Tayeb Santo: ‘The Monkey Grants Me a Social Superpower’

by Sophie She

Tayeb Santo: ‘The Monkey Grants Me a Social Superpower’

14 Aug 2024

Photo: Ahmed Tarek

Who is that young, dynamic artist who has seamlessly blended his multicultural background with a passion for music? His name is Tayeb Santo.

Growing up amidst the vibrant streets of Sharjah and Dubai, his early exposure to Arabic rap and the creative underground scene shaped his unique sound and identity. Enriching his cultural background with an exploration of Malaysia, Tayeb is about new sounds. With a keen sense of community and a deep appreciation for cultural diversity, he has made a name for himself in the evolving landscape of Arabic hip-hop.

Want to know him a bit better? Carry on reading.

— So, let’s start with some personal background. Can you tell me how you first got into music?

— It mainly started because I used to listen to a lot of Arabic rap music, primarily from the UAE.

We had forums back then, and everyone would share music via Bluetooth—it was a real community vibe. Places like D3 in Sharjah or the malls in Dubai were hotspots where you could really feel the music's impact. There was genuine talent in that generation, a different kind of creativity that was spreading through the culture.

That culture really inspired me to memorise rap lyrics. Eventually, this led me to think, "I want to rap." In school, I met a few who had started rapping, and I tried rapping for the first time. It began casually, just meeting with a friend at his house to record. It was very amateurish, but just the act of recording felt incredible. Anything we created seemed cool.

I finished high school in 2012 and moved to Malaysia for three years to do my bachelor’s in business. During that time, I wasn’t very active with music because it was a big shift in my life — playing football and doing different things. There weren’t many people around who were into Arabic rap because it wasn’t that popular. But after I came back, I started getting excited about it again. It was partly because the music scene was shifting, and even though Arabic rap wasn’t as popular anymore, platforms like YouTube were still new, and the rise of music videos encouraged a lot of artists to come out and make music. That definitely boosted my popularity, and it made me believe in what I was doing, not just for fun but because I really wanted to do it. So that is how it came about.

— Do you remember who your main musical influences were when you started? Were they perhaps your parents or maybe friends? So, would you say it was mostly your community or your friends who influenced you?

— I think almost no one; it was a pure interest that drove me. However, back in Algeria during the '90s, I remember my neighbours — five brothers with a studio in their house. It was always so loud. They were really into American hip-hop and would have local rappers come by; the place always had a great vibe. Although I was very young, I found myself catching glimpses of their world, sometimes even meeting some of the artists. Those early experiences exposed me to the scene, and perhaps that is why I feel so connected to it now.

— And you have two Master’s degrees, right?

— I have a bachelor’s degree in business from Malaysia and two master's degrees — one in digital marketing and another in fashion business from Manchester. The main reason I pursued two master’s degrees was my desire to travel abroad.

I did the master’s, and then there was Brexit and the COVID. During that year, I finished my master's, but I couldn't find a way to stay and continue. When I went back, my father wanted me to go to Australia or New Zealand because it was easier to get the necessary papers there. But I was like, "Why go all the way there? I want to do music." I realised Dubai has opportunities, a fresh environment, less long-term competition, and chances to grow. This is my city, and since I do music, I knew this was where I needed to be. My father doesn't know I do music, and I decided not to tell him. If he finds out, he finds out.

I convinced him that after Brexit, the UK now offers a two-year visa for international students. I told him I would do another master's, and he didn’t know much about it. I made it happen, went back to the UK, finished after a struggle, and got my two-year visa. But once I had it, I came back. I sacrificed a lot to finish that master's, but I knew I had to return. I still have the visa until the end of this year, but I don’t see myself going back to the UK to stay because my family is here.

Photo: Tayeb's personal archive

— I know you speak several Arabic dialects fluently. Could you list which ones?

— Because I am Algerian, I speak the Algerian accent, Derja. I also speak Emirati because I grew up here. There are many people like me who are fluent in both. I grew up in Sharjah, where I played football with a lot of Sudanese people, and my school was Sudanese, too. So, while I don't pretend to speak like them, I understand how they talk and can smoothly mix Sudanese words into my accent without disrupting the conversation. I also understand Egyptian since we grew up watching Egyptian TV, music, and shows.

