Anyma, Circoloco and Carl Cox Shows Draw Lawsuit at the Pyramids of Giza
Egypt faces a major lawsuit over DJ concerts at the Pyramids, with claims that events by Anyma and Carl Cox threaten ancient monuments and heritage rules.
They came for the lights and the music — and now a rights group has taken the party to court. In mid-October 2025 the Egyptian Center for Economic and Social Rights (ECESR) filed a lawsuit asking judges to suspend and stop large-scale music events at the Pyramids of Giza. The suit was brought on behalf of Egyptologist Dr. Monica Hanna, tour guide Sally Salah El-Din, and lawyer Malek Adly, and it names Egypt’s tourism and antiquities authorities and the Giza governor as defendants.
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The legal complaint lays out clear, simple claims. Plaintiffs say huge speakers and heavy stage rigs create high-frequency vibrations that can damage the 4,500-year-old stones. They also argue that laser shows and powerful lighting at night do not meet international rules for illumination at heritage sites, and that temporary construction and excavation done to support these concerts violates laws designed to protect archaeological sanctuaries. The suit points to the government’s duty under Egyptian law and the constitution to preserve national heritage and asks the court to stop future events and any supporting works at the site.
This case follows a string of high-profile shows at Giza. Recent headliners have included Anyma — whose “End of Genesys” set drew an estimated 15,000 people (about 4,000 Egyptians and 11,000 foreign visitors) — plus well-known names and brands like Carl Cox, Keinemusik and other international producers. Organizers have argued these events boost tourism and international attention, while critics say the short-term publicity isn’t worth risking irreversible harm to one of the world’s oldest monuments.
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The lawsuit’s demands are straightforward:
- suspend all DJ and music events inside the archaeological sanctuary,
- ban any temporary or permanent construction tied to these events,
- require authorities to follow international heritage-site standards,
- and review public contracts for transparency.
The plaintiffs warn that failing to act could harm Egypt’s tourism reputation and breach international standards for heritage management.
What makes this story tense is how it frames cultural rights against social and economic interests. On one side are artists, promoters and a tourism sector that see Giza shows as new, lucrative cultural moments. On the other side are archaeologists, guides and heritage lawyers who argue the site must be preserved above all else. The ECESR’s filing is not aimed at named artists in the legal text, but the public narrative clearly centers on recent headline acts — Anyma, Carl Cox and others — whose glossy performances have become the visible symbols of the conflict.
As the court considers the case, the immediate outcome could pause future shows or force stricter controls. Whatever happens next will test how Egypt balances preservation of millennia-old monuments with the modern appetite for spectacle. For now, the music has been put on notice — and the Pyramids are once again at the center of a heated debate about heritage, rights and who gets to decide what happens at the world’s oldest stages.
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