Bayou’s search for identity resonates with global audience

Adham Bayoumi, who goes by the artist name Bayou, is carving out a distinctive space in the music scene. (Supplied)
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Updated 10 October 2024
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Bayou’s search for identity resonates with global audience

  • The Saudi-born Egyptian singer-songwriter discusses his roots, influences, and upcoming EP ‘Never at Home’ 
  • His performance at the Coachella music festival as a guest of Palestinian rapper Saint Levant this summer was well-received

JEDDAH: Adham Bayoumi, who goes by the artist name Bayou, is carving out a distinctive space in the music scene. Bayoumi is Egyptian, but was born in Jeddah. While he was still young his family relocated to the UAE, and although he still has family ties in Saudi Arabia — his father currently works in Riyadh — he has few memories of the Kingdom. 

“I don’t have much recollection of my time there,” he tells Arab News. “My connection to Saudi has been purely through music.” He is currently signed to a Saudi label, MDLBEAST Records, and plans to perform in the Kingdom this year. He’s excited to explore his Saudi connections further. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Bayou (@bayousworld)

His association with MDLBEAST began a little over a year ago. “They reached out to me, and it felt like a perfect match,” he says, adding that the partnership has influenced his sound. Bayoumi’s music journey has been an eclectic one, ranging from the UAE to the US, where he attended university, and involving numerous collaborations. “My main producer, Motif Alumni, was in New York but has recently moved to Massachusetts, which impacted our creative workflow,” he says. As his music has evolved, Bayoumi has incorporated more Egyptian and Arabic influences. 

Bayoumi grew up in Dubai, where he absorbed a wide variety of musical influences. “I listened to everything — especially pop hits on Virgin Radio,” he recalls. His mother’s taste in music included artists like Muhammad Munir and Andrea Bocelli. This diversity shaped his own artistic sensibility. Creativity runs in Bayoumi’s family; his mother is an interior designer and his sister a visual artist, but his own artistic path was self-initiated, sparked in elementary school by a teacher’s guitar playing. “I wanted to do that too,” he says, recalling one of his first songs, about the changing of the seasons, written while he was still at school. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Bayou (@bayousworld)

His first major release as Bayou — 2019’s “Moonlight” — quickly gained traction, garnering more than 100,000 streams and solidifying his confidence as an artist. “I realized, ‘Hey! People actually like my music!” he says. That seems a fair assessment; “Moonlight” now has more than 3 million listens on Spotify, and his performance at the influential Coachella music festival as a guest of Palestinian rapper Saint Levant this summer was well-received by both audience and critics. 

He describes his music as “a unique blend of influences,” an international R&B sound that resonates personally.  

“Even when the songs aren’t directly about my life, they often feel like the soundtrack to my experiences,” he says. His upcoming EP, “Never at Home,” is a deep exploration of his Egyptian identity that should resonate with anyone trying to find their place in the world — a concise snapshot of Bayoumi’s quest for identity and belonging through music (which leads him to conclude “Home is where my mom is”). 

Spending four months in Egypt in 2024 allowed him to immerse himself in the culture and complete his EP. “I wanted to really dive into what it means to be Egyptian, especially as someone who didn’t grow up there,” he says. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Bayou (@bayousworld)

His latest singles, “Neshar Belel” and “Mesh Haseebek” have both proven popular with young Arab audiences, blending the rich tapestry of Egyptian musical heritage with contemporary sounds. By infusing traditional rhythms and melodies into modern R&B, Bayoumi honors his cultural identity while creating music with the potential to appeal to a global audience. 

Language has played a crucial role in his artistic journey. Initially, he wrote primarily in English, but his experiences in Egypt prompted a shift.  

“I realized I was very far from my culture and wanted to reconnect with it,” he explains. Writing in Arabic became essential, allowing him to navigate his identity as an Arab more authentically. “I felt like I needed to speak to my culture in the language it deserves,” he says. “It’s about understanding my own character and expressing it through my songs.” The exploration of love in Arabic has been particularly rewarding, he says, allowing him to connect with his heritage on a deeper level. But he also stresses that this doesn’t mean he’s stopped writing English-language songs.  

And Bayoumi’s interests extend beyond music. He has a keen eye for fashion, often choosing outfits that help him express his identity. He’s also passionate about reading, especially philosophy and self-help literature. “I want to understand how to be a good person and navigate life effectively,” he says. Football also remains a significant passion, along with biking. Oh, and watching cartoons. “That brings me back to that state of freedom, my childhood, which is crucial for any artist,” he explains. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Bayou (@bayousworld)

Bayoumi’s goals are ambitious. “It’s incredible to see how people from all backgrounds are drawn to my Arabic music,” he says. “I want to be a pop star worldwide, singing in both English and Arabic. I want to be the bridge between the East and the West.”  


