Bosaina’s public debut as an artist began through two genre-defining collaborations that helped shape the DNA of Cairo’s post-revolution sound. At a time when the world’s gaze turned toward the city’s youth-led uprisings and their creative aftermath, she emerged as one of the most defining voices in Egypt’s sonic underground.

 

As the bold frontwoman of two seminal electronic acts—Wetrobots ♥ Bosaina and Quit Together (with deconstructed-club producer ZULI)—she stood at the intersection of political rupture, experimental sound, and gendered defiance. These projects didn’t merely respond to the moment—they authored it. They signaled the rise of a new Arab sound: fierce, feminine, genreless, and globally resonant.

​

Wetrobots ♥ Bosaina

​

Wetrobots ♥ Bosaina, an electro-pop collaboration with Hussein Sherbini and Ismail Hosny (of the KIK collective), fused theatrical vocals with modular synths and sharp electronic textures. Their breakout track “Bang & Blow” became a cult hit—while the project itself drew international attention not just for its sound, but for its symbolic presence in a post-revolution Egypt. Featured by The Guardian, BBC, VICE, and ARTE, the band came to represent a new wave of Arab futurism—where artistic expression doubled as political signal.

 

As frontwoman, Bosaina introduced a new archetype: the post-revolution Arab woman as sonic provocateur and visual disruptor. The band was featured in Marco Wilms’ documentary Art War, where she appeared as herself.

 

Their performances—including Share Conference (Beirut) and HKW (Berlin) with acclaimed German duo Diamond Version —cemented the project’s mythic influence across the MENA experimental scene.

​

Quit Together 

​

Quit Together, a studio and live duo with ZULI, pushed the experimental ethos further—toward the dissolution of genre, structure, and sonic expectation. Between 2012 and 2016, the pair produced over 40 original works, performing at SXSW Austin (2013), Berlin Art Week (2014), and transmediale/CTM Vorspiel in Berlin (2016). The project became a lab for Bosaina’s sonic futurism, laying the groundwork for her evolution into electroacoustic performance art.

​

Together, these collaborations became crucibles for experimentation—spaces where Bosaina refined her aesthetic, compositional, and performative lexicon before stepping fully into her solo canon. More than bands, they were blueprints for cultural interference—broadcasting unlimited authorship from the margins of sound, gender, and post-revolution identity