Latest news with #Shoby

Khaleej Times
07-08-2025
- Entertainment
- Khaleej Times
Meet the Dubai-born DJ behind a viral Frank Sinatra cover with 60 million streams
DJ and music producer Shoby has a story that's tied to Dubai's own evolution. He first discovered his love for music as a teenager in the emirate, spinning tracks at private events and school parties long before Spotify streams would define his career. What began as a hobby in his childhood bedroom has grown into a global success story — with over 1 million monthly Spotify listeners and viral hits like his Frank Sinatra cover (which has crossed 60 million streams) and 'She Will Be Loved.' Yet, after a decade spent hustling in Europe's underground music scene and earning his stripes with indie labels, Shoby has returned home. Now back in Dubai, the 35-year-old Indian/German artist is working on new music that blends regional influences with his signature chill house sound. In this candid conversation, Shoby reflects on his rise, the challenges of starting from scratch in Germany, and why Dubai remains the heartbeat of his inspiration. You started producing music in your teens, right here in Dubai. What first drew you to music? Growing up in Dubai, I was always surrounded by a vibrant mix of cultures and sounds - you are exposed to music from many different cultures in Dubai. The idea that I could take these diverse influences and create something entirely new and personal was incredibly exciting. I had friends from a variety of universities and schools and each time they planned an event, they went on the search for a DJ or someone who understood sound and lights. So I started getting my name out there and playing for various events. I was fascinated by how a simple piece of music can change the mood of the room and unite people on the dancefloor. It was a creative outlet that allowed me to express myself and connect with others in a unique way. What I love is the challenge of turning a blank canvas into a compelling piece of music. What was the music scene in Dubai like when you were starting out, and how did it shape you? It was a fascinating time to be starting out. While the city is well-known for its vibrant nightlife and international DJs playing in clubs, the local and independent music scene was just beginning to find its footing. With fewer established venues and a smaller pool of local talent, there was a lot of room for experimentation and collaboration. I learned the importance of hustling, of networking with other artists, and of creating your own opportunities rather than waiting for them. It taught me to be resourceful and to embrace a wide range of musical influences, from the mainstream to the underground. I was lucky to have really great mentors and a robust network where I could sneak into their events and watch from backstage and keep note of what they were doing. Then I would go home, practice the same and it just kind of grew from there. What motivated your move to Germany in 2013, and what were those first few months like? I had visited Europe a couple of times and came to appreciate the music scene there. What I can say is – it was not easy. It was extremely challenging starting your network from scratch. It took an immense amount of work and pain to build connections, talk to people, play for a few hundred events until someone noticed you. I lived in multiple cities around Germany each of which taught me something new about the local music scene. I think the city that changed me the most was Berlin. That is definitely a very big creative hub and the connections and people I met there opened a lot of doors for me. How did starting from scratch in a foreign country challenge you, both personally and professionally? Something we often take for granted and forget is how developed Dubai is in terms of its way of thinking, its processes and most importantly its safety. But apart from that I think the most challenging thing for me was the readiness for event organizers to try new talent. In Dubai, there is this constant energy to grow, try new things, try new musical talent and experiment. Things were a bit different in Europe to break into the scene, to get event organizers and venues to give you that first break. Most importantly, I moved to Germany not knowing the language, so learning that, getting fluent in it quick to have discussions with labels and event organizers was a challenge. Having said that like I always say, its not impossible. If you put in enough time and effort into anything, you can crack it. Can you tell us about the first time a label said yes to one of your songs? What made that moment special? I think what made the first time a label said Yes to a track special was the amount of times I faced rejection before that. I lost count of the number of tracks I sent to labels and faced a rejection. It can be quite demotivating and I think any music producer can relate with it. But in order to reach that YES, I started asking for feedback to labels and exploring what is it that was wrong with those tracks. I had this constant interest to understand what I can do better, where can I make a difference to better fit a label. That understanding and translating that into my track that finally got a Yes – made all the difference. I think the first time a label said Yes, I had to read the email 4 times just to make sure im not misreading their response. I am eternally thankful to indie labels such as Soave, Spectrum recordings, GTS, Casual Jam, Loudkult that took the chance and gave me the platform when I was starting out. Trust me when I say that these indie labels put in 10 times more work into their artists when compared to big labels. Your Frank Sinatra cover crossed 60 million streams — did you expect that kind of response? Honestly, I discovered Izzie (the singer) online by chance. Fell in love with her voice and reached out to her. She has been one of my favorite collaborations to work with. The track just kind of happened in a matter of few days and I had no idea how special this track would become. I was excited when it got signed but never imagined the level of reach this song