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The Story of the Saudi National Orchestra and Choir: The Voice of a Nation

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At the Palace of Versailles, on the eve of Saudi Arabia’s National Day (Sept. 23), the latest tour of the Saudi National Orchestra and Choir—part its Marvels program—brought together over 100 Saudi musicians, each with their own journey and story.

Versailles Echoes With New Notes

In early September, Versailles wrote an unfamiliar chapter in its long history. The same walls that once carried the sounds of French royal court music reverberated this time with a new rhythm. Among corridors filled with Europe’s old grandeur, the voices and instruments of the Saudi National Orchestra and Choir declared that the Kingdom now speaks to the world in a new language: the language of music.

This was more than a concert. It was a symbolic scene that captured the essence of a growing cultural movement—reflecting Saudi Arabia’s transformation as it reshapes its image through strings, voices and melodies.

More Than Just an Ensemble

Founded in 2019 under the Music Commission, the orchestra and choir were never meant to be just another musical troupe. Their mission was bigger: to create an academic environment for Saudi musicians and give local heritage a global platform.

The Marvels tour has already traveled through Paris, New York, London, Sydney, Tokyo and Mexico City. Versailles was not only another milestone in Europe’s most storied palace, but also a moment when a new generation of Saudi musicians stood proudly before the world—offering an image of their country that emerges from within, yet opens outward with confidence and passion.

The orchestra’s first international stop was Paris in 2022, where The Masterpieces of the Saudi National Orchestra and Choir debuted. The tour expanded to Mexico City, New York, London, Sydney and Tokyo, before returning home in early 2025 for a performance in Riyadh. In August this year, another Riyadh concert celebrated the graduation of the first cohort of the Saudi National Orchestra and Choir’s Music Education Program after two years of training.

Masterpieces Across Cultures

The tour carved a bridge between Saudi music and global audiences by adapting performances to resonate with each culture. In London, traditional song “Addayt fi Marqab” was fused with an Adele medley. In New York, Frank Sinatra’s classic “Fly Me to the Moon” was reimagined with Eastern rhythms. In Tokyo, audiences heard anime themes performed in Arabic.

At Versailles, in a 90-minute performance, the orchestra blended Saudi traditional and contemporary music with folk dances such as khibaiti, majroor and khutwa—before shifting into French and even operatic singing. The highlight came with a joint performance alongside the Royal Opera Orchestra, conducted by Egyptian maestro Hany Farhat—the first Arab ever to lead the French orchestra. The following day, Saudi conductor Reaab Ahmed took the baton, becoming the first Saudi maestro to lead the national orchestra.

A Mosaic of Over 100 Musicians

What makes this project remarkable is not just its academic foundation but also the diversity within its ranks. Behind the unified sound stand of over 100 musicians with unique stories.

Some left entirely different careers to follow music: Adwaa Shanan once practiced clinical psychology, Ma’an Al-Yamani worked as a sales consultant, Maha Abdullah in medical care while Ibrahim Al-Rashed, a pianist, was a network engineer. For them, joining the choir was a life-changing moment.

Their musical tastes are just as varied. Nawaf Al-Jizani, the youngest member, loves classical music—an influence from his father, though he admits to listening to rap like most of his generation. Chorister Fatimah Zahid shone in Versailles with her rendition of “Les Champs-Élysées” in French. Hataf and Taghreed Al-Shahrani prefer old Arabic songs, while Horia leans toward R&B.

Backstage, each musician carried a different mood and style, but once on stage, differences dissolved into one shared voice. That diversity—seemingly contradictory—gives the orchestra and choir their unique identity: individual tastes converging into a collective national sound.

“Our Music Holds Dignity and Majesty”

The orchestra and choir did not choose the easy path of merely performing existing Western classics. Instead, they placed Saudi music at the heart of their repertoire—songs by icons like Mohammed Abdu and Talal Maddah, and folk traditions such as samri, majroor and mizmar yanbawi—all reimagined in modern orchestral arrangements.

