My music doesn't exist in a vacuum; there's a script and there's an actor and it's about to come together.

There's a big difference between the Arabic and Western scales. One uses quarter tone system and one doesn't. So in order for me to compose real Arabic scale melodies, I would need an Arabic keyboard, and I don't have one. So I had to compose Arabesque melodies.

I still think you people need to be curious [in order to absorb the culture]. You need to search Uzbekistani pop music.

I'm fascinated by evil queens. They're very alluring and repellent at the same time, and I'm into that dichotomy.

I only have a Bachelor's Degree but I've had professors who have instilled this kind of academic rigor in me where I don't make any generalizations or closed statements. There always has to be room for interpretation.

I've been exploring gender performativity in the Gulf since I was a teenager. I'm not a gender anthropologist, but I feel like there's an extreme binary between femininity and masculinity in the Gulf. From a young age, I knew I didn't want to be part of it. Gender is a huge gray area, and the problem with defined roles is that they cover up undefined ones.

I'm sure that a lot of my friends - even though they're curious about the music of nations that are not on their radar - still don't know what Kuwaiti music sounds like.