In general, I don't use these accents often, except creatively in music. But if I am in Egypt, for example, I might gradually switch to speaking Egyptian because it is better than using a GCC accent, which might make me stand out or seem unfamiliar. Speaking Egyptian helps me blend in better. I am familiar with other accents, too, mainly because of my diverse group of friends. I think it is cool to express this, as it reflects my cultural background and where I come from. I am sharing this now because it is an interesting piece of my identity. But I won't keep bringing it up all my life.

I don't remember exactly how, but I managed to pick up different accents just to get by. On my first day of school, I saw a lot of kids from different nationalities, and some of them were even bullying me. But being in school, especially in Ajman, where out of 25 kids, 15 or 13 were locals, I naturally adapted. I didn't want to speak Egyptian or stay with the Egyptian group because Algerians were a minority. But I also didn’t want to speak like a Syrian or any other group. It was natural to adopt the local accent because it felt like the best way to express myself and fit in.

— You have been involved in music for most of your life. How has your music evolved since you first started? How would you describe the changes?

— Sonically, I haven't found my sound yet; I am still experimenting. I am consistent in staying involved with music, whether I am writing or working on projects like releasing tracks or shooting music videos. It is challenging to balance everything, and sometimes focusing on these tasks takes me away from making music, which worries me because I want to be more involved. I love music and want to keep improving, so I stay engaged by writing and collaborating.

A friend of mine in Ajman, Saif, aka S.M Records, has been a big help. He is a musician, producer, and sound engineer with a small studio. We connected on social media four years ago during the first COVID wave, and since then, he has opened his doors to me. His studio may have basic equipment, but the energy we create together is incredible. Without him, I wouldn't know how to sustain my music because I don't enjoy recording and the technical process.

As I continue, I realise the importance of improving and not just facilitating things. The more I grow, the more I understand the need for discipline and structure, though I have struggled with that. I try to see the bigger picture, understanding the music scene here and my place in it. There is still space for better music in the UAE, especially in Arabic hip-hop, which is where I want to make my mark.

I am on a journey. I hope more opportunities will give me the leverage to improve and grow, both in terms of skills and resources. Consistency and vision are essential, and I strive to enhance those. In the UAE, especially in Dubai, there is space for growth, and I see room for me to contribute more to the Arabic hip-hop scene.

— And in terms of the sound? How did your sound change?

— I don't like to box myself into a particular sound. I am constantly adapting and exploring. Lately, I have been getting into Dutch music, for example. I stumbled upon one Dutch artist on my music algorithm, and he is amazing. He does trap, so I immediately added his tracks to my playlist. Over the past month, I have been discovering and adding new music that resonates with me.

I go through these cycles where I curate playlists based on different vibes. To create my music, I often search for producers or type beats on YouTube, which is my go-to resource. When I find a beat that clicks, I think about how I can adapt it into an Arabic version, whether from scratch or by tweaking the beat I have found. It is all about capturing the right flow and making it work with what I can do.

Honestly, I haven't found my specific sound yet because I am still exploring. I am always trying to be practical and engaged with the music. If I am not actively creating, I am writing. Balancing music production and promotion can be challenging. You might not be making music directly because you are busy with videos, but it is all part of the process.

The challenges I face are about balancing my passion for music with the logistical aspects — maintaining consistency, having a vision, and navigating the industry. I am aware of my weaknesses, like discipline, but I also know my strengths, such as having a good eye for what works in music. I am always comparing what is happening in the scene, assessing whether my music is up to par, and striving for less competition to make better music in the UAE.

I focus on the Arabic hip-hop scene here, but I also appreciate those who create English music authentically. My approach involves reaching out to potential collaborators like the Omani producer I met recently, who brings fresh beats and understands the local sound. This proactive approach helps me blend different elements into my music, making it uniquely representative of where I am from.

Whether the sound becomes popular or not, I am committed to creating music that feels right to me and represents my experiences and influences.

Photo: Tayeb's personal archive

— Okay, now — your monkey. What is it?

— The monkey is something I got as a necessity before, and it looked cool. I had the courage to wear something goofy like that, and over time, I noticed that people interacted a lot with it. It made people like me more, and I felt the love. So, I decided to keep wearing it, though not everywhere — just at specific events. For example, I wore it to a Gucci event in D3.

It gave me a sort of skill or power in social settings. The monkey has become more than an accessory; it is like it grants me a social superpower. Initially, my enthusiasm was driven by my desire to network and meet new people at events. It is a creative touch that adds a unique flair.

