Jia Lissa
The residency, scheduled for four consecutive Fridays in April, represents a significant milestone for any artist in London’s fiercely competitive club scene. For Saliah, it is both an immense privilege and a weighty responsibility. "It’s a lot of pressure, and comes with a lot of privilege," Saliah reflected in a conversation with DJ Mag’s Shams Hanieh. She highlighted the stark contrast between her opportunity and the grim reality faced by her peers in Lebanon: "All my friends in Lebanon who are DJs are not able to work and don’t have an income. Something they rely on to survive has been stripped away from them, whereas I have the privilege to run a residency. How do I navigate this while also delivering a club night?" This poignant reflection underscores the dual nature of her platform, where artistic expression intertwines with urgent social advocacy. In a powerful demonstration of solidarity, Saliah has committed to donating 50% of the profits from her Phonox residency to community-led initiatives in Lebanon, directly supporting the over one million people displaced from their homes due to the conflict.
A Residency with a Conscience: Phonox and Philanthropy
Phonox, a cornerstone of Brixton’s vibrant nightlife, is known for its discerning programming and dedication to showcasing innovative electronic music. A month-long residency there is a coveted opportunity, offering an artist an extended platform to shape a narrative, introduce new sounds, and build a unique atmosphere. Saliah’s curation promises to be a journey through the cutting edge of SWANA-influenced club music, featuring some of the most forward-thinking artists from both the diaspora and the region itself. Her decision to funnel half of the residency’s proceeds to humanitarian aid in Lebanon transforms these club nights from mere entertainment into powerful acts of cultural and social solidarity.
The ongoing conflict in Lebanon, characterized by persistent Israeli bombing campaigns, has had devastating effects on civilian populations and infrastructure, leading to widespread displacement and economic hardship. Artists within Lebanon, like many other professionals, face immense challenges, including the inability to perform, travel, or sustain their livelihoods. By directing funds towards "community-led initiatives," Saliah ensures that the support reaches grassroots organizations directly assisting those most affected, offering a lifeline to a community under duress. This integration of philanthropy into her artistic endeavor sets a precedent for how artists can leverage their platforms for meaningful social impact, moving beyond symbolic gestures to concrete action.
The Evolution of a Sound: Bridging Worlds Through Beats
Saliah’s journey to becoming a vital figure in London’s club scene and the wider SWANA diaspora is marked by a continuous evolution, driven by a search for authentic self-expression. She initially made her mark as a drum & bass DJ, a genre with deep roots in Black sound system culture but which, as she observed, became "overwhelmingly dominated by white men." This demographic shift created an environment that, despite her "white-presenting" appearance, did not feel like a "safe space" for her as a bi-racial and Muslim woman. This experience speaks to broader issues of representation and belonging within electronic music, where dominant narratives often overshadow the diverse identities of its participants.
Her pivot towards incorporating more Arabic-influenced club sounds was not merely a stylistic choice but a deeply personal one. "I always listened to Arabic music; my cousins in Kuwait would make me mixtapes throughout my childhood of the popular Arabic tracks of the moment. I was also a dancer, so hip-hop was always a big part of my life," she recounted. This rich tapestry of influences naturally led her to forge a hybrid musical language that brought her disparate worlds together.
The defining moments of this evolution are well-documented. Her landmark Boiler Room set for "Middle Of Nowhere" in 2022 showcased her audacious blend of breaks, bass, and Arabic melodies, garnering widespread critical acclaim and introducing her unique sound to a global audience. The viral success of her UK Garage edit of "El Hantour" further cemented her status, demonstrating her innovative approach to reimagining classic Arabic pop songs through a high-energy club lens. These moments were not isolated incidents but rather critical junctures that highlighted a growing appetite for diverse, culturally rich electronic music that resonated with diasporic experiences.
The Rise of a Scene: Third Cultures in London’s Electronic Landscape
Saliah’s rise is emblematic of a broader cultural phenomenon in London and beyond: the emergence of "third cultures" within electronic music. These scenes are vibrant hubs where artists from various diasporic backgrounds fuse traditional sounds from their heritage regions with contemporary club styles, creating entirely new sonic palettes. In London, collectives and events such as Dialled In (showcasing South Asian artistry), Daytimers, Diasporic Daze, and Makaan (focusing on Iranian artistry) have been instrumental in carving out significant spaces for these hybrid sounds.
These platforms have challenged the homogeneity often found in mainstream electronic music, proving that there is a profound "hunger for electronic music that goes beyond boilerplate business techno or whitewashed D&B," as Saliah aptly notes. The success of these movements reflects a global yearning for authentic, culturally resonant experiences that speak to the complexities of identity in a multicultural world. "I definitely feel people craved a space like this, one tuned into third cultures and the in-between, and this has proven to be the case worldwide," Saliah affirmed, highlighting the universal appeal of music that reflects layered identities.
