Moroccan-Canadian Artist El Mehdi To Release Debut Single “EL KASS HLOU”
Montreal-based artist El Mehdi (formerly Mehdi Bahmad) makes a bold return with his debut single “EL KASS HLOU,” blending Moroccan heritage with modern sounds. This vibrant track, a reimagining of a classic by Moroccan music legend Houcine Slaoui, explores themes of love and desire. El Mehdi, whose music fuses pop, electro, classical, chaâbi, and Amazigh influences, pays tribute to his roots while honoring the diversity of Moroccan culture. Released via RENAISSANCE, the song is accompanied by a music video showcasing rare archival footage, celebrating the richness of North Africa’s Amazigh people.
First off, care to introduce yourself to our readers?
My name is El Mehdi. I was born in Morocco but grew up in Canada, with a brief chapter in France. I’d describe myself as a nomad, though my roots are very deep. I’m not one to talk much about myself in all honesty—I prefer to let my music and work do the talking. I guess what I’m planning next will say more about me.
Your new single, EL KASS HLOU, is set to release on November 28th. Could you tell us about the inspiration behind the song and how it connects to both your personal journey and your cultural roots?
EL KASS HLOU was inspired by Houcine Slaoui’s legacy. Growing up, I was familiar with Haja El Hamdaouia’s rendition of the song, which is very popular in Morocco. It wasn’t until a few years ago that I discovered the original was actually by Houcine. What struck me was how they turned the entire song into a soft ode to Moroccan tea in Haja El Hamdaouia’s version. In Houcine’s, however, the “glass” is a metaphor for alcohol, which is Haram. Learning that felt both special and unsettling as if a piece of our history and identity had been censured.
That realization made me want to pay tribute to the story Houcine wanted to tell and bring it back into the spotlight. Reimagining this classic piece allowed me to honor my cultural roots while exploring the contradicting parts of my identity. It’s more than just a tribute. It’s a celebration and proof of how beautifully the seemingly conflicting bits of our identities can coexist and become strengths.
The song is a tribute to Houcine Slaoui, one of the pioneers of modern Moroccan music. What drew you to reinterpret his work, and how did you approach blending his style with your own unique sound?
From a songwriting perspective, the original song already felt particularly pop to me. The lyrics are quite simple yet open to countless interpretations, which is what I loved the most. When I sing them, I feel like they take on a completely different meaning and carry new emotions, that’s what made it so interesting for me to reinterpret.
My approach was to strip it down to its essence and build from there. I started with just a piano, so I could make it my own. Then I reshaped it into a more contemporary pop structure. I sent a voice memo to Robin (SŪN JÙN) on WhatsApp, he sent back a first demo later the same day and then the rest unfolded.
EL KASS HLOU blends various genres, including pop, electro, classical, chaâbi, and Amazigh music. How do you navigate these contrasting musical styles to create something that feels cohesive and true to your vision?
I overthink many things in life, but not this one. I grew up listening and loving so many different and contrasting genres—they’ve shaped my taste and ear. I simply trust and follow whatever comes; it’s instinctive.
What excites me the most is discovering unexpected connections between styles that might seem worlds apart. For instance, while working on the music video, I noticed a Gnawa dance move that reminded me of a Pussycat Dolls move in their Buttons live performance. It struck me because I’ve always been drawn to that particular movement, and now I realize it probably resonated with me because I’d seen something similar growing up. No matter how different our backgrounds, we’re still so connected.
The production of the track involved a collaboration with SŪN JÙN and was mixed by Wez Clarke. How did working with these talented people shape the final sound of the song, and what unique contributions did they bring to the project?
SŪN JÙN and I connected two years ago. After discovering his work through Tallisker, I sent him a demo, and when he sent it back, I was moved to tears. Without knowing each other, without saying much, we spoke the same language. He’s extremely talented, passionate and sensitive, and I think that energy brings a lot of depth to the music.
As for the mix, after spending so much time producing, we needed fresh ears. We considered many mixers before landing on Wez Clarke. I was already a fan of his work and felt he would bring the right touch to the mix.
Through the process, I’ve learned how vital it is to work with people who share similar references and creative visions. On a human level, openness and curiosity is also key. I will now forever seek that feeling when the first listen feels just right.
The accompanying music video for EL KASS HLOU features extensive archival research into forgotten audiovisual treasures from Moroccan archives. What inspired this approach, and how does the video complement the themes of the song?
I’ve always had the idea of using archival footage for a music video in the back of my mind, and it felt just right with EL KASS HLOU. My goal was to present Moroccans—and Morocco—in a way that feels empowering and reflective of our rich and diverse culture. I also wanted to highlight how performance and celebration is in our DNA. It was an emotional journey sifting through these visuals. The video, just like the track, bridges the past with the present, showcasing our heritage in a way that feels both nostalgic and hopeful.
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