Riyadh takes shape at Tuwaiq Sculpture Symposium 2026

Updated 16 January 2026
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Riyadh takes shape at Tuwaiq Sculpture Symposium 2026

RIYADH: This season, one of Riyadh’s busiest streets has taken on an unexpected role.

Under the theme “Traces of What Will Be,”sculptors are carving granite and shaping reclaimed metal at the seventh Tuwaiq Sculpture Symposium, running from Jan. 10 to Feb. 22.

The symposium is unfolding along Prince Mohammed bin Abdulaziz Road, known locally as Al‑Tahlia, a name that translates to desalination. The choice of location is deliberate.

The area is historically linked to Riyadh’s early desalination infrastructure, a turning point that helped to shift the city from water scarcity toward long‑term urban growth.

Twenty‑five artists from 18 countries are participating in this year’s event, producing large‑scale works in an open‑air setting embedded within the city.

The site serves as both workplace and eventual exhibition space, with sculptures remaining in progress throughout the symposium’s duration.

In her opening remarks, Sarah Al-Ruwayti, director of the Tuwaiq Sculpture Symposium, said that this year new materials had been introduced, including recycled iron, reflecting a focus on sustainability and renewal.

She added that the live-sculpting format allowed visitors to witness the transformation of raw stone and metal into finished artworks.

Working primarily with local stone and reclaimed metal, the participating artists are responding to both the material and the place.

For Saudi sculptor Wafaa Al‑Qunaibet, that relationship is central to her work, which draws on the physical and symbolic journey of water.

“My work … presents the connection from the salted water to sweet water,” Al‑Qunaibet told Arab News.

Using five pieces of granite and two bronze elements, she explained that the bronze components represented pipes, structures that carry saline water and allow it to be transformed into something usable.

The sculpture reflected movement through resistance, using stone to convey the difficulty of that transition, and water as a force that enables life to continue.

“I throw the stone through the difficult to show how life is easy with the water,” she said, pointing to water’s role in sustaining trees, environments and daily life.

Formally, the work relies on circular elements, a choice Al‑Qunaibet described as both technically demanding and socially resonant.

“The circle usually engages the people, engages the culture,” she said. Repeated circular forms extend through the work, linking together into a long, pipe‑like structure that reinforces the idea of connection.

Sculpting on site also shaped the scale of the piece. The space and materials provided during the symposium allowed Al‑Qunaibet to expand the work beyond her initial plans.

The openness of the site pushed the sculpture toward a six‑part configuration rather than a smaller arrangement.

Working across stone, steel, bronze and cement, American sculptor Carole Turner brings a public‑art perspective to the symposium, responding to the site’s historical and symbolic ties to desalination.

“My work is actually called New Future,” Turner told Arab News. “As the groundwater comes up, it meets at the top, where the desalination would take place, and fresh water comes down the other side.”

Her sculpture engages directly with the symposium’s theme by addressing systems that often go unseen. “Desalination does not leave a trace,” she said. “But it affects the future.”

Turner has been sculpting for more than two decades, though she describes making objects as something she has done since childhood. Over time, she transitioned into sculpture as a full‑time practice, drawn to its ability to communicate across age and background.

Public interaction remains central to her approach. “Curiosity is always something that makes you curious, and you want to explore it,” she said. Turner added that this sense of discovery is especially important for children encountering art in public spaces.

Saudi sculptor Mohammed Al‑Thagafi’s work for this year’s symposium reflects ideas of coexistence within Riyadh’s evolving urban landscape, focusing on the relationships between long‑standing traditions and a rapidly changing society.

The sculpture is composed of seven elements made from granite and stainless steel.

“Granite is a national material we are proud of. It represents authenticity, the foundation, and the roots of Saudi society,” Al‑Thagafi told Arab News.

“It talks about the openness happening in society, with other communities and other cultures.”

That dialogue between materials mirrors broader social shifts shaping the capital, particularly in how public space is shared and experienced.

Because the sculpture will be installed in parks and public squares, Al‑Thagafi emphasized the importance of creating multi‑part works that invite engagement.

Encountering art in everyday environments, he said, encouraged people to question meaning, placement, simplicity and abstraction, helping to build visual‑arts awareness across society.

For Al‑Thagafi, this year marked his fifth appearance at the symposium. “I have produced more than 2,600 sculptures, and here in Riyadh alone, I have more than 30 field works.”

Because the works are still underway, visitors can also view a small on‑site gallery displaying scaled models of the final sculptures.

These miniature models offer insight into each artist’s planning process, revealing how monumental forms are conceived before being executed at full scale.

As the symposium moves toward its conclusion, the completed sculptures will remain on site, allowing the public to encounter them in the environment that shaped their creation.