I have also received some critiques, like from a friend who is a manager and an artist. He suggested I should stop wearing the monkey to appear more serious. I considered his advice, but I realised I could maintain my style while still being professional. The monkey is part of my identity, and it has been beneficial.

— And how do you find this balance between modern and...

— There is no balance. I don't want to brag. I am not too diverse. But I am diverse in terms of where I come from. It is inherent in my daily life. This gives me a sort of permission, an excuse even, to not limit myself sonically but to focus on making quality music. It is not just about the sound per se, but about the quality of it, which, in a way, is about the sound but approached differently. It is about the craftsmanship — whether it is in the writing or figuring out how a piece of content can stand out. As artists, we want our music to be heard; we don’t make music just to keep it to ourselves. So, I want to create tracks that not only get heard by a hundred people today but can reach two hundred next time. I need to incorporate elements that amplify its appeal and ensure it grows. That is the straightforward truth of it.

— So you do sort of A/B testing, right? You want to do this and see how people react.

— I guess that is the only way.

— Given your diverse cultural experiences, have you noticed any differences in how Arab music is received internationally versus locally? How do the audience responses vary?

— In the beginning, there is often resistance. Some people, upon hearing Arabic music, might initially react with scepticism due to unfamiliarity or preconceived notions, thinking, "This is not cool" or "What's this?" However, there are others — typically younger listeners or those who connect with the artist — who are more receptive and excited.

As time goes on and the music scene evolves, perceptions begin to change. The music improves and starts resonating more with listeners. When it reaches people here, they are often impressed, saying things like, "Oh wow, this is hard. This is cool. This is nice." You will notice a very mixed audience tuning in to artists like Wegz, who is the top artist in Egypt. His ability to attract listeners from diverse cultural backgrounds speaks to the quality of his music and his distinctive Egyptian accent, which adds a layer of authenticity and relevance.

The way Wegz promotes his music shows that any artist can build a broad audience. This realisation is encouraging because it proves that music can evolve and reach listeners far and wide. There is no fixed box for who your audience might be; people often listen for the vibe. As an Arab, I aim to draw more Arab listeners, but I am also open to reaching anyone who can relate to my lyrics. I don’t restrict my audience.

The concept of growing a fan base, similar to YouTubers like iShowSpeed, demonstrates that popularity doesn’t adhere to strict rules. His success comes from attracting people based on content type rather than nationality, providing a healthy, expansive space for growth.

— You have a lot of collaborations. You have an eye out for other artists. Are there any names in the world, globally, from any people in the world... You would love to collaborate with? What would be your dream collaboration?

— There are some dream collaborations…

— A$AP Rocky?

— Haha! I don't want to say it, and I don't want to sound like that, but I know it probably won't happen. But because I think it won't happen, maybe it could, you know? Type of situation.

There are a lot of artists around here, of course. I would love to work with anyone who really makes good music. It is about the joy of creating with the right person. Especially when there is someone I feel is better than me in the room when we are making music. It just lets me flow and try my best without any stress.

I had this experience recently. I worked with a couple of rappers from Egypt on one song called "Berka." It was shot in black and white. I always look back at it fondly after coming back from travelling, thinking, "What we did there was something special." I am glad I was part of it because I know I couldn't have come up with all of that alone. There were so many contributions, especially from the producer and the artist, which made me very comfortable.

And when I did something melodic, using autotune, I received a lot of mainstream love, which is cool. It shows that the song is hitting everyone. Now, even a girl I know is putting my song in her playlist just because it sounds nice, not necessarily because she likes me. Most people don't put your music in their playlist anyway. So I know why. It is actually the song itself that is drawing them in.

This appreciating and admiring, it is not just about me. It is about the environments, the steps, the contributions. When I came to do my part, it just clicked. Even when I go back and trace how I did it under the pressure, I remember thinking, "This is a good opportunity.' The rapper I was working with has produced for Drake and J. Cole, and despite coming from a small local village, he is incredibly talented. I was very pressured, but then when I went to the studio, I just mumbled the melody and wrote to that melody. My words weren't deep, but the melody and the beat complemented each other well.

Instagram: @santoxsanto

— And your video WASTA was a success, right?

— Yeah, about that song — I usually tell people I don’t like my verse in it. Honestly, I feel I could have done way better. I just did it because my friend asked me for a verse, and I wanted to support him. What he added was cool, though.

