As Saudi Arabia asserts itself as a rising hub for cultural influence, one striking artistic move is capturing international attention: the kingdom has enlisted high-profile Hollywood composer Hans Zimmer to rearrange its national anthem Aash Al-Malik (“Long Live the King”).
The initiative, announced by General Entertainment Authority chairman Turki Alalshikh, forms part of Saudi Arabia’s broader cultural strategy under Vision 2030.
“We’ve discussed many future projects that I hope will soon see the light of day … including rearranging the Saudi national anthem with different instruments,” Alalshikh said on the social media platform X.
Zimmer is also developing the Saudi-inspired musical Arabia, a large-scale concert and the soundtrack for the historical epic The Battle of Yarmuk.
Saudi Arabia’s national anthem Aash Al-Malik was originally composed in 1947 by Egyptian musician Abdul Rahman Al-Khateeb at the request of King Abdulaziz, the founder of modern Saudi Arabia.
Stylistically it draws on the “Arab fanfare” tradition, rooted in post-colonial ceremonial musical codes. In 1984 Saudi poet Ibrahim Khafaji added official lyrics, giving the anthem the form that is performed at state occasions today.
The timing of this musical reinvention is no coincidence. Under the Vision 2030 roadmap, Saudi Arabia is investing heavily in sport, culture and tourism as part of its economic diversification strategy.
Zimmer’s broader collaboration with the kingdom through the Arabia project represents more than a musical commission
In the years ahead the kingdom is set to host a series of events where the national anthem will feature prominently. These include the Formula 1 Saudi Grand Prix, the Esports World Cup (2025), the Women’s Tennis Association Finals (2025), the Asian Winter Games (2029), the first Esports Olympics (2027) and the Fifa World Cup (2034).
Other nations have recast their national anthems during periods of transformation.
South Africa introduced a hybrid anthem in the wake of apartheid. Rwanda adopted a new composition in 2001 to symbolise unity after the genocide. In 2000, Russia revived its Soviet-era melody with updated lyrics, while Kosovo, in 2008, chose a wordless anthem to sidestep ethnic divisions.
In this tradition, Saudi Arabia’s initiative taps into the powerful symbolism of music – using it to craft a renewed national narrative.
Zimmer’s broader collaboration with the kingdom through the Arabia project represents more than a musical commission – it marks the emergence of a strategic cultural narrative.
One such composition evokes the Battle of Yarmouk, a defining confrontation in 636 between the Arab Muslim forces of the Rashidun Caliphate and the Byzantine Empire.
Saudi Arabia is using culture as an infrastructure of influence. Revamping its national anthem, staging major cultural and sporting events and an expanding entertainment portfolio reflect a deployment of soft power – where sound, spectacle and story all serve economic and diplomatic aims.
Zimmer’s music has long shaped fictional worlds. In Saudi Arabia, it is now helping to shape a real one.
Adeline Pilon is the co-founder of Future Culture. She advises public cultural institutions and government bodies in France and the Middle East
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