The Royal Moroccan Football Federation (Moroccan FA) has reportedly moved to appoint Andrés Iniesta as the sporting director of the Morocco national football team as part of a major restructuring of its football project.

The former FC Barcelona and Spain national football team midfielder has reached an agreement in principle to join Morocco’s technical leadership structure. The federation wants to use his experience at the highest level of football to strengthen the team’s sporting strategy and long-term development.

However, some outlets say the deal has not yet been fully finalized or officially announced, even though discussions are at an advanced stage. Iniesta has reportedly been offered a key role overseeing the national team’s football philosophy, recruitment, and development pathway.

The move is seen as part of Morocco’s broader ambition to elevate its football project after the country’s historic rise in world football and ahead of future global tournaments, including preparations linked to the 2030 FIFA World Cup, which Morocco will co-host with Spain and Portugual.

The potential appointment reflects Morocco’s ambition to further elevate its football project following its historic rise in international football and with an eye on major tournaments ahead, including the 2030 FIFA World Cup, which the country will co-host.

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As the world accelerates toward cleaner energy and transport, Morocco is cementing its place on the global clean energy map with a landmark agreement to host Africa’s first battery gigafactory.

Backed by a USD 5.6 B investment from China’s Gotion High-Tech, the project is set to transform the North African kingdom into a major supplier of batteries for electric vehicles (EVs) and renewable energy storage, a strategic leap for both Morocco and the continent.

The gigafactory will be located in Kenitra, northwest Morocco, an industrial hub already home to major carmakers. Construction is underway, with production expected to begin in the third quarter of 2026.

The plant’s first phase will deliver 20 gigawatt-hours (GWh) annually, enough to power hundreds of thousands of EVs. At full capacity, the factory is designed to reach 100 GWh, placing Morocco among the world’s largest producers of advanced batteries.

A Mega-Project with Mega Impact

With a total projected cost of USD 6.5 B, the gigafactory ranks among the largest industrial projects ever launched in Africa. The initial phase alone involves USD 1.3 B in investment and is expected to create 17,000 direct and indirect jobs. Over the course of five development stages, the project is expected to employ more than 10,000 workers directly.

Unlike many assembly plants that depend on imported parts, the Kenitra facility plans to also produce cathodes and anodes, the critical components of lithium-ion batteries. This vertical integration reduces Morocco’s reliance on foreign supply chains and adds a layer of security and cost competitiveness that few other regions in Africa, or even Europe, can currently match.

“This is not just about production capacity,” said Khalid Qalam, Gotion’s Moroccan director, who confirmed that earthworks are complete and construction is set to accelerate. “It’s about building an entire value chain in Morocco that serves Europe, Africