From Cairo Roots To Dubai Beats: Shadi Megalla

by Sophie She

From Cairo Roots To Dubai Beats: Interview With Shadi Megalla

27 Oct 2024

The closest big event where you can catch Shadi Megalla playing? The Crowd Test Festival — the first-ever Art and Music Festival by The Sandy Times — on November 16, 2024, at Monkey Bar, Dubai.

Tickets are available here

With a career spanning over 25 years, Shadi Megalla’s influence extends far beyond the DJ booth. Through his record label, Ark to Ashes, and the intimate, vinyl-filled space of Flipside, he’s been a driving force in the UAE’s underground scene, creating a cultural hub where music comes first. Shadi’s story is one of continuous evolution — from self-taught DJ to a curator of sounds that blend the past and the present, the classic and the experimental.

From his roots in Cairo to a childhood shaped by the emerging landscapes of Abu Dhabi, Shadi's journey into music began when a simple cassette tape introduced him to the thriving rave culture of the UK in the early 90s. Over the years, he transformed that spark into a lifelong passion, eventually becoming a DJ and the founder of Dubai's beloved record shop, Flipside.

Let us get to know him better!

— Can you share a bit of your background with me? What inspired you to follow music?

— I was born in Cairo, Egypt, in 1979, but just a few months later, my family moved to Abu Dhabi in the UAE. My dad, being an architect, found the UAE to be the perfect place — there was so much opportunity for building the future from the ground up. We lived in Abu Dhabi but spent our summers in Cairo, keeping a strong connection with our roots. Life in Abu Dhabi was very different back then, but we had a wonderful childhood. It was safe, and kids could play freely outside. My sister, who is older than me, and I grew up in a small but close-knit community.

My interest in music began in seventh or eighth grade. A friend’s older brother, who was studying in the UK, brought back cassette tapes of raves — this was around the time rave culture was taking off there. The first tape I heard blew my mind. In Abu Dhabi, back in the 80s, we only had access to what was on the radio or sold in shops — mainstream music like Michael Jackson, George Michael, and Nirvana. The idea that there was a whole other world of music out there was completely new to me. I was hooked and needed to find more of this sound.

— So you were about 14 when this happened?

— Yeah, around 13 or 14. That is when the obsession started. Whenever we travelled to the U.S. for summer, I would spend my time searching for new music — though I mostly found hip-hop, jazz, and other underground genres rather than electronic music. But I always collected tapes and cassettes, adding to my growing collection. By 1996 or 1997, I started DJing, learning the craft from friends who were also in the scene. I bought my first turntables and a mixer right after high school, and from there, I taught myself to mix, using only vinyl records since that is what DJing meant back then.

— Is that how your project "Flipside" got its name?

— Yes, in a way. I have tried different DJing technologies, but they never felt natural to me. I found that using digital setups made me a worse DJ because they distracted me with too much information. I am a visual person, and vinyl records make sense to me. When I see a record sleeve, I instantly know what to play. It is a more intuitive process that connects me to the music I have been collecting for years.

— When did you start collecting vinyl records?

— In 1997, right after high school. I got my turntables, and even when I went to university, I took them with me. I didn’t have a large collection at the time, but it grew over the years. Now, I probably have between 2,700 and 3,000 records.

Instagram: @shadimegallaa

— That is a lot!

— It never feels like enough [laughs]. I did sell some records once, but I instantly regretted it, so I decided I would never do that again. Records are part of the journey — they represent where I have been musically. It is like a painter needing more colours, every new record adds to what I can express through my sets.

— You also studied architecture, right? How did that come about?

— Yeah, but I rather tried to study it. Architecture is very challenging — you needed a 3.0 GPA just to enter the program. I ended up taking a lot of electives and eventually switched to design management, which turned out to be a great fit. It allowed me to still work alongside my dad in architecture, but with a broader skill set that included business. That flexibility was perfect for me, as it meant more options after graduation. But after working with my dad for a while, I realised it wasn’t my true calling. I moved to Switzerland to pursue DJing, feeling like Abu Dhabi was too small for my ambitions at the time.

— How did that time shape your journey as a DJ?

— Moving to Switzerland was a turning point for me. I felt like Abu Dhabi was too small for what I wanted to achieve at that stage in my life, so I packed up and moved there, hoping to dive deeper into DJing. Switzerland became my base for about three years, and during that time, I immersed myself in the nightlife scene, DJing at clubs all over the country. The underground culture there was thriving, and it allowed me to refine my style and connect with a new audience.

Being close to Berlin was also a huge advantage. Berlin, especially during that time, was at the peak of its underground scene. It was just a train ride away, so I could easily travel back and forth, soaking up the influences from the city’s legendary clubs and bringing that energy back to my sets in Switzerland. Those years were intense — living from gig to gig, pouring everything I had into the music. But it was also a time of growth, both musically and personally. It taught me a lot about the realities of being a full-time DJ — balancing the highs of performing with the uncertainty of a freelance lifestyle.

After a while, though, I felt like I needed more stability. The excitement of living gig-to-gig started to wear off, and I began looking for a new challenge, a new chapter in my life. That is when I decided to come back to Abu Dhabi, work for a while, and plan my next move. But those years in Switzerland, with their spontaneity and the freedom to explore new sounds, definitely shaped the DJ I am today.

Instagram: @shadimegallaa

— Speaking about how your taste in music formed, who do you think has had the biggest influence on it?

— My musical taste really evolved during my later years in New York. I discovered a few record shops there that completely changed my perspective. One, in particular, specialised in first pressings — only original records, no reissues. If an album came out in the 50s, they would have the original pressing from that era. The prices ranged from about $35 to $300 or more, but for me, it was worth it. It was like finding a treasure trove of music history. I started exploring beyond electronic music, diving into blues, jazz, and funk.