This global cultural moment for Arabic music is undeniable. Tracks like Sherine’s ‘Sabri Aleel’ and Vanco’s ‘Ma Tnsani (feat. Aya)’ have transcended regional boundaries, finding unexpected international acclaim. This increased visibility, while exciting, presents a delicate balance between genuine cultural exchange and the potential for cultural extraction.
Navigating Cultural Currents: Exchange vs. Extraction
The growing popularity of Arabic sounds in global electronic music presents a complex challenge: how to foster appreciation and exchange without succumbing to cultural appropriation or extraction. Saliah is acutely aware of this tightrope walk. "It’s difficult to challenge this without gatekeeping," she admits, emphasizing that the core issue lies in "how this music can be shared responsibly, without being diluted."
She cited a concerning example: "I recently saw white guys take a Palestinian folk song about martyrdom and turn it into a house track. They profit off of the extraction of our culture, but stay silent when it comes to the problems we face, which are a direct result of the systems they are a part of and perpetuate." This critical observation highlights a fundamental tension: the enjoyment and commodification of cultural artifacts by those who remain detached from, or even complicit in, the political struggles of their origin. For Saliah, this isn’t just an aesthetic concern; it’s a political one. She firmly asserts her stance: "I’m quite political in that sense. I want everyone to come and enjoy my shows, but if they’re not from the region, they are guests in the space, and they should respect that." This statement serves as a clear articulation of boundaries, advocating for respectful engagement and an acknowledgment of the historical and contemporary contexts embedded within the music.
Her approach to curating events is therefore deeply intentional, focusing on "building community and creating a beautiful space" rather than simply putting on a show. This sense of responsibility extends to the emotional landscape of her audience. "As an artist, you’re holding the energy in that room," she explains. "And in this case, our energy is beautiful and powerful, but it also holds a lot of trauma." The role of the DJ, she posits, goes beyond technical mixing; it involves a profound act of emotional stewardship. "As the DJ, you’re going through this as well, but you’re expected to bring joy and lift people’s energy up. It’s a lot harder than it looks. I’m not just pressing buttons, I’m trying to hold and lift the energy in this space, and be responsible for everybody there." This candid insight reveals the immense mental and emotional labor involved in creating safe and uplifting spaces for communities who often carry the weight of collective trauma.
Championing Regional Voices: A Curatorial Philosophy
Saliah’s commitment to thoughtful curation is vividly reflected in the line-ups for her Phonox residency. She has meticulously selected artists who are actively pushing the boundaries of these genres, with a strong emphasis on producers. The roster includes some of the most innovative names in the scene, such as DJ Haram, Zaytoona, GLITTER55, Deena Abdelwahed, and Tabideee. "I curated the artists with majority producers in mind, because I’m interested in sharing how the sounds in our scenes are evolving," Saliah stated. Her aim is to honor those who have "done the groundwork and continue to shape a scene that a lot of the audiences may not be exposed to, as my shows can be more commercially oriented. I want to honour the artists contributing to the future of our sound and scene."
This discerning approach extends to her "Recognise" mix for DJ Mag. Saliah’s tracklist is a deliberate blend of her own unreleased productions and new tracks, alongside a significant focus on artists directly from the SWANA region, rather than solely the diaspora. "I’m also trying to include productions of artists from within the region as opposed to the diaspora, because I don’t think they get enough recognition for the work they’re doing and putting out there," she explained.
This distinction is crucial. While diaspora artists like Saliah gain increasing visibility on Western platforms, artists operating within the SWANA region often lack the same access, resources, and privileges. Despite working closer to the source of these sounds and often under more precarious socio-political and economic conditions, their contributions can be overlooked. "I don’t want to focus solely on how to grab the attention of the diaspora," Saliah remarked. "I want to respect the fact there are so many homegrown scenes in the region that have been doing this way before us." Her "Recognise" mix, brimming with unreleased material and tracks from regional talents, serves as a powerful testament to this promise, weaving a tapestry of club-ready sounds infused with potent Arabic nostalgia and contemporary innovation.
The Broader Impact and Implications
Saliah’s work, particularly her Phonox residency and "Recognise" mix, transcends mere musical performance. It represents a significant cultural intervention with broader implications for the electronic music industry and beyond. By intentionally creating spaces that prioritize community, cultural authenticity, and social responsibility, she challenges the often-apolitical nature of mainstream club culture.
