From Televised Defeat to Divine Resurrection: Aymane Haqqi’s ‘The Backstory of Galilee’ EP Explained
In the hyper-competitive world of rap, a single misstep can be magnified into a career-ending failure. For Moroccan rapper Aymane Haqqi, a very public stumble on the first season of the televised rap show Jawshow in May 2024 seemed to spell exactly that. Facing off against rapper Otat in the rap battle episode, Haqqi faltered, lost his words, and was eliminated after a humiliating moment where his opponent removed his bandana and tossed it to the crowd. He left the stage in defeat, apologizing to his fans. Many wrote his obituary that night.
But on August 15, 2025, Aymane Haqqi didn’t just return; he staged a resurrection. His new EP, The Backstory of Galilee, is a profound, surreal, and spiritually-charged piece of work that transforms that moment of public failure into a narrative of triumph. In an exclusive conversation with DimaTOP, Haqqi unraveled the layers of meaning, symbolism, and painstaking artistry behind what is already being hailed as a landmark project in Moroccan hip-hop.
Watch Jam Show: Prime 3 OTAT vs AYMANE HAQQI | The moment that sparked this whole new direction, including this EP
What Happened on Jamshow and How Did It Shape Aymane Haqqi?
For those who didn’t witness it, the Jawshow incident is the crucible in which The Backstory of Galilee was forged. Haqqi describes it as his lowest point. During a high-pressure battle against rapper Otat, he lost his composure entirely. “The only words Haqqi said before choking on his words were ‘Tra7mo 3lih’,” which translates from Moroccan Darija to English as “Have mercy on him,” a classic battle rap taunt implying his opponent was about to be lyrically destroyed.
But the move backfired spectacularly. After Otat physically removed Haqqi’s bandana, a deeply personal and symbolic act of disrespect, Haqqi lost his flow, his confidence, and ultimately, the battle. He recalls it as the worst thing he’s ever experienced, “that moment played with my mind.” He put the mic down, apologized to the audience, and accepted a defeat that many saw as final. This moment of perceived death is the essential backdrop for the EP’s theme of rebirth.
Why Aymane Haqqi Uses Islamic and Christian Symbols in Galilee?
The title The Backstory of Galilee is a multi-layered puzzle designed to intrigue and misdirect, all pointing toward a central theme of miraculous comeback. On the surface, the astronomical wordplay suggests a connection to the scientist Galileo Galilei, a red herring Haqqi admits he planted. The true core is spiritual.
Haqqi directly references the Sea of Galilee, the biblical site of Jesus’s miracle of walking on water. “To many people, it seemed like it was my end,” he explains, “but I did a Jesus on them and walked on water, and my comeback is stronger than ever.” This messianic metaphor extends throughout the entire EP, with Haqqi adopting the role of a crucified and resurrected figure. He clarifies that this is not blasphemy but an expression of “a spiritually liberated artist,” using powerful religious archetypes to articulate a journey of personal and artistic salvation.
Watch Aymane Haqqi – 7ISSAN ASSWAD B JNA7OU (Official Music Video) | the fifth track from the EP
Track-by-Track: What do the Titles Mean and What’s Inside Them?
The Backstory of Galilee is a meticulously crafted journey, with each track serving a distinct purpose. The features were chosen with surgical precision to build its unique, spiritual atmosphere.
Chaos Crew F Jenna (Najm & Salah Hammadi):
The EP opens with an instrumental and vocal intro, a deliberate choice to set the tone. Haqqi wanted an “entry to heaven,” a wordless soundscape to immerse the listener. He enlisted producer Najm for his “modern, artistic, and authentic” style and vocalist Salah Hammadi, a Gnawa and Jazz artist, for his “Sufi-like” power. “The chemistry between the two was on a 100,” Haqqi says. “Najm put himself in that beat, Hammad sampled the guitar and put his lungs, and you got the perfect intro to a spiritual EP.” The title itself is a “quadruple entendre” he leaves for fans to decode.
Saturn (Solo):
This is the first track with rapping, and its title is a double entendre meaning both the planet Saturn and ça tourne (“it started” in French). It’s a showcase of intricate wordplay. The opening lines, “3mer l3youn kaythezzou 3el lhajeb / Marakech fer7an f 3zouk,” demonstrate his sophisticated use of language. Haqqi explains that this is a play on a famous Moroccan idiom, “3mar l3in ma t3la 3la l7ajb” (Eyes never rise above the eyebrows), which means one should never surpass their mentors. He twists this with names of Moroccan cities, Laayoune and El Hajeb, continuing this extended metaphor with more cities like Marrakech, in the line “marakech fer7an f 3zouk” (you’re not happy in your funeral). This intricate wordplay and double meanings are a hallmark of his style.
