ArtistDirect News
Emel Mathlouthi Reveals New Song and Activist Philosophy in Exclusive Interview
When the July 15, 2026 issue of ArtistDirect News hit the streets, it carried an exclusive conversation with Tunisian‑American singer‑songwriter Emel Mathlouthi, a voice that has turned protest into melody for over a decade. In the Artist Spotlight interview, Mathlouthi opens up about her creative process, her enduring activism, and the release of a new track, “You Cannot Erase Us,” featuring TARA.
Mathlouthi first captured global attention in 2011 when she performed “Kelmti Horra” (“My Word Is Free”) in the streets of Tunis. The song became the anthem of the Tunisian Revolution and the wider Arab Spring, setting the stage for her debut album, Kelmti Horra, which hit worldwide markets in 2012 to critical acclaim. Since then, she has expanded her catalog with releases that fuse North African folk traditions with electronic, heavy‑metal, hip‑hop, and indie‑gothic textures, including Ensen (2017), Everywhere We Looked Was Burning (2019), and The Tunis Diaries (2020).
The March 27, 2026 single “You Cannot Erase Us” was issued by Yotanka Records and has already attracted significant attention on streaming platforms such as SoundCloud. In the interview, Mathlouthi emphasizes that the song’s core lies in “uncompromised personal truth.” She argues that an artist’s impact starts with authenticity, and she resists industry pressures to conform to a single genre or market segment. Instead, she embraces her Tunisian heritage and her eclectic musical palette as strengths that allow her to speak directly to marginalized communities.
Mathlouthi explains that her storytelling is rooted in lived experiences, and the visuals accompanying “You Cannot Erase Us” aim to spotlight migrants and other invisible groups. She also shares her personal definition of success: not measured by chart positions or sales, but by the resonance her work achieves with listeners. For her, music’s power lies in its capacity to empower audiences and grant them a sense of agency.
The interview also notes Mathlouthi’s extensive collaborative history. She has worked with artists such as Tricky, Valgeir Sigurðsson, Steve Moore, and Vitalic, and has performed in venues ranging from Café du Nord in San Francisco to the Swedish American Hall. These partnerships underscore her commitment to blending diverse sonic landscapes while staying true to her activist roots.
In closing, Mathlouthi reflects on the continued relevance of protest music. She maintains that art and activism are inseparable, and that her music remains an anthem for social justice, human rights, and political liberation. As she releases new material and tours internationally, Mathlouthi continues to bridge cultural traditions and modern sonic experimentation, solidifying her place as a prominent voice in contemporary music and activism.
Mathlouthi first captured global attention in 2011 when she performed “Kelmti Horra” (“My Word Is Free”) in the streets of Tunis. The song became the anthem of the Tunisian Revolution and the wider Arab Spring, setting the stage for her debut album, Kelmti Horra, which hit worldwide markets in 2012 to critical acclaim. Since then, she has expanded her catalog with releases that fuse North African folk traditions with electronic, heavy‑metal, hip‑hop, and indie‑gothic textures, including Ensen (2017), Everywhere We Looked Was Burning (2019), and The Tunis Diaries (2020).
The March 27, 2026 single “You Cannot Erase Us” was issued by Yotanka Records and has already attracted significant attention on streaming platforms such as SoundCloud. In the interview, Mathlouthi emphasizes that the song’s core lies in “uncompromised personal truth.” She argues that an artist’s impact starts with authenticity, and she resists industry pressures to conform to a single genre or market segment. Instead, she embraces her Tunisian heritage and her eclectic musical palette as strengths that allow her to speak directly to marginalized communities.
Mathlouthi explains that her storytelling is rooted in lived experiences, and the visuals accompanying “You Cannot Erase Us” aim to spotlight migrants and other invisible groups. She also shares her personal definition of success: not measured by chart positions or sales, but by the resonance her work achieves with listeners. For her, music’s power lies in its capacity to empower audiences and grant them a sense of agency.
The interview also notes Mathlouthi’s extensive collaborative history. She has worked with artists such as Tricky, Valgeir Sigurðsson, Steve Moore, and Vitalic, and has performed in venues ranging from Café du Nord in San Francisco to the Swedish American Hall. These partnerships underscore her commitment to blending diverse sonic landscapes while staying true to her activist roots.
In closing, Mathlouthi reflects on the continued relevance of protest music. She maintains that art and activism are inseparable, and that her music remains an anthem for social justice, human rights, and political liberation. As she releases new material and tours internationally, Mathlouthi continues to bridge cultural traditions and modern sonic experimentation, solidifying her place as a prominent voice in contemporary music and activism.