Categories: Music

Lour Yasin: All About The Palestinian Pop Princess

LOUR YASIN isn’t one of those artists you can sum up in one word. She’s Palestinian, she’s pop, she’s theatre, she’s music, she’s protest, she’s softness, she’s chaos—but in the most intentional, powerful way. Born in Jerusalem and now based in New York City, Lour moves across disciplines like it’s second nature. Singing, acting, writing, composing—whatever the medium, her work has one purpose: telling stories that matter.

Her latest single “23” is out now, and it’s the kind of track that makes you feel like you’re reading someone’s diary—but make it pop. There’s vulnerability in the lyrics, but it’s not heavy. You can hear that she’s been working on her voice for years, not just technically but artistically.

And this is just a taste of what’s coming. Lour is currently working on her debut pop EP titled Maladaptive, and if “23” is anything to go by, the full project is going to be a display of self-awareness and sound. Her music holds emotional weight but doesn’t beg for attention—it just commands it.

What makes Lour even more interesting is that she’s not trying to be one thing. Alongside her music career, she’s creating one of the first Palestinian pop/punk musicals, called AREA D. It’s been gaining serious attention for the way it fuses punk energy with Arab storytelling, and it recently earned her the Ruth Sanford Memorial Prize in Theatre. That same project also got her recognised as a Lin-Manuel Miranda Fellow, and honestly, it makes perfect sense. Her work lives in that space where cultural heritage meets theatre with bite.

She’s been named one of the 30 Arabs Under 30, and she’s received everything from the Rim Banna Award for music production to the William W. Kleinhandler Prize for excellence in music. And those are just the recent ones.

Beyond all the accolades and cool credits, what really makes Lour Yasin stand out is how grounded she is in her voice. Her work doesn’t rely on trauma or stereotypes to feel powerful. Instead, it leans into nuance. She’s not interested in playing the part of the “suffering artist” or simplifying her identity to fit a box. She’s Palestinian and proud, queer and layered, vulnerable and loud when she needs to be. And she doesn’t feel the need to explain it all for you.

She’s also just fun to watch. Whether it’s on stage in productions like One Thousand and One Nights or in short films like Tired or Arab Olympics, there’s always a sense that she’s fully in it—never performing for the sake of performance, but because it’s the most honest way to exist.

In 2023, she was part of the Moxie Incubator where she composed for a genre-mashing show called Under The Sheet, mixing mariachi, hip-hop, rap, and musical theatre into one production. She’s got that thing all the most exciting artists have: range without losing identity. She’s not hopping from one genre to another to chase trends. Every project has her fingerprints on it, whether she’s singing, writing, or scoring.

Lour Yasin is absolutely one to listen to, because the stories she’s telling aren’t just hers. They belong to a wider movement of artists who are choosing honesty, heritage, and art that refuses to be quiet.