Palestinian musician Rasha Nahas discusses her long-delayed debut album

Rasha Nahas. Carolin Saage
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Updated 04 December 2020

Palestinian musician Rasha Nahas discusses her long-delayed debut album

Palestinian musician Rasha Nahas discusses her long-delayed debut album

AMSTERDAM: In May 2019, life was looking good for Palestinian singer-songwriter Rasha Nahas. She had begun to establish herself in Berlin — having moved there from her hometown of Haifa in 2017; her debut album — wrapped in 2018 — was just weeks away from being released; and she had a prospective tour of the Middle East and Europe lined up. 

“I feel like a lot of exciting things are happening and hopefully the album will bring more,” she told me then. “I’m not in a hurry, but I’m going full-power with all of my will and passion.”

Fast-forward to today and that debut album is still just weeks away from release. Not long after we spoke last year, Nahas began to experience pain in her wrists and hands. It quickly became serious enough that she went to see a doctor who diagnosed her with repetitive strain injury. 

Nahas' debut album (cover pictured) will be out on January 29. Supplied

“It was really hardcore,” she says. “Both my hands and wrists had very, very bad inflammation. I couldn’t type emails or hold my phone or carry groceries and stuff. It was basically from overplaying. It had been a very busy time with shows and traveling, and a lot of stress. That was good, in some ways, because it meant things were happening for me, but the mental stress also wasn’t good for my body. I just had to stop everything, take a break and focus on getting better.”

Having psyched herself up for the release of her album, the necessary postponement — and cancellation of her tour plans — was something of a comedown. 

“Everything was a big frustration,” she says. “And I couldn’t really let that energy out in music, because I wasn’t able to (play).”

That last part, especially, was a huge blow to someone for whom music has been “a place of escape and expression and dealing with things and understanding myself” since her early teens and has become the thing from which she makes her living — an impressive feat for any artist, but particularly an independent musician from the Middle East. 

Nahas first picked up a guitar – which actually belonged to her sister – when she was a kid. Supplied

Nahas first picked up a guitar when she was a kid. It actually belonged to her sister, who “took a few lessons then stopped.” 

“I would tune it in very weird ways and strum it and sing out of tune,” she says. “Then I decided to study guitar. The only available option that my parents liked was classical music. So for nine years I did classical guitar and theory. I wanted to drop it (often), but I’m glad I didn’t.”

Music was popular in the Nahas household — from classic Arab artists including Fayrouz (“My mother’s a big fan”) to Western artists. Nahas chose to listen mostly to the latter. “We had a massive collection of CDs in the car and every Saturday we’d drive to the Galilee with the windows open and very fresh air and listen to John Lennon. That’s my main memory of music from my childhood,” she says. As a teenager she branched out into hard rock, pop, jazz and more. Oh, and Avril Lavigne (“That’s a bit embarrassing now,” she admits). 

Music was popular in the Nahas household — from classic Arab artists to Western artists. Supplied

She estimates she wrote her first original song around the age of 15. “It probably sounded like a normal indie-rock song, but I think the (lyrical) content was quite different,” she says. “It was about life as a Palestinian girl understanding her identity, and asking questions — about the political situation too. Looking at it now, I think, ‘Woah! That’s what I was dealing with at the age of 15?’”

It took a few years before she felt she was developing her own identity as an artist, though. She played her first gig as she finished high school, aged 18, by which time she had about an hour’s worth of original material. 

It makes sense that Nahas had classical training and listened to a wide variety of genres growing up — and that she composes music for the theater professionally. Her songs, and particularly her vocal delivery, have a definite theatrical vibe, and there are hints of several influences — pop, indie rock, jazz, rockabilly, surrealism, punk, spoken-word, and more. The result is something that seems entirely organic and entirely honest. It’s not necessarily easily accessible, but it’s certainly some of the most interesting work you’ll hear from a contemporary Middle Eastern artist, at least in the English language. 

