliyah” on MDLBeast Records. In it, according to a press release, she “addresses naysayers and doubters with a playful smirk, her words laced with Hejazi slang (Bishi was born and raised in Makkah but now lives in Jeddah) and a wisdom beyond her years.” 

The song is billed as “a statement of intent” and will serve, for most, as an introduction to Bishi’s music. Her flow, on this track at least, is deliberate, closer to a spoken-word performance than a rap. And that was a conscious decision, she says.  




She released her debut single, “Asliyah” on MDLBeast Records. (Supplied)

“I’m actually telling a story. I’m not really rapping and I’m not singing,” she says. “It’s like I’m talking to someone. This is stuff that really happened to me and stuff that I really want people to know. I’m basically telling how people have mocked my style. And the reasons why they don’t like my style. And at the end, I’m saying, like, ‘OK. I’m here. And I’m entering the scene.’” 

The colorful accompanying video was shot on the streets of Jeddah.  

“All the locations in the video are very famous (here). The director (Ahmed Lebleb) wanted to reflect the image that, here in Jeddah, you can do these (creative) things. It’s not just about the beach and swimming,” Bishi explains.  




The colorful accompanying video was shot on the streets of Jeddah. (Supplied)

“Asliyah,” Bishi tells Arab News, was the first song she wrote in Arabic.  

“When I started out, I was writing in English, but when I started working with MDLBeast, they told me, ‘OK, now you need to focus on the Arabic side because you need to communicate with your community,’” she says. “They also told me about other artists — local artists — I should be listening to, like Moayad and Dafencii.”  

It’s been an inspiring change, Bishi explains. “I have purpose now,” she says. “I want to do it to improve myself, but also to encourage other girls to go out and to sing, to perform, to write, to rap… to build this female music community.”  


Review: ‘Sorry, Baby’ by Eva Victor

Eva Victor appears in Sorry, Baby by Eva Victor, an official selection of the 2025 Sundance Film Festival. (Supplied)
Updated 27 December 2025
Follow

Review: ‘Sorry, Baby’ by Eva Victor

  • Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character

There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds. 

Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards. 

The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school. 

Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film. 

There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement. 

The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community. 

“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.

A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.” 

It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.