“Saudi music carries within it dignity, majesty and solemnity,” said qanun player Yazid Al-Aidi. The project preserved this essence while placing it in a classical frame, allowing the world to hear Saudi music as Saudis do—not replacing identity, but expanding its reach to new audiences.

Building From Scratch—But Building Strong

Saudi soprano Reemaz Al-Oqbi embodies both pride and realism. Trained in opera since childhood, she knows the challenges of pioneering a new cultural era—especially for women in a fast-changing society.

“Studying music from a young age gave me a different perspective, to see it as a real profession,” she said. “We are building from scratch in Saudi Arabia—but building a strong foundation, an environment where musicians can live with dignity and a clear future. It’s harder for women, but thank God, the opportunities are now here.”

“The Concert Is Like a Feast”

Between exhausting rehearsals and the thrill of audience applause, unforgettable moments stand out.

“The best moments are in the final days before travel, when the choir and orchestra come together and we finally see the full picture,” said Hassan Al-Mahouzi. For Nawaf Abdulhadi, joy comes when the choir conquers a difficult phrase in perfect unison. For Wahib Al-Salem, the performance day itself feels like a holiday: “The concert is like Eid.”

Yet all agree that the climax comes in the finale, when they bow and hear the applause. As chorister Rose put it: “The most beautiful moment is when the stage glows green”—the color of the Saudi flag, symbolizing both national pride and collective achievement.

A Nation Writing Its Story in Music

At the Versailles concert, Saudi Minister of Culture Prince Badr bin Abdullah bin Farhan declared: “Culture is a driving force for sustainable development, a key engine of economic and social growth, and a source of inspiration for future generations to build a better world filled with dialogue, stability and prosperity.”

The Saudi National Orchestra and Choir’s presence at Versailles was more than a performance. It was a symbolic announcement that Saudi Arabia is writing its cultural story with the voices of its sons and daughters. Each note testified to the transformation of a society opening to the future without abandoning its roots.

When over 100 musicians merge into one voice, the boundaries between individual and collective, past and present, local and global, blur—capturing the very essence of Saudi Arabia’s vision: a story that begins from within yet speaks to the world with confidence and creativity.

Saudi National Orchestra and Choir

Billboard Arabia

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Tim Dillon Fired From Riyadh Comedy Festival for Saudi Slavery Remarks: ‘They Didn’t Like That’

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Tim Dillon will not be traveling to the Riyadh Comedy Festival next month. The California comedian and host of The Tim Dillon Show podcast says he was fired from the Oct. 8 Saudi Arabia festival for comments he made about the country on Joe Rogan‘s podcast.

Besides losing a $375,000 payday (an amount Dillon confirmed to Rogan), he also lost a nearby warm-up gig in Dubai two nights before his Riyadh appearance after mixing up the Arab emirate with Abu Dhabi (the rival cities are both part of the United Arab Emirates).

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“I mixed them up — apparently this is a big deal over there. This is a real problem,” he said on a recent episode of his podcast. “This is not a malicious slander. It’s a mistake.”

The Riyadh Comedy Festival — which mostly takes place at the Bakr Al-Sheddi Theatre and ANB Arena from Sept. 25 to Oct. 9, features a number of top tier comedians including Dave Chappelle, Bill Burr, Gabriel Iglesias, Aziz Ansari, Kevin Hart, Jeff Ross, Chris Distefano, Tom Segura, Jo Koy, Sam Morril, Hannibal Buress, Andrew Schultz, Sebastian Maniscalco, Whitney Cummings, Jimmy Carr, Louis CK, Pete Davidson, Russell Peters and Chris Tucker.

“Supposedly, MBS is a fan of mine,” Dillon said two weeks ago on the Joe Rogan Experience podcast, referring to Saudi head of state Mohammed Bin Salman.

