How a childhood dream led to working with artists from Universal Music, why music is essential for diplomacy, and why it’s important to believe in the boldest ideas. Asar Qadir in an interview with DimashNews – about his journey from Astana to international projects, cultural bridges between countries, and bold experiments in the industry.

Asar, tell us about your childhood and what led you to the industry you are in now.

I had a very happy childhood. I was born in Astana into a family involved in international relations, so from a young age, I was taught to be curious about different cultures, to embrace tolerance, and to have empathy. My first book was a story about Alexander the Great – the first globalist in history. He became my childhood idol.

Until the 4th grade, I studied in Kazakh, reading the classics of Abay Kunanbayuly. His father, Kunanbay Oskembayuly, the Ak-Sultan of Karkaralinsk, a wise judge, and philanthropist, is my ancestor on my father’s side.

At school, I was passionate about debates and was the captain of the Model United Nations team. That’s when I first encountered the concept of “soft power” – how culture shapes a country’s image, attracts investments, and influences the global economy. This is what eventually led me to the creative industries.

You’ve spent a lot of time in the U.S. and Canada. How have these countries influenced you?

When I was 13, I first visited the U.S. and then spent every summer there. In 2018, I was fortunate enough to attend a program at Berklee College of Music, one of the world’s top institutions in the field of the entertainment industry. There, I met A.R. Amin, the son of the legendary Indian composer A.R. Rahman, who composed the soundtrack for Slumdog Millionaire. His stories about the creative industries in India helped me six years later when our company participated in a Canadian trade mission to Mumbai.
Canada also provided me with valuable connections. I became part of HXOUSE – a platform by The Weeknd, Google, and YouTube for professionals in the creative industries. In Toronto, I met my partner Nazar Ponochny, an AI specialist working in a lab where none other than Geoffrey Hinton once researched neural networks.

What attracted you to the music industry? Was it a conscious choice?

Music is a universal language that unites people. It has always seemed to me a powerful tool that erases the boundaries between the West and the East. Moreover, from a business perspective, the music industry opens doors to the world of technology and media.
My second childhood idol was Richard Branson, who started his business with the Virgin record label. Who knows, maybe our holding, Harmix Group, will develop in a similar way.

What is the main lesson you learned from studying at Metalworks Institute?

The most important lesson is not to be afraid of experimentation. At Metalworks, I mastered production, sound engineering, working with MIDI, and Dolby Atmos. I learned how to combine ethnic instruments, such as the Armenian duduk or the Arabic oud, with drum machine beats, like the Roland TR-808.
Although my work now is no longer directly related to creating music, I will always remain an artist at heart. High risk, high reward.

What challenges does the industry face at the intersection of technology and creativity?

One of the main challenges is the ethics of artificial intelligence. Right now, algorithms can generate music, images, and videos in seconds, using vast databases of works by artists and musicians, often without their consent or compensation.
We believe that creators should receive fair compensation if their works are used to train AI. Our AI was trained in an ethical way, and we stand for technologies that assist creative professionals, rather than replacing them.

Which international partners have you found particularly interesting to work with?

Definitely Universal Music Group. It was through dialogues with their Canadian division that our platform NYX was born, which allows us to test the potential of music before its release.

Also, our project Your Life’s Soundtrack started with the participation of UMG artist Steve Barakat. We developed an algorithm that matches his compositions to the user’s mood, location, and weather. For example, if you’re in Kyoto, the algorithm will suggest Divine Inspiration from Kyoto, and if you’re in New York – A Night in New York City.

What cultural feature surprised you the most?

I was amazed to learn that in Japan, up to 80% of music is still consumed on physical media – CDs. The Japanese place great value on tangible items, especially collectible editions. Discs are often accompanied by exclusive photo booklets, posters, or unreleased videos, and fans buy them by the dozens. This is part of the “oshi” culture, where financial support for an artist expresses devotion.

You worked at Canada’s largest studio. Did you have any unexpected experiences?

At Metalworks Studios, the walls are adorned with gold and platinum records from Drake, Prince, David Bowie. Once, the studio administrator told me that in the storage room, there are dozens of records with nowhere to hang them.
But the most unexpected encounter wasn’t with a musician. In 2023, I met Doug Ford, the Premier of Ontario, at the studio. The owner of the studio, Gil Moore, personally gave him a tour, showing him how the industry operates.

Is there an artist you dream of working with?

My favorite is Andrea Bocelli. I also love classical music. One of my goals is to work with Hans Zimmer as part of our Your Life’s Soundtrack platform. His music is perfect for the concept of a personalized music experience.

If you could give your younger self one piece of advice, what would it be?

Believe that even the wildest ideas are possible. For example, we organized a historic concert by Steve Barakatt at the Astana Opera in just two months, working with Universal Music MENA, UNICEF, the Embassy of Kazakhstan in Canada, and the Permanent Mission of Kazakhstan to ICAO.
At one point, it all seemed impossible. But as Javier Milei once said: “The only difference between a madman and a genius is success.”

What advice would you give to startup founders entering the global market?

Don’t be afraid to rethink your ideas. YouTube started out as a dating site, and Netflix was originally a DVD delivery service.
The key is to talk to your users as much as possible. Real insights only emerge through dialogue. That’s how our platforms NYX and Your Life’s Soundtrack came to life.
We now see potential in integrating our technology into smart homes, electric vehicles, and even interactive museums. The most important thing is to stay open to new opportunities.