A still from the “Desert” music video. Supplied

The two singles released from the album so far — “The Clown” and title track “Desert” — are good examples; both showcasing her distinctive style. The former was written a month after Nahas moved to Berlin, aged 21 (because “I just needed to be away, make music and take time to just be and understand things”). “It came from a few days of thoughts that were gathering and piling up — about being away from home, about artists getting on stage and getting labeled as Palestinian or as Israeli, about the political situation that never really leaves you.”

The latter, released in November, was written around the same time. “It’s a very personal song talking about searching and the things that are changing around us,” Nahas explains. “In the video (shot in Haifa), we played a lot with metaphors and images — we have kids with guns, we have a dancer crucified on an olive tree to symbolize the ties to the land. We have an old, abandoned building in Haifa contrasted with the big glass buildings to ask ourselves where our identity — as Palestinian 48ers — fits between tradition and modern colonialism.”

“The Clown” was the first single off her debut album. Supplied

The search for identity is a central theme of Nahas’ debut album, which will finally see the light of day on January 29. “It was very influenced by the relocation from Palestine to Germany,” she says. “So it deals with questions of identity and of what our responsibility to our identity is. I come from this place that has a certain political weight, traditionally. So how do I deal with that weight? How do I sing about it? Who am I in it?”

The end to the record’s long delay will doubtless come as a huge relief to Nahas, after what she describes as “one of the heaviest years for me.” Her almost-complete recovery from injury all but coincided with the start of the COVID-19 pandemic, and the year also included the death of a close friend — one of the dancers in the “Desert” video. 

The search for identity is a central theme of Nahas’ debut album. Supplied

“That challenged my relationship with the (record). He was part of the creation, in a way. And the release was postponed because of the injury and the pandemic. I wished it had been finished and that he could have seen it, because he really put everything into it. So it just added another layer to everything.”

That heavy year hasn’t been entirely without positives though, she stresses. “Even though it’s been very unsettling, with my injury and the pandemic, it did ground something in me. It forced me to look inward more, but also to look at what’s around me and appreciate it and grow from it.”

She played her first gig as she finished high school, aged 18, by which time she had about an hour’s worth of original material. Supplied

Given the years between the album’s completion and release, I wonder if Nahas still feels as connected to the work. Her answer is a definite yes. 

“It captures a period in my life that I needed to capture and I’m really happy I did that. The songs came from a very honest place. That’s the most important thing — I feel like that doesn’t get old,” she says. “ So, it doesn’t matter when it comes out, because it’s real and it’s truthful — and I’m sure that will be reflected in the interaction with the people who are going to listen to it.”

REVIEW: Super-sport meets SUV — The Lamborghini Urus

Arab News' resident car reviewer Frank Kane tested the Lamborghini Urus on the streets of Dubai. (Shutterstock/File Photo)
Arab News' resident car reviewer Frank Kane tested the Lamborghini Urus on the streets of Dubai. (Shutterstock/File Photo)
Updated 24 February 2021

REVIEW: Super-sport meets SUV — The Lamborghini Urus

Arab News' resident car reviewer Frank Kane tested the Lamborghini Urus on the streets of Dubai. (Shutterstock/File Photo)
  • The Italian manufacturer has made a car equally at home on the school run or the racing circuit

DUBAI: It’s confession time: I’ve always been a bit scared of Lamborghini.

The flashy super-sports cars in shocking colors that you see on Dubai streets and on the forecourts of five-star hotels look so downright aggressive and fast that I’ve always had a sneaky feeling that a man of my advancing years would look slightly ridiculous getting in and out of a Huracan or Aventador.

But the lure of the magical Lambo name was too much, and when the opportunity arose I was excited to step into the rather more sedate Urus, Lamborghini’s move into the super-SUV segment.


This section of the luxury car market is smoking hot at the moment, especially in the Middle East, which just loves its SUVs. Rolls Royce, Bentley, Porsche, and Maserati have all produced fantastic multi-terrain vehicles recently, and even Ferrari is working on its own thoroughbred.

But the Urus is the sportiest and sexist of the elite SUVs so far and Lamborghini says it is the most powerful. Gulf drivers have taken to it with relish, judging by the numbers on the roads, many of which are being driven by Arab women. Interesting phenomenon.