Dillon was reportedly fired from the festival for claiming that Saudi Arabia relies on slave labor — a controversial take on the country’s foreign laborers laws that some groups, including Human Rights Watch, have criticized as “slavery-like.” Legally, slavery was abolished in the Kingdom in the 1960s.

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Dillon said the slavery jokes were a misunderstanding with his Saudi hosts, saying on his podcast, “I was defending them for having slaves. I literally said, ‘Slaves are hard workers and for the most part agreeable.’ But they didn’t like that.”

“You can literally support somebody too much,” he added. “In life, this happens. Too many compliments; too much support — and then they turn on you.”

He clarified his comments further, noting, “If i was a slave — not that I want to be one, but if I was and I built this really nice thing, I might say to my slave children, ‘Daddy built that,'” concluding, “Apparently this got to the people in Saudi Arabia and they were unhappy about it.”

The Riyadh Comedy Festival opens Sept. 25 with performances by Burr, Maz Jobrani and Andrew Santino and Bobby Lee from the Bad Friends podcast. More here.

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Wilson Phillips, Kenny Loggins & More to Perform at Charity Concert Honoring Brian Wilson & The Beach Boys

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Wilson Phillips, Kenny Loggins, David Pack of Ambrosia and more are set to perform at a charity concert celebrating the music of Brian Wilson and The Beach Boys on Saturday, Sept. 27 at the Granada Theatre in Santa Barbara.

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Wilson Phillips features two of Wilson’s daughters, Carnie and Wendy Wilson, as well as Chynna Phillips, the daughter of John and Michelle Phillips. The concert will also feature Brian Wilson’s grandchildren, so it will spotlight three generations of the Wilson family.

The concert, dubbed An All-Star Tribute to the Music of Brian Wilson & Songs of The Beach Boys, will feature the Folk Orchestra of Santa Barbara. Other guest performers are expected to include The Honeys; former members of The Beach Boys and the Brian Wilson Band; and keyboardist Don Randi (The Wrecking Crew); with appearances by Rosemary Butler (Jackson Browne), Ken Stacey (Elton John), Hunter Hawkins (Kenny Loggins), Carly Smithson (American Idol), Alisan Porter (The Voice) and poet Stephen J. Kalinich. These acts will be backed by The Tribe Band, who will perform an array of Beach Boys favorites.

The show begins at 7:30 p.m. Here’s a link for tickets. VIP packages are also available.

Proceeds will be donated to Adam’s Angels, a local group of volunteers, and the Surfrider Foundation of Santa Barbara, dedicated to the protection and enjoyment of the world’s oceans and beaches.

Brian Wilson died on June 11 at age 82. He was the third member of the fabled group to pass, following brothers Dennis in 1983 at age 39 and Carl in 1998 at age 51.

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AI Artist Xania Monet, Diddy Sentencing Looms, Ticketmaster Lawsuit & More Music Law News

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THE BIG STORY: If you needed another clear sign that artificial intelligence is seeping into every aspect of American cultural life, here’s one: An AI artist just signed a record deal, the hallowed milestone of success for any emerging musician.

As first reported by Billboard last week, Xania Monet — the avatar of a woman named Telisha Jones who writes her own lyrics but uses Suno to create the music — inked a record contract worth millions. The deal has quickly become the talk of the industry, including from stars who have spoken out, including Kehlani, who said: “I don’t respect it.”

But…what exactly is a label buying here? It remains unclear the extent to which you can secure intellectual property rights to AI-generated songs, raising hurdles for monetizing them. And platforms like Suno are still facing trillion-dollar infringement lawsuits that essentially claim the technology itself is illegal. For more, go read our full story.

You’re reading The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. To get the newsletter in your inbox every Tuesday, go subscribe here.