Her efforts contribute to a vital dialogue about decolonizing dance music, questioning who controls narratives, benefits from cultural trends, and bears the burden of representation. The fusion of activism and entertainment, though challenging, allows for a powerful form of cultural diplomacy, fostering understanding and empathy across diverse audiences. For the SWANA diaspora, these events offer not just a night of music but a sense of belonging, a celebration of identity, and a collective space for processing shared experiences and traumas.
The success of artists like Saliah also signals a shift in the global music landscape, where authenticity and purpose are increasingly valued. As listeners seek out more diverse and meaningful experiences, artists who can articulate a strong cultural and political vision alongside their artistic prowess are poised to make the most profound impact. Saliah finds solace and strength in this shared purpose: "I’m comforted knowing I work with people who are experiencing the world in the same way I am," she says. "It makes me feel less insane." This sentiment encapsulates the power of collective action and the resilience found in community, even amidst global turmoil.
Saliah’s residency at Phonox and her "Recognise" mix are more than just performances; they are statements. They are a call for recognition, not just of her talent, but of an entire region’s vibrant artistic output and the complex realities of its people. As her influence continues to grow, Saliah remains a beacon for responsible cultural stewardship, demonstrating how music can be a force for both celebration and profound social change. Her work lays a foundational stone for a future where electronic music is not only a source of joy but also a powerful vehicle for solidarity and cultural empowerment.
Listen to Saliah’s Recognise mix and secure tickets for her Phonox residency via the links provided by DJ Mag.
Tracklist:
Zenobia – ‘Sobo El Gahwa (Saliah & Lamsi Remix)’ [Unreleased]
Hassan Abou Alam – ‘Mahzouz’
Burna – ‘SWITCH’
INVT, Logan_olm – ‘IGNITE DEM’
Amy Kisnorbo & Ron Mercy – ‘Bendy (Sam Binga 2Tonk RMX)’
Noah Baine – ‘Selective’
Mukilla – ‘Ok, Fatma (Siu Mata Remix)’
Hassan Abou Alam – ‘La3ba (Ft. ZIAD ZAZA, Ismail Norsat)’
Conducta x Biji – ‘Gold (Saliah Remix)’ [Unreleased]
Dj g2g – ‘Paleta x Faint’
Fairuz – ‘Khabtet Adamkon (Saliah Remix ft Juzour Dance Troupe)’
Saliah – ‘Ell3ab’ [Unreleased]
Safeq Kabaha – ‘Zareef El Tool (Saliah x MarOne Remix)’ [Unreleased]
Dizzy Rascal – ‘Bonkers (Buckley Remix)’
Arma – ‘Forward Riddim’
Ziggy Twiss – ‘Bring in the Katz Bubble’
Joy Orbison – ‘Flight FM’ x Vinyl Mode, Moayad ‘Shoft AlHala (Moving Still Remix)’ [Unreleased]
Monty, Visages – ‘TEK’
Chase & Status – ‘Eastern Jam’
Saliah – ‘Habibi Riddim’
Ahadadream – ‘TAKA ft Priya Ragu (Taiki Nulight Remix)’
Bullet Tooth – ‘Move Your Body feat. Xpansions’
Sammy Virji – ‘Hackney Pigeon’
Dj Zinc – ‘138 Trek (POLO LILLI 145 Edit)’
Nissan Altima – Doechii (Lost Kings Remix)
Hakim – ‘Enab’ x Darude – ‘Sandstorm (Nadim Maghzal Remix)’
FS Green – ‘Go To Work Ft. Dave Nunes’
Estelle ft Kanye West – ‘American Boy (Freekjak Remix)’
Loai – ‘Ah ya Aini ya Leil (Saliah Remix)’ [Unreleased]
Skepta – ‘Too Many Man (Prozak Stardust Speedy G Mix)’
Ehab Tawfik x Daft Punk x Kodat x Stormzy x Groovy T (Saliah Tripple Threat Mashup) [Unreleased]
Sajda Obaida – ‘Yameen Yesar’ (Sakiah Remix) [Unreleased]
‘My Humps Love Parade’ (Sein Edit)
Marwa – ‘Ama Naeima’ (Saliah Remix) [Unreleased]
Lella Fadda – ‘Taratara Ta (Saliah Remix)’ [Unreleased]
Shabjdeed – ‘INN ANN (Saliah ft Big Sizer Remix)’ [Unreleased]
4am Kru, McDonald & Jannetta – ‘Pianos Raining Down’ x UNIIQU3 – ‘4 Da Children’ (Saliah Mashup)
Saliah – ‘Aweeha’ [Unreleased]
