With a quarter of the world's oil reserves and some of the lowest production costs, Saudi Arabia is likely to remain the world's largest net oil exporter for many years. But the Kingdom is characterized as much by its closed, secretive nature as it is by its fabulous wealth. With a general lack of freedom and openness, its musical culture can feel as arcane and as tricky to get a grip on as the politics of a country whose cabinet is made up of various princes and members of the ruling family.
For a start, Saudi Arabia is a kingdom in which the practice of Islam permeates every aspect of the state. It is home to many of Islam's holiest sites, including Mecca and Medina, and music is considered haram or sinful by some Muslims. This is based, in part, on certain ahadith (sayings about the life of the Prophet Mohammed) which speak negatively of musical instruments and the notion that music is a distraction from God. In the early days of the current Saudi state, authorities were anxious to repress music other than traditional rhythmic percussion. But, as is often the case, technology has led the way to change, and the arrival of radios and CD players in the country has opened the door to music to the extent that the ubiquitous, shiny malls in most Saudi cities now have crowded music shops. Another drawback for the casual student of Saudi music is its reliance on the Arabic lyric. Unlike much Egyptian or Lebanese pop, where the words of a song are frequently variations on "Habibi, habibi" (much like western "baby, baby" pop) the music of the Gulf States—and Saudi music in particular—tends to be built around poetry. Without the language, it is hard to appreciate the beauty or intensity of a song.
Western music is now embraced by many of the younger generation—particularly, for some reason, R&B and gangsta rap - but local music very much reflects the rhythms and traditions of the country. Traditional Bedouin song styles can be heard throughout Saudi Arabia and a number of Saudi singers are among the most highly regarded in the Arab world, as seen by the considerable number of releases from Saudi singers, although those recordings are almost exclusively made in Cairo, Beirut or, increasingly, the UAE. These artists are rarely heard in "world music" circles and when they sing beyond the Arab world it is almost exclusively at "white tablecloth" affairs, in hotel ballrooms, performing to an audience of expatriate or visiting Gulf Arabs. With no cinemas or theaters in Saudi Arabia itself, live music is an important entertainment, although outlets are limited. The Jenadriyyah, an annual two-week cultural festival held near Riyadh, features handicrafts such as weaving and woodworking alongside performances of traditional music and dance from around the country.
Like many of its Gulf neighbors, khaleeji (Gulf) folk traditions are popular styles. Saudi traditional music is quite limited, however. The bedouin lifestyle militated against carrying numerous musical instruments, and so simple rhythms, with the beat counted by clapping or striking together everyday implements forms the basis of the music. These choppy rhythms, which can actually sound very funky and exciting to a western ear, characterize Saudi music. One of the most distinguished musicians in recent Saudi history is Tariq Abdul Hakeem who composed hundreds of famous Saudi Songs for himself as well as for other singers, including the Saudi national anthem. Bizarrely he curates his own museum, which he has recently been obliged to re-open.
Across the Arabian Gulf there are female singers such as the Kuwaiti Nawal or the Emirati Ahlam, but, reflecting the cultural and political values of the kingdom, the recording artists from Saudi Arabia are exclusively male. In the popular field, since the death of Talal Mdah in 2000, Mohamed Abdu is probably now Saudi Arabia's foremost, and certainly most prolific, pop star. In a career spanning more than forty years, the Fanan El Arab ("the Arabic Artist") has become one of Arabic music's biggest stars and performs internationally. Of the same generation as Abdu, the oud virtuoso Abadi al Johar has earned himself the nickname "the octopus" due to his dextrous playing. Lately Abdul-Majeed Abdullah and Rashed al Majed have made a significant impact across the Gulf and beyond.
Originally introduced to the public by Talal Mdah, Rabih Saqr is the Saudi singer who has created the most modern pop sound. He first appeared in 1992 with "Ya Nasiem Al Lail," then followed with others like "Biscat," and "Sarien." He has recently released a CD of remixes of his songs. —Tom Jackson