The name of a type of bull, similar to Spanish fighting bulls, maintaining Lamborghini’s link with the powerful animal.

I said “sedate,” but that is not really the appropriate term for a vehicle that will get you from 0-100kph in 3.6 seconds with a top speed of just over 300kph. This is all thanks to a four-liter V-8 twin-turbo engine that gets all that power to a 4WD system the techies say is among the most advanced around at the moment.

If you want to emulate the archetypal Lambo-head by popping and cracking the engine at the signal, you can do that, but during normal driving the engine thunders rather than screams. You can hear yourself think and have a decent conversation in the cockpit, though you may have to shout for the benefit of rear-seat passengers — not a problem Lamborghini encounters in its sports cars, of course.

I had been told to expect superior road handling, and was not disappointed. This is a two-ton car that can take the kids to school in style and safety, or do some dune-bashing at the weekend, but the way it hurls itself out of sharp corners, or sticks flat to the road on hairpin bends, is a marvel to behold.

A lot of that is down to the ultra-sophisticated four-wheel steering that has the effect of elongating and shortening the wheelbase depending on speed and road orientation.

With such handling, it really is hard to believe you’re driving an SUV.



The original Mr Lamborghini also produced farm machines, and you can still buy a Lambo tractor — although that company no longer has anything to do with the sports-car manufacturer.

The interior screams “Italia,” and not just because of the driving modes — including Strada, Corsa, and Terra — that are flagged up on the center console. The others are Sport, and — a nice touch for the Middle East — Sabba (sand). I doubt the Neve (snow) mode will get much use in the region.

And of course you can personalize your own driving experience, in the Ego mode — again, how very Italian.

The cockpit technology is extremely sophisticated, with everything you’d expect from an Italian manufacturer now owned by a German company, VW. A lot of the hi-tech features seem heavily influenced by Audi, which is a good thing of course. Vorsprung Durch Technik, after all.

Lamborghini took a long time to design and unveil the Urus, perhaps while pondering whether it was really possible to mix a super-sports car with an SUV. But it has done it. At times you have to remind yourself that this is a multi-terrain vehicle, rather than something you want to throw around the F1 track on Yas Island.

The 2021 version will cost you around $272,257 for starters, but options can raise that significantly. To get the super-sport SUV of your dreams, you’d better start $354,000 and be prepared to go higher.

The car I drove was in a reassuringly traditional shade of British racing green, but now that I’ve overcome my Lambo-phobia with the Urus, look out for me on the roads of Dubai in a bright lime-and-day-glo-orange Huracan.

Culture Summit Abu Dhabi to explore new theme amid COVID-19 setbacks

The virtual event will take place from Marcg 8-10. Supplied
The virtual event will take place from Marcg 8-10. Supplied
Updated 24 February 2021

Culture Summit Abu Dhabi to explore new theme amid COVID-19 setbacks

The virtual event will take place from Marcg 8-10. Supplied

DUBAI: “The Cultural Economy and the Economy of Culture” is the theme of the upcoming digital-only Culture Summit Abu Dhabi, set to take place from March 8-10. 

The fourth edition of the virtual forum, which will be open to the public, will bring together cultural leaders, practitioners and experts from the fields of art, heritage, museums, media and technology to generate new strategies and thinking, and identify ways in which culture can transform societies and communities worldwide.

There will also be a curated selection of artist talks, film screenings and performances all taking place during the summit.

Before the coronavirus pandemic, the culture and creative industries were one of the fastest growing sectors in the world economy. But the sector was one of the hardest struck by COVID-19.

Mohamed Khalifa Al-Mubarak, chairman of DCT Abu Dhabi, in a statement” “The global challenges of the past year have truly demonstrated the vital power of culture to improve our personal and collective wellbeing. Yet, cultural institutions worldwide continue to struggle to achieve funding structures to continue operating. It is now more important than ever to shed light on the critical role that the culture sector plays as an essential driver of sustainable economic and social development.

