Love Letters ft. “Loverboy Levant”
I must begin with a disclaimer. I have been a fan of Saint Levant since 2022 when his then-biggest viral hit was “Very Few Friends”. Back then, the music videos and visualizers were understated: Saint Levant — his real name Marwan Abdelhamid — sat in a chair in front of an old television, rap-singing to camera.
Press fast forward on that same television and in 2025, Marwan released Love Letters, a short EP for Valentine’s Day. Not only are the tracks and visuals more elaborate, but the fanbase is now significantly larger. Thanks to hits like “Kalamantina”, “Nari Nari Nari”, and “Sabah El Ward”, the Sydney concert on June 06, programmed for Vivid Live, sold out quickly. A second date was added, and Saint Levant also stopped in Melbourne and Brisbane.
I attended the first night with my sister, and even though our tickets were seated in the balcony we rarely sat down.
Songs of Steadfastness
Lit up in a sea of red and green, the setlist began with a playback of the “Mawtini” intro used in Marwan’s song “On This Land”. “Mawtini” is known for being a song of steadfastness and is used as the Iraqi national anthem. It’s often, though unofficially, used as the Palestinian anthem aswell.
From “Daloona” to “Samra”, the crowd was blessed with Saint Levant’s recent hits—even as some of us were left wanting singles and songs from his previous album Deira. I would’ve loved hearing “5am in Paris”, “Nails”, “Zeina’z Nasty Remix”, “Forgive Me ft. Kehlani” and “Jon Carlow Freestyle”. That last one might have just been me.
I was especially mesmerised getting to hear personal favourites from his newer releases. “Exile” is where he sings to a lover, but I also think of it as singing to one’s homeland,
“Even after death, the longing would stay from the light of your eyes
So tell me, where did the time go?
Do you ever think of me?
Tell me lies, tell me lies, it’s okay
I need it
And I’m coming back to you”
“Wazira”, which should have been his biggest hit, nicknames his lover “a minister” and “diplomat of feeling.” I swear, the Arabic words sound more romantic than the rigid translation.
Once “Nari Nari Nari” hit the stage, the audience’s screams were only outmatched by the perfromance of “Kalamantina” later on.
I was pleasantly surprised by the stripped down, slower version of “Very Few Friends”. That tended to be a recurring thought throughout the night, as many of the songs contrasted against the upbeat, danceable tracks of his EP.
Marwan also performed “Deira” which uses a staple Algerian instrumental, reminiscent of “Ya Rayah” by Raï artist Rachid Taha, as a nod to Marwan’s Algerian roots.
A song I didn’t expect to enjoy live as much as I did was one of his most recent tracks, “Sabah El Ward”. The song on stage is gorgeous, and was made to be listened to live as you sway back and forth with a big crowd.
Marwan addressed the crowd, describing it as a “family” and made note of the logistical difficulty with securing a visa but thanked those who made it happen. He also took the time to speak against the stereotypes of Palestinians, especially in the last few years, saying that they are lovers, brothers, fathers and teachers. He then emphasised the need to feel joy in safe and loving spaces like this, where music is a freeing force.
Sax and Decks
The highlight of the evening without a doubt goes to Marwan playing the saxophone. He is such a marvel to watch as he wields that instrument—you can almost see the notes coming out of the bell of the saxophone.
“Kalamantina” on the saxophone gave me a newfound appreciation for it. The instrumental alone could be its own song, and it was definitely the most high octane performance of the night.
One the notes I took while watching the concert was: “Yesss!” I don’t know what it is in direct reference to because I didn’t elaborate, but I feel it is very important to keep it in here.
Afterparty at the Plaza Hotel (Not that Plaza Hotel)
As soon as the concert ended (encores are not really an Arabic concert thing), I power walked from City Recital Hall to Plaza Hotel on George St. Despite my fast legs, I arrived and there was already a line accumulating outside.
When I got in, I keenly positioned myself stage left so I could see. I didn’t expect that all the camera people, drummers, and dancers would gravitate towards that side of the stage. Alas, I still got a closer view at DJ Saint Levant and Baba Levant by his side, as well as DJ Nemz and friends who started off the night.
With a combination of classic Arabic music, typically from the 1990s and 2000s, and music from the 2020s, it was apparent that the DJ had researched the crowd and catered his set to their taste. From “Aayshalak” by Elissa to “Nasini El Donya” by Ragheb Alama, to more recent songs that I unfortunately cannot name, the atmosphere was energised and unrelenting.
I left the party as soon as Saint Levant left the stage, so feel free to call me a fraud. It was also 2:00 am and way past my bedtime. I left in a musical daze, and walked to my bus stop, my ears ringing in the best possible way.
If Saint Levant has very few friends, then I’m in exile somewhere. You’re welcome to join me there.