I became a huge fan of Parliament-Funkadelic — George Clinton, Bootsy Collins, Fred Wesley, and all the other incredible musicians involved in that project. Each member of the band had their own solo projects, so collecting all of their records became a bit of an obsession. There is this whole universe within Parliament-Funkadelic, with every member contributing to different sounds and styles. I set out to find every single record I could, and now I have a huge section in my collection dedicated to them.

Of course, Lee "Scratch" Perry and the pioneers of dub music have been a major influence too. I love how they pushed the boundaries of sound and created a whole new genre from experimentation. Those experiences in New York, combined with my love for electronic music, helped me develop a more expansive view of music — seeing connections between different genres and finding inspiration in all kinds of sounds.

When I moved back to Dubai and opened the shop, I had to broaden my taste even more. Here, I couldn’t afford to be a specialist — I had to cast a wide net. People were new to the idea of buying records, so I had to introduce them to all kinds of music. Through the shop, I have probably listened to millions of records by now. I have learned to trust my gut when listening to samples — sometimes just five seconds is enough to know if I like it or not. That instinct has shaped how I curate music for myself and for the community.

— What motivated you to create Ark to Ashes?

— I had been producing music for about 10 years and was tired of releasing tracks digitally — it didn’t feel tangible. As a record collector, I wanted my music to exist physically, on vinyl, so that I could play it myself. Starting Ark to Ashes felt like a natural step to take control of my work. Plus, I was inspired by legends like Lee Scratch Perry, whose story of burning down his studio to free himself from people taking advantage of him resonated with me. That is where the name "Ark to Ashes" comes from, as a nod to Perry’s Black Ark studio.

— Did your family support your decision to pursue music and start the shop?

— Surprisingly, it was actually my parents’ idea. When I moved back to Abu Dhabi after my time in New York, they saw that I wasn’t enjoying working in architecture. One day, they suggested I start a record shop, knowing how much I loved music. At first, I thought a record shop wouldn’t work in Dubai — it wasn’t the right time or place for something like that. But I eventually realised that if I didn’t try, I would never know. I was young and had nothing tying me down, so I took the leap.

— How did the idea for Flipside develop? Did you envision it becoming a cultural hub?

— Not at all, at least not in the beginning. Flipside started as a way for me to access the music I wanted — it wasn’t a commercial decision. But over time, it naturally grew into a place where people in the community could connect. I have never focused on maximising profits, it has always been about keeping the music at the centre of everything. And despite the challenges of running it largely on my own, it has become a cultural gateway for people coming into Dubai’s underground scene. It is a place where tourists and newcomers can discover what is happening in the local music scene.

Instagram: @shadimegallaa

— How would you describe your connection with the audience during live sets?

— After 25 years, it is second nature to me. It is not something I consciously think about, it just happens. But playing in Dubai has its own challenges. The crowd here can be tough because there is less of an established underground scene compared to places like Europe or New York. People’s moods change quickly, especially when alcohol is involved — they might suddenly crave a faster, harder beat. The key is to find a balance between giving them what they want and keeping a bit of tension. It is like a story — you build up the energy, tease them a little, and then give them that moment of release. It makes the experience more powerful.

— What is a typical day like for you at the shop?

— There is really no typical day, it is always unpredictable. I will start around nine in the morning, make some coffee, send emails, and then listen to records to decide what to order. It is a constant juggling act — sometimes friends drop by, or customers come in with questions while I am trying to eat lunch. It is a public space, so there is always something happening. I have ADHD, so staying focused can be tough. If a day gets too chaotic, I will stay home the next day to catch up on work in a quieter environment.

— How much time do you spend listening to samples? Roughly.

— Roughly, about four to five hours a day. But I listen to no more than 6–10 seconds of the track. Then imagine listening to 6–10 seconds for four to five hours every day.

— Do you have a dream project in mind?

— I have thought about curating a festival or even just a stage at a festival. It would be amazing to bring together artists I admire and create a unique musical experience. But I am not really a promoter at heart. My focus is on creating and sharing music, whether through my label, producing tracks, or running the record shop. So, if the opportunity to curate came along, I would love to do it, but I am happy with where I am now.

— What message do you hope people take away from your sets?

— I hope they feel a sense of connection and escape. Music can be a refuge, a place to forget your worries for a few hours. I like to include tracks with meaningful vocals, especially those that resonate with what’s happening in the world. For example, there is a remix I play of Jamiroquai’s Emergency on Planet Earth — it is a powerful reminder of the state of things right now. But I am careful about when to play such tracks, they are special, meant for the right moment. Ultimately, I want people to leave feeling like they have been part of something meaningful, something that stayed with them.

— Any final goals or milestones you are aiming for?

Playing at Fabric in London, specifically in Room 1, has always been a goal. It is a club that had a huge influence on me when I was younger, watching DJs like Craig Richards play until the early morning. That space and those experiences shaped a lot of my musical tastes and how I approach DJing. It would be a dream to play there one day, to bring everything full circle.

by Sophie She

From Cairo Roots To Dubai Beats: Interview With Shadi Megalla

27 Oct 2024

Tickets are available here

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by Sophie She

From Cairo Roots To Dubai Beats: Interview With Shadi Megalla

27 Oct 2024

Tickets are available here

More from Interview

Wolfram: Italo Disco, Fashion Parties, And a New Year’s Eve Takeover

A New Chapter Of Oasis Festival Is Cooking. Interview With Marjana Jaidi

Lux Enters the New Generation: Interview With RM Sotheby’s

Life In the Fast Lane: Tyrrell Winston’s Dubai Debut At Volery Gallery

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