“We are proud to collaborate with top global cultural partners to convene renowned professionals from a variety of fields, ensuring the level and breadth of expertise needed for fruitful discussions and effective, goal-oriented outcomes.”

TV wildlife star Robert Irwin on keeping dad’s legacy alive as show set to launch in Middle East

Robert Irwin pictured with a tiger cub at the Australia Zoo. Supplied
Robert Irwin pictured with a tiger cub at the Australia Zoo. Supplied
Updated 24 February 2021

TV wildlife star Robert Irwin on keeping dad’s legacy alive as show set to launch in Middle East

Robert Irwin pictured with a tiger cub at the Australia Zoo. Supplied

DUBAI: The family of the late Australian wildlife expert Steve Irwin, known as The Crocodile Hunter, has been keeping the television personality’s legacy alive.

His wife Terri and their children Robert and Bindi run the Australia Zoo and their work there is featured in the popular reality TV series, “Crikey! It’s the Irwins.”

Irwin died in 2006 after receiving a stingray injury in a freak accident, but his family has followed in his footsteps by taking care of animals from around the world.

And now season one of their hit TV show has launched on discovery+ via Starzplay in the Middle East and North Africa region.

The Irwin family is passionate about nature and Terri, Robert, and Bindi have dedicated their lives to promoting wildlife conservation and inspiring the next generation of young people to take an active part in protecting and preserving the natural world.

“Dad’s passion and enthusiasm and love for wildlife was just absolutely contagious,” Robert, 17, told Arab News.

“That’s why I am so passionate about wildlife conservation. It’s hard not to be passionate about wildlife when you had a dad like mine. So, I definitely think it is a really big honor to get to continue that legacy.”

Robert Irwin photographed with his mother Terri Irwin and his sister Bindi Irwin. Supplied

Growing up at the Australia Zoo, Irwin’s son has been surrounded by animals for as long as he can remember. “When I was young, my parents nicknamed me The Moth Hunter. I was just super transfixed with chasing and catching moths,” he said.

Now in his late teens, the wildlife activist and award-winning photographer is responsible for a string of diverse and equally important tasks that include traveling around the globe to advocate for conservation, feed saltwater crocodiles, and check up on the zoo’s injured koalas at the family’s wildlife hospital.

“Life in the Australia Zoo is absolutely 100 miles an hour every single day,” he added.

When the Irwin family originally opened the Australia Zoo, it was a small reptile park, but it has since grown into a vast conservation area.

“We’ve really broadened our conservation reach, helping to support wildlife protection programs all over the world. We’ve secured over half-a-million acres of natural habitat and it’s become a really big, big program and a big hub for conservation,” Robert said.

When the family was forced to shut down the zoo for 78 days due to the coronavirus disease (COVID-19) pandemic, a change in focus was required.


“The pandemic had a really big effect on what we do here in Australia. We had to close our doors for the first time in 50 years. It was a really challenging and very stressful time for all of us, my whole family and for our whole routine.

“We had about an $80,000 a week food bill just to feed our animals alone. And, of course, no money coming in with no patrons. And so, it was really tough for a while there,” he added.

With the green light from the Australian government, the family was able to re-open the zoo’s gates with COVID-19 health and safety restrictions in place.

“We’ve now got social distancing signs everywhere and we have had to change our wildlife experiences to make sure everything is completely COVID-19 safe. But still, when people come into the Australia Zoo, they can still have a really fun and exciting day. You can still cuddle with koalas and rhinos – you just can’t cuddle with each other,” he said.

In addition to re-opening the wildlife sanctuary, the family is looking forward to welcoming the arrival of Bindi and her pro wakeboarder husband Chandler Powell’s first child, a baby girl.

Bindi, 22, announced her pregnancy to the world in January by recreating a maternity throwback photo her parents posed for while they were expecting Robert. Her family discovered she was expecting in an equally special way.


