Redefining what it means to be an artist from the Gulf.
Saudi Arabia is undergoing a profound cultural transformation—a crossroads where the rapid currents of modernity meet the steadfast roots of tradition. Once perceived through a conservative lens, the nation now pulses with newfound energy, embracing pop culture through milestones like its own fashion week and vibrant music festivals. These once tightly shut doors are now wide open, paving the way for generational empowerment and creative expression.
Among the trailblazers is Saudi-Ecuadorian artist Mishaal Tamer, a pioneer of creative independence and one of the first to embody this cultural evolution. Mishaal’s music transcends borders, resonating deeply within Saudi Arabia and beyond. With a global fanbase and the distinction of being the first Saudi artist signed to a major label, his work bridges the modesty of Saudi heritage with a contemporary, international allure—a duality that mirrors the emerging Saudi identity.
As Saudi Arabia stands on the cusp of a cultural renaissance, Mishaal offers a glimpse into a future where creativity knows no boundaries. He embodies a world where an artist can feel as at home in Jeddah as they do in Los Angeles.
In this exclusive interview with PAUSE, Mishaal delves into the importance of mental health, his journey to self-discovery, and his vision for a Saudi art scene poised to shine on the global stage.
“BABA FEIN” brings attention to the generational evolution in Saudi Arabia, especially as more parents embrace art and creative jobs. Can you share how your family has influenced your journey and perhaps their initial reactions to your decision to pursue music?
Absolutely. I grew up very lucky in the sense that my family has always been into the arts and supporting creatives. But, even for me, with a family as supportive as that, it just shows how much this (societal, cultural) ‘change’ has affected everyone. When my parents first found out that I was into music, they were like: “There’s no way you are going to make this a job. You’re going to do computer science or you’re going to be an engineer, and you’re not going to touch music for college or anything like that”. It was up until recently I found out that in 2017 – when music and cinema were legalised in Saudi – it was called “The Awakening”. The parents that are now, a lot more cool, have now realised that you can actually have a career in a creative field and you don’t have to go for “normal” thing to do.
After years of doing this [independently], my parents are super supportive. They come to every single show, they are online, they repost and like everything. Khalas [Enough] there’s even a fan account, which has been exposed to being my dad on TikTok. You know when you have a slingback or a bow and arrow, and the further you pull back, the further you fly forward – that’s exactly what’s happening.
It’s so wonderful that your dad is your biggest fan. That’s a kid’s dream come true.
It really is a dream come true. BABA FEIN is about that. When I first told him “I’m going to be a musician”, he responded: “Ah, you’re going to be a clown…” In the song, there’s a lyric that says: “Sonny, if you’ll be a clown, you better be the best”.
I grew up in Bahrain, so it’s funny you mention the legalisation of cinemas and music, because every weekend, we’d anticipate the roads being busy because the Saudis were here.
It’s so nice to talk to someone who has seen that first-hand, it’s fascinating.
Your album title, Home Is Changing, is striking. How does this sense of ‘home’ reflect your experiences as someone who is both Saudi and Ecuadorian? What aspects of this duality most shape your music?
Home is changing was actually never meant to be heard by anyone but myself. When I was making [the songs], it was almost like therapy for myself – a form of self expression. That’s why there are chapters to the story. For a few years, I was writing, producing and recording these songs (over 800). What really sticks out to me is the coincidences, like when people talk about universal alignment, I feel that’s exactly what happened here. Home is Changing started before the awakening, but by the time it got to the end, I found myself back home in Saudi, in music, at the forefront of this change. Home is changing itself has multiple meanings, whether it’s me personally, or the way one feels when going through adolescence no matter where you’re from. In a sense, it’s got nothing to do with Saudi Arabia but then on the other hand it’s got everything to do with Saudi Arabia.
The song “Home is Changing” is also an eyeopener. When you become an adult, and you go back home, if there was a feeling to be described for the whole album, i would explain it as “growing up, leaving the nest, and when you return, you see it in a completely different way”. The way we see things at the end of a chapter is a universal feeling – to be human, regardless of where you’re from.
The title of your album suggests an evolving sense of identity. What has been the most difficult part of this evolution, both personally and artistically?
Absolutely, even art in general, I like it to be open to interpretation. The title “Home is Changing” can be whatever you need it to be. It can be yourself even. For me, it was myself.