Other top stories this week…

BLIGE CASE TOSSED – A federal judge dismissed a lawsuit against Universal Music Group claiming Mary J. Blige’s enduring 1992 hit “Real Love” infringed the oft-sampled 1973 funk song “Impeach the President” by the Honey Drippers, which has been used by Run-DMC, Dr. Dre, Doja Cat and many others over the years. The judge said the two songs were so different that nobody would hear the earlier song: “The songs do not sound the same.”

DIDDY SENTENCING – Attorneys for Sean “Diddy” Combs urged a federal judge to sentence him to just 14 months in prison on his prostitution convictions, asking him to reject the kind of “draconian” punishment sought by prosecutors. Because the star has already served 13 months in jail since he was arrested, that sentence would see him released almost immediately: “It is time for Mr. Combs to go home.”

LETTERS OF SUPPORT – To help make that argument, Diddy’s lawyers filed dozens of letters from supporters, pleading with the judge to show lenience toward the rapper when he sentences him next month. They came from Diddy’s mother and kids, from ex-girlfriend Yung Miami and from an executive at hip-hop label Quality Control Music — among many others.

SUNO SUIT 2.0 – Separate from the Xania Monet situation, the major record labels filed an amended version of their copyright lawsuit against the AI music firm, adding new allegations that the company illegally “stream-ripped” songs from YouTube to train its models. That’s a hugely important new claim: In a separate such lawsuit against Anthropic, a federal judge ruled this summer that AI training itself is likely a legal “fair use” but that using pirated works to do it could lead to many billions in potential damages.

FTC, YEAH YOU KNOW ME – The Federal Trade Commission filed a lawsuit against Live Nation and Ticketmaster accusing the concert giants of advertising misleading ticket prices and allowing scalpers to buy up tickets and resell them at inflated prices. The case came months after the agency sued a ticket broker that allegedly used thousands of fake Ticketmaster accounts to buy and resell tickets to Taylor Swift concerts and other events — and two years after Live Nation was hit with a sweeping monopoly lawsuit by the U.S. Department of Justice.

HYPE VID SETTLEMENT – Mike Tyson settled a lawsuit claiming he illegally used the Jay-Z, DMX and Ja Rule song “Murdergram” in an Instagram video promoting his boxing match against Jake Paul. The case was filed by Ty Fyffe, a producer and co-writer of the 1998 track who claimed that Tyson had willfully infringed his copyrights by using the song in a training video ahead of his much-hyped fight with Paul.

LOSE YOUR … CASE? – Meta urged a federal judge to dismiss a lawsuit from Eight Mile Style, a music publisher that owns hundreds of Eminem songs, which claims the social media giant made “Lose Yourself” and other iconic tracks available to billions of users. In the motion, Facebook’s lawyers argued the case was “remarkably short on specifics” about actual infringing material: “Fanciful estimates are not a substitute for well-pleaded facts,” the company wrote.

NEVER MEANT TO CAUSE YOU ANY PAIN – The Prince estate asked a judge to dismiss a lawsuit by the late singer’s Purple Rain co-star Apollonia (Patty Kotero) that claims the estate is trying to “steal” her name, arguing it has no intention of forcing her to change her name — and has repeatedly told her as much. The filing did say, however, that Apollonia secured her own trademarks during “the chaotic period following Prince’s death.”

SEX TAPE LEAK CASE – Colombian pop star Beéle was hit with a lawsuit alleging invasion of privacy and sexual cyberharassment from ex-girlfriend Isabella Ladera, claiming he is responsible for leaking their sex tape. Beéle’s reps have denied that he was the source of the leak and said the singer is “also a victim,” but Ladera’s lawsuit placed the blame squarely on him: “Only two people had the videos, and Ladera had already erased them almost a year and a half before.”

MEGAN THEE PLAINTIFF – Lawyers for Megan Thee Stallion argued in court filings that the social media personality DJ Akademiks must reveal whether Tory Lanez sent him a confidential DNA testing report during the singer’s criminal case. The filings came amid discovery in a defamation case against Milagro Gramz, a gossip blogger and ardent online defender of Lanez.

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