“After she called my mom and I and told us she was pregnant, Bindi wanted to share the news with the rest of the family and team. We were actually on our annual crocodile research expedition in remote bushland in northern Queensland, which is a three-day drive from the zoo and many kilometers away from any sort of civilization,” her brother said.

“We were sitting around a fire and Bindi just got up and told everyone about this exciting news. It felt very poignant because where we were is actually where dad used to catch crocodiles. It was his favorite place in the world, so it was very special.

“I just want this little girl to have the most fun, awesome, exciting life. Growing up in a zoo, it’s going to be pretty hectic. And I don’t know if she is ready for what’s about to come, but I want to get her in there, wrestling crocodiles and wrangling snakes and doing all the awesome things that we get to do. I might have to wait until she’s a little bit older, maybe until she can walk,” he added.

Egyptian film ‘One Night Stand’ to screen at the Louvre Museum in Paris

Egyptian film ‘One Night Stand’ to screen at the Louvre Museum in Paris
Updated 24 February 2021

Egyptian film ‘One Night Stand’ to screen at the Louvre Museum in Paris

Egyptian film ‘One Night Stand’ to screen at the Louvre Museum in Paris

DUBAI: Egyptian short film “One Night Stand” is set to screen at the Louvre Museum in Paris on Wednesday.

The screening will be part of the “Les Rencontres Internationales Paris” event, which started on Feb 23, that explores contemporary art and new movies.

“One Night Stand” is directed by Palestinian filmmaker Nour Abed and Egyptian director and producer Mark Lotfy.

The film is based on the directors’ real-life encounter in Beirut with a European man who was about to join the Kurdish militia to fight Daesh in Syria. 

The conversation was secretly recorded on a mobile phone and serves as the script for animated modeled situations and performative reconstructions of that night. 

“Les Rencontres Internationales Paris” will be streamed online due to the coronavirus pandemic.

Visitors can watch the livestream, that will also feature films, hosts discussions and performances, here

Bella Hadid, Dua Lipa inspire Hugo Comte’s first photo book

Bella Hadid photographed by Hugo Comte. Supplied
Bella Hadid photographed by Hugo Comte. Supplied
Updated 24 February 2021

Bella Hadid, Dua Lipa inspire Hugo Comte’s first photo book

Bella Hadid photographed by Hugo Comte. Supplied

DUBAI: French fashion photographer Hugo Comte released his first career photography book this week. The new monograph shines the spotlight on all the women who have inspired him along the way, including part-Palestinian model Bella Hadid, British-Albanian popstar Dua Lipa and Russian supermodel Irina Shayk, among others.

Comte collaborated with art director David McKelvey on the 200-page-book and focused on featuring existing and never-before-seen portraiture of his muses in the new tome.

The book, which is self-published, celebrates the first five years of his photography career. 

In addition to previously published portraits, the book also features never-before-seen works — special pieces made in collaboration with airbrush artists to repaint his imagery, as well as unique computer-generated pieces.

Dua Lipa photographed by Hugo Comte. Supplied

“I really wanted to create an object that is the symbol of my first years of work. I started to really feel that people created a sort of identity around me from that time period,” he said to WWD.

“I feel (portraiture) is the most intimate part of my work and where I express myself the best. Group shots don’t allow such intimacy. When I shoot an image, I always try to give the feeling that the woman is not being photographed but that she is looking through the camera, which gives a direct contact between the viewer and the muse,” he added.

The prolific imagemaker’s newly-released tome is untitled, instead the photographer wants to let his work speak for itself.

After arriving on the scene not long ago, he has quickly ascended to being one of the most-followed photographers on the Internet.

A page from the new book. Supplied

He is known for working with some of the world’s most-photographed women, such as Kendall Jenner, Vittoria Ceretti and Adut Akech. 

Memorably, he lensed Lipa’s “Future Nostalgia” album artwork.

The launch of the book is accompanied by an exhibition at Los Angeles’ Tase Gallery, where Comte will have a one-week show from Feb. 25 – March 3 of seven selected works in the brand new gallery space. 

The Book is also available for sale on It is limited to 2,500 copies, the first 50 of which have been signed by Comte.