could have. I have had people using this track for their first wedding dance, for videos of their first born child and even playing it at venues on the other side of the world which I have never visited. That's the power of social media, streaming platforms and just a good uncomplicated song. This track was also used in some advertisements for a very well known financial company. So yea, it still blows my mind when I hear this track and I am eternally grateful for the peoeple that supported us. What do you think it is about your music that resonates with listeners around the world? I truly believe it's the simplicity. I try not to overcomplicate songs. Whether I am making a cover song or an original song, I try to keep things simple for the listener. Infact if you pick up any famous song today, its not an overly complex song. Its probably just a few layers of well produced and well selected sounds. I try to think from a listeners perspective and imagine what would resonate with my listeners. With my artist name Shoby, its always been associated with soft, chill house. Stuff you can listen to while your working, take a road trip or just chilling with your friends on the weekend. What made you decide to return to Dubai? I have really strong roots in Dubai which includes family and a strong friends network – I mean in the end Dubai is still home alongside Germany. Moreover, I have been silently in awe of the level of development and speed at which Dubai is transforming. There is so much that others can learn from how UAE does things, how forward thinking they are and that is what brought me back (of course, I love the sunshine too). I feel this is the time for anyone who wants to grow a business and test new concepts to move to Dubai. How has the city's creative and music scene evolved since you first left? Honestly, I can hardly put it into words. I am so proud of the level of events, the concepts and the talent that is currently here in Dubai. When I was growing up, the music scene was quite 'mainstream'. But not any more. I've seen the emergence of dedicated creative districts like Alserkal Avenue and the Dubai Design District (d3), which provide physical spaces for artists to work, collaborate, and showcase their talent. There's also been a significant increase in government support and initiatives, from grants to new visa policies for creatives, which has made it a much more viable place for artists to build a career. You have dedicated niche venues for all kinds of events and I personally know so much great talent. The artists and events happening here are on another level and can't be compared to any other city. What role does Dubai play in your current sound or inspiration? Interesting you ask that. I come from a mixed family and I see so much amazing music being made in the Arabic music world and the south Asian / Indian music scene. There is this mix of genres, lyrics and styles that's on a big rise right now and I have already been working on some music that takes these different genres and languages into consideration. You can definitely expect some really great tracks in the coming future. What's been the most rewarding feedback you've received from a listener? A few years ago, I produced a track that was very personal to me — and it was at a time that a lot was changing in my life as a family. I poured a lot of raw emotion into it. I made my mum listen to the track in the car on one of her trips to Germany, and she heard it and had tears in her eyes. She said, wow this is very sweet. I think nothing beats the feeling of someone of your own getting touched by a song and that's always going to be an important memory. Where do you see your sound heading next — any upcoming releases or new directions? Oh, a ton of new music. I have been producing day and night for my own artist name but also for other artists as a co producer so I am involved in a lot of projects in various styles of music. But as I mentioned, I do want to use all this inspiration from the Asian and Middle Eastern music scene and make songs which mix these cultures, genres while still respecting the original styles. Moreover, I have also been approached by some companies to work on some short background music for their commercials, so that is something that is keeping me busy as well. What I would love to do is get my music to the radio stations in Dubai and hopefully get their support to promote local born talent. In short, there's a lot in the pipeline.


Indian Express
14-06-2025
- Entertainment
- Indian Express
‘The real horror people confront in society are social biases': Megha Ramaswamy on Lalanna's Song
Writer-director Megha Ramaswamy's latest film Lalanna's Song, currently streaming on MUBI, is an exploration of deeply-entrenched social biases as well as the cyclical nature of patriarchal conditioning. The Malayalam-language film follows two young mothers – Shoby (Parvathy Thiruvothu) and Miriam (Rima Kallingal) – on what seems to be a routine day as they encounter everyday prejudice and sexism. Later that day, they come across a mysterious 12-year-old, Lalanna (Nakshatra Indrajit), who they coerce into singing even though she warns that her singing may bring death with it. By doing so, Shoby and Miriam reveal their own biases in spite of being victims of such a mindset themselves. In this interview, Ramaswamy talks about using horror as a cinematic tool in Lalanna's Song (produced by Newton Cinema) and her endeavour to be authentic to the female experience. Excerpts: Why did you choose to lean on horror to talk about social biases? We can agree that the real horror people confront in any society are social biases. Choosing it as a genre to showcase this particular female experience helped me find layers in its writing that I couldn't have otherwise. Horror helps exaggerate and nuance particular occurrences to highlight and commit to as horror. Plus, the visual and narrative style really helped me find the film's language. In Lalannas Song – overwhelmed by the demands of motherhood and shaken by an incident of racial profiling they experience on the way – Shoby and Miriam are unprepared to