With Onative, we have always stayed in touch, watching each other do our thing. He had moved back to Russia for a while, and during that time, he reached out about a song he was working on. He wanted me to jump on it, so he sent it over. I agreed, wrote my verse, and then went over to his place to record it. When I did, I wasn’t happy with how the vocals turned out — the quality just wasn’t there.

I was counting on him to handle the mixing, but it felt like the recording might have been messed up from the start, or maybe he just focused more on mixing his own parts and the hook because they sounded really sharp. He produced the beat, too, so I kept thinking something was off. But for him, blending Arabic with Russian was cool, and that is where the success of the song really came from. That is what collaboration is about, though. It doesn't happen every day, and this wasn’t something we had done before, so there was definitely room for improvement.

If we were more engaged, I think we could have achieved even more, especially considering how hardcore the Russian audience is with their music. They really love this guy because he is something new to them. He is a Dubai kid, grew up here, and even taught English here despite being from Uzbekistan. He speaks Russian fluently, his English is great, and he is deeply familiar with Arabic culture.

He could easily hop on an Egyptian track, just mumbling along. He once sent me something for a very famous artist, asking me to write something for it, and I was like, "Seriously? You’re incredible!" He is so well-integrated here that it resonates in his music, which his audience really supports. I have noticed the distinct Russian melodies he incorporates — I don't understand them, but I can tell the girls in Russia go crazy for it.

I have seen the support firsthand. Last year, I performed with him at a small club in JBR, and the love was palpable. People really showed up for him. Even now, I see he is getting bigger and bigger, building a fan base that appreciates his fresh approach. He doesn't just bring cultures together in his music; he introduces his world to them in a way that is genuinely captivating.

— And what have been the most rewarding moments of your career so far?

— Last year, something incredible happened that I doubt will happen again. There was this new app called Artist, created by a Lebanese guy who grew up in America. They wanted to create a platform specifically for dancers and musicians, kind of like TikTok but exclusively for artists. Despite its potential, I was sceptical. I mean, competing with TikTok seemed like a huge stretch.

Long story short, they were offering paid opportunities to promote the app. They needed two videos from me talking about the app encouraging downloads, and they were paying 2000 dirhams. I really needed the money, so I went for it. After submitting the second video, the coordinator told me I also needed to participate in the first round of their competition, which promised a $10,000 USD prize for the winner. I was dubious but promoted it anyway.

So, I filmed a 16-bar piece and submitted it for the first round. Out of maybe 200 entries, most didn’t seem too impressive. Surprisingly, I made it to the second round with about 38 others. Seeing the prize money confirmed again, I thought, "Why not?" and continued. By the final round, there were 18 of us left — a mix of talents, not just rappers, both local and international.

Looking through the other submissions, I began to believe I actually had a shot, despite my concerns about the judges possibly favouring a singer just for having a nice voice. You can't always trust appearances, especially with judges who might not fully understand the art.

For my final entry, I didn't just do a full song; I combined snippets of two unreleased tracks — one boom bap and one melodic demo — into a 16-bar piece. I mixed everything into a quick one-and-a-half-minute medley showcasing different styles. My friend and I filmed it outside in the blazing Dubai heat.

And I won. I won the $10,000 USD.

That win was a lifesaver. I was struggling to pay my rent, and suddenly, this came out of nowhere. That day, I felt like I truly grasped the potential in music. It felt like, for a moment, you could actually get rich from this — it was unbelievable but real.

— What motivates you to be in such a competitive market?

— The money! And competition. It is not just about proving I am better than anyone else. It is about demonstrating what I can achieve. Like, when you are in a competition, it is not just about bragging rights. It is about showing that you've got what it takes, that you can actually do this.

— Last one. What do you do in your free time when you are not making music?

— I waste my time. I gotta find ways to waste less time.

I often feel like I am wasting time and need to find ways to be more efficient. It is like I am caught in a trap, especially with social media. I can't just deactivate my Instagram because what if someone reaches out with an opportunity to book me?

People talk about feeling drained and needing to detox from the toxicity, and I am curious about that. They claim it makes them better, but I am sceptical. I haven't experienced it myself, so it is hard to take seriously. They take a break, say for two weeks, and come back claiming to be transformed, yet they often slip back into old habits. I wonder, what is the point of such a break? Is it really about feeling better or just a temporary detox? I am genuinely interested to see if it works if there is a real benefit to it. I hope it is a constructive way to handle things.

by Sophie She