L’amor? La mort! (Solo):
A pun on French words asking, “Love? Death!” This track is a raw exposé on the hypocrisy Haqqi perceives in the industry. “It’s not love but death in this rap game, no real friends… when I sense a sellout, I don’t feel like I share the hip-hop values with them anymore.” It contains direct shots at unnamed major figures he finds “insufferable” and “fake.”
Poisson Rouge (ft. Nessyou):
Translating to “Goldfish,” this track is a surreal metaphor for hometown loyalty, featuring one of Morocco’s most respected MCs. Haqqi calls Nessyou “the goat of Moroccan rap… one of 5 or 6 children that hip-hop birthed in Morocco.” He was chosen for his unparalleled storytelling ability. Haqqi’s verse paints a picture of a fish with legs in an aquarium, representing his inability to ever truly leave his hometown of Midelt, even while living in Rabat. Nessyou then picks up the same metaphor to tell his own story.
7issan Aswad B Jna7ou (Solo):
The title translates to “A Black Horse With Wings.” A “black horse” (7issan aswad) is a common Arabic metaphor for an unexpected, winning underdog. Haqqi takes it further: “that’s me, I am even more than just a black horse cuz I can fly.” This declaration of transcendent talent was backed by an award-winning music video, named Best of the Month by DimaTOP Magazine.
Jesus is Alive (ft. Mao):
The symphonic finale that brings the EP’s theme full circle. It’s a defiant statement of survival: “I’m still here, I never died.” The line “7abni rap rfa3ni lsma” brilliantly blends the spiritual and the artistic. It means “Rap loved me and ascended me to the sky,” a direct reference to the Islamic belief that Jesus (Isa) was ascended to heaven without dying. The word “Rap” is pronounced similarly to “Rab” (God in Darija), creating a powerful double meaning that both rap and divine grace saved him. He chose Mao for the feature to add a smooth, melodic contrast and create a “perfect loop” back to the angelic intro, encouraging listeners to start the journey over again.
Watch Aymane Haqqi – BIG L (Official Music Video) | Taking a big L after Jamshow and a homage to American rapper Big L
Why Does Aymane Haqqi Use Such Surreal and Abstract Lyrics?
The abstract nature of the EP is not an artistic affectation; for Haqqi, it’s autobiography. “The reason I write in an abstract and surreal way is because my life is surreal, it is all full of weird stuff, a psychedelic journey since birth,” he states.
He describes an intense inner world, struggling with insomnia and experiencing vivid, movie-like stories in his mind as he tries to sleep. This lifelong sense of disconnection from the mundane translates directly into his music, making his lyrics a window into a unique and fascinating psyche.
The Key Producers Behind the Sound of The Backstory of Galilee
Haqqi assembled a team of Moroccan producers to realize his vision, expressing deep gratitude for their work. The credits include:
- Elka (Houssain El Kasri): The son of Gnawa legend Hamid El Kasri, bringing a heritage of spiritual music.
- Royance: A talented beatmaker who is “coming up hard.”
- Hamz & Moun: Praised for being “experimental and funky,” and full of youthful “energy and passion.”
- Lacy: The mixing and mastering engineer who “added and developed a lot of things in the project,” shaping the final sound.
Cover Art Explained: Crucifixion Imagery and the Y-Shaped Cross
The cover is a striking piece of conceptual art that perfectly encapsulates the EP’s themes. Shot by “visionary and skillful” photographer Hamza Rochdi, it depicts Haqqi crucified on a cross-shaped like a “Y” in a turbulent dark sea, wearing a blood-stained white shirt and black tie, crowned with thorns and bound by chains.
Haqqi explains every detail: the crucifixion embodies the role of Jesus he plays; the chains symbolize the helplessness he felt after Jawshow; the blood on his vest represents the wounds from that defeat; and the mix of sadness and anger on his face mirrors the EP’s emotional core. He addresses potential controversy head-on: “I am a Muslim, I mean no disrespect, but I am also an artist… Using religion to express myself is a religious act, not the opposite.” The “Y”-shaped cross is perhaps the most profound detail, a symbol meant to tell the listener, “It’s You, too,” inviting anyone who has been counted out to see their own story in his resurrection.
What’s Next For Aymane Haqqi After This EP?
For Haqqi, The Backstory of Galilee is not a finale; it’s the beginning of a larger story. He revealed that this project is the first part of a planned trilogy. “I don’t want to spoil the plot but believe me,” he teases, “what’s coming has never been seen and heard before.” If this EP is any indication, this promise is not mere hype, but a preview of a bold new chapter in Moroccan music.
Aymane Haqqi’s The Backstory of Galilee transcends the boundaries of a typical musical project. It is a raw, theological, and psychological deep dive into the soul of an artist who turned his greatest humiliation into his most potent strength. It masterfully blends the sacred and the profane, the personal and the universal, using the rich tapestry of Moroccan Darija, cultural idioms, and global spiritual symbols. Beyond the superb production and lyrical craftsmanship, the EP’s true power lies in its relatable core message: that failure is not an end, but a potential beginning.