meet Lalanna, a precocious preteen girl who suavely pushes their buttons. Seeming to possess all the promise and confidence the two women have lost, Lalanna unleashes within them a merciless instinct to set her straight. The entire premise of the film would have shifted for me if not for using horror as a cinematic tool. As a filmmaker, how do you wish to use horror as a cinematic tool? It's one of the most truthful cinematic tools because it makes way to declare injustices, prejudice, casteism and sexism. As a cinematic experience too it helps push visual boundaries. The beauty of horror is that it identifies good and evil. In the case of Lalanna's Song, the private lives of Shoby and Rima are confronted by an external horror that they internalise and extend their evil towards little Lalannas who in turn conflicts them with her own horror. Why is there a resurgence of horror movies and shows of late? Filmmakers world over are realising what a powerful and liberating genre horror can be. The genre, in general, has always offered its audiences a spectacle that can be immersive and exciting in the safety of your own reality. Horror alerts us about cautionary tales in our own realm. Plus, the whole exploration of good and evil, especially in our times, becomes an exciting experience for audiences to partake in. There are so many types of horror and in all these forms of telling there is the path to truth. Tell us about your writing process and the themes that prompted you to tell this story. Through my storytelling, I wanted to be authentic to the female experience. While writing I wanted to hold space for my own experiences as a woman – the irrevocable horrors of patriarchy suffered by women, from the generational trauma women are constantly addressing as well as the complexities of motherhood, gender, caste, religion, and feminism. How did actors Parvathy Thiruvothu and Rima Kallingal come on board? Parvathy and Rima are two phenomenal actors who represent a brave new world that questions these very biases and the conditioning of patriarchy. I was confident that they will be able to explore the character of Shoby and Rima with conviction and vulnerability, despite the cruelty and evil their characters are capable of. Their own chemistry and the way they represent and hold space for female friendships is lovely and enriching. This automatically led to their casting which was ideal for the film. Both the children in the film are subjected to scrutiny in different ways. Did you specifically want to talk about children? Both the children Meenu Kutty (played by Hannah Joby) and Lalanna (Nakshatra Indrajit) are victims of unhinged behaviour and scrutiny in the gaze of adult women. Be it their bodies or their character. Often if not always this is the case in reality too. Children (especially girls) suffer and are lifelong impacted by the scrutiny that comes in the form of their mothers, grandmothers, neighbourhood aunties they meet and others. Obviously, the cycle continues: the hunted become the hunters. Patriarchal conditioning has nourished this vicious cycle. In fact, there is a scene that highlights how these two children are able to, in their own way, stand by each other and question the behaviour of the women. Lalanna, finally, takes a stance and the results are quite colossal. What kind of stories and characters are you drawn to? Newborns (2014) is about acid attack victims and What Are The Odds (2019) is a whimsical tale about teenage friendship. Women – all kinds – have always held a space in my journey as a storyteller


New Indian Express
20-05-2025
- Entertainment
- New Indian Express
Megha Ramaswamy Interview: I am not interested in stories about men
At first glance, Shoby (Parvathy Thiruvothu) and Miriam (Rima Kallingal) seem to be having what looks like a mundane day, wearing their burqas with a heart pinned in the front, and speaking their mind in Mumbai where religious hatred is casually thrown at them every other day. This is, until they meet a young girl Lalanna (Nakshatra Indrajith), who shakes their core. Director Megha Ramaswamy presents this child, at the centre of Lalanna's Song (now out on Mubi), as someone who opens the protagonists' eyes through an unsettling tragedy. Megha believes that, along with her, every woman she has met is a Lalanna. "We all go through moments where we're pushed off the cliff by people. Some of us survive; some don't. The short Lalanna's Song is an homage to both—those who made it and those who didn't. But at its core, it's really about the women who were pushed off the cliff in the first place," she says. Megha, who wrote Bejoy Nambiar's Shaitan (2011) and made her directorial debut with the Netflix film What Are The Odds (2020), confesses that although she wanted to cast Rima and Parvathy from the get-go, she thought they wouldn't be interested in the film. "Geetu Mohandas, who I was collaborating with at the time, introduced me to them. She suggested, 'Why don't you reach out to them?' It just clicked," she reveals. For her, magic wasn't just in the film and its surrealistic themes, but also within the actors. "Trust me, when I saw them together, I became even more ambitious about my project. They instantly understood the importance of making space for all kinds of women. With actors like Rima and Parvathy, who are so instinctively intelligent, you don't need to sugarcoat characters for them," she adds. Shoby and Miriam are flawed, but strong women. They speak about men in passing and discuss sex and intimacy despite the stigma surrounding it. These were intentional choices for Megha, who shares that even though it is normal for all genders to have a conversation about it, she finds it interesting to explore the awkwardness men feel when women discuss this topic. "Honestly, if two men were writing a scene like this, they'd probably turn it into a rape scene, because that's how they often frame it. When men talk about sex in a populist, cinematic way, it often comes across as crude or crass. Women, on the other hand, can dignify their experiences—whether it's sex, violence, or the complexities of love in relationships," she says.