Even within that, your structural approach is refreshingly uncommon today—each carefully crafted subsection guides the narrative, with each segment laying the groundwork for what follows, creating a seamless, unfolding story.
Exactly. There are even little clips in there that are very very vulnerable. Some of the audio was extracted from videos that I didn’t even know were filmed. It was me, on the beach talking, just being super vulnerable and I think it’s important to also show that side. Especially in such a youthful country, where 70% of us are within that, this is the reality of being a human.
Saudi Arabia is entering a new phase of mental health awareness, a subject you address openly in your music. How did your own experiences with mental health shape the stories you tell, and what do you hope to communicate to listeners who might feel unseen?
From the music [side], I have always been open. But, what I have found is that people are now feeling inspired – there are young students in Saudi that are creating these programmes, in different cities within the Kingdom, to show people about therapy, and educating them on different perspectives of mental health and how to treat it. I’m very proud to have a small part of that as it’s such a progressive thing for us, just thinking about how many lives can be saved because of that. That is what is important to me.
You use symbols like the dishdasha in your visuals and weave Arabic lyrics into your music. How do you balance the desire to stay true to your heritage while also making music that speaks to a universal audience?
I just stay true to myself. I am half Saudi, half Ecuadorian, and luckily, growing up I travelled a lot, and was able to make friends all over the world. The reality is, I am not the only one, for a lot of Saudis [even those that have stayed within the Kingdom], have grown up being exposed to the internet, using Discord and becoming inspired by the world and connected to the world. I want to emphasise that I am not the only one, even beyond music, we’re in the age of the internet. There’s something currently emerging in Saudi called S-POP. It’s not a music genre at all, if anything it’s the lack thereof. It’s a pop-culture stemming from Saudi Arabia, where we enter fashion and creative spaces that can’t be in a box – it’s inspired by the internet, and global connectivity, and it’s the perfect time for it.
I almost feel like Saudi is now at an advantage, it’s almost like they’re new to the game but have the advantage to mould this cultural moment into something both groundbreaking and uniquely Saudi. With the creative scene in its infancy, what opportunities do you believe exist for young artists today that didn’t a decade ago?
It’s really something special, there are so many opportunities. Look at Riyadh Fashion Week for example, the designs coming out of the Kingdom are crazy. I encourage everyone within this space to keep an eye out on the region and understand that the time is now.
Collaborating with international icons like OneRepublic and producing for major games has given your music global exposure. What lessons have these experiences imparted on you, especially in defining your own artistic path?
I think what’s important for me is to remember I’m still young and I’m still improving everyday. I have been doing this since I was 9 years of age and I feel very lucky to have access and exposure to people like Ryan Tedder from OneRepublic. The dude is an incredible song-writer, he’s written everything from Beyonce’s Halo to some of the new Tate McRae stuff. [Alhamdulillah] I feel as if I am in the right place at the right time. All I hope to do is continue, learn more and better myself to give the best that I can.
As a trailblazer in the Saudi music scene, do you feel a sense of duty to represent the Kingdom’s creative potential on a global stage? How does this influence the stories and themes you choose to explore in your work?
Here’s the thing, nobody is telling me to say anything about Saudi, I say this because as a country we deserve it and I am proud. I want to emphasise this. If you speak to anyone young from Saudi, [granted], they’d say the same thing. They are proud too. We’re such an awesome youth, they are authentically themselves that in turn brings realness to their work. You see that from Riyadh Fashion Week, you see that in music, and even the movies coming out. Saudi Arabia is the future.
Speaking of the future, let’s talk fashion – as we pride ourselves on being a fashion publication, where do you see yourself creatively within that space and beyond music?
Actually, a couple weeks back at Riyadh Fashion Week, I walked the runway (with my Cousin Taleedah Tamer, who is a model) wearing a T-shirt saying “Saudi Is The Future” designed by Mohammed Khoja, it went super viral here in Saudi.
Lastly, if you could capture the future of Saudi’s music scene in one word, what would you say?
Right now, I’d say the word: “future”. I want to say exciting, because it feels that way, but really and truly it’s the future. As you mentioned before, if Saudi is in its infancy, that implies that there must be a future. Everyone is looking ahead and doing what we’re doing with that vision in mind. We remain peaceful, focusing on growth, being ourselves and pushing a culture forward. It’s a beautiful thing.
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