In late 2019, KOAST made her debut on the hip-hop scene with a successful collaboration with music producer Suhail Al Qasimi, better known as Ratchopper, through his record label Bloc C Records. The collaboration resulted in most of KOAST’s early works, including“Kima Nina”, “Drugstore”, “Japan”, and many others.

KOAST shaped her own musical identity through her lively, sharp voice, and her penchant for blending elements of hip-hop and jazz, and incorporating 1990’s R&B in modern productions. Her single “Se'aat” , released during the COVID-19 lockdown, was the first milestone of her music career, showcasing her unique ability to experiment with sounds and genres.

KOAST’s journey was marked by several successful collaborations that showcased her ability to use her spirit for experimentation to create a dynamic body of work. She teamed up with producer and beatmaker, Aevom on the track “Billy 2.0”, and with Moroccan producer, XCEP on her latest single, “Nevermind”. Though keen on experimentation, KOAST’s music remains deeply rooted in her Tunisian heritage, which allows her to masterfully blend different musical influences with elements of Tunisian authenticity.

Tell us about how you got started in music? And about the moment you decided to pursue music as a career? 

KOAST: “I don’t really remember the first time I sang, nor the first time I realized I actually knew how to. Music has always been a source of energy as well as emotions for me. I’m moved by it every day, since very little. I spent most of my living years consuming, studying, making or being in music. I always knew it was what I wanted to do with my life and self. 2019 is when I stepped into the professional ground, introducing KOAST via my official debut EP BTOWN.”

What are three songs that you feel best present the range of your sound? 

KOAST: I have a special bond with every sound I create, what I enjoy performing the most is probably ‘’How Long’’ alongside ‘’Belek ‘’and ‘’Nevermind ‘’ my latest release. 

You just released “Nevermind”, tell us about the song, and the use of the word “nevermind” which has become a sort of tagline for you?

KOAST: “Nevermind” is about a previous personal experience where I, for the first time, shared some intimate moments and emotions I went through during that period. I admitted to wrongdoing on my behalf, I found peace in identifying what went wrong. That being done, the word ‘nevermind’ kept coming back strongly. I found comfort in it as if it was my way of minimizing the damages and leaving a spot for days to come.” 

Tell us about the hip hop and indie scene in Tunis? How and when did the scene get started, and with which artists? How has it changed or grown since? 

KOAST: “The hip hop scene in Tunisia is rich, the emerging scene is even richer and finding its voice. Artists are finding their inspirations in and out of Tunis; it’s what makes their crafts authentic, free and diversified. We mix MENA, Maghreby, Europe and USA influences I noticed. Still there’s a lot to be done for these artists for them to be able to reach their full potential, for them to be able to create comfortably, evolve and finance their projects decently. I’m talking about big stage productions, specialized-unbiased media outlets, support/ recognition from the government, copyrights etc…” 

Can you tell us about some of the producers you’ve collaborated with from Tunis, for example Ratchopper? 

KOAST: “My debut EP was fully produced by Ratchopper, I started my journey with him. Our musical chemistry is unmatched, a good friend and one of the biggest names in Tunisia. I got to work with JOHN SIX also, Kiev, Ramsjams, Dawan, Salty tea. Every producer I worked with I learned a lot from and enjoyed creating with. Each one has a psalm, a teaching, a different way of doing things. Much respect to all of them.” 

Which artists from Tunisian music history do you find inspiration from - and who do you feel make a great impact on your work?

KOAST: “We’ve witnessed a good amount of greatness throughout our music history. Ladies like Naama, Oulaya, Saliha, Zouhayra Salem, or Dhekra Mohammed truly paved the way for us ladies and men to step on a stage safely and sing. It was never easy to do so back in those days. Not only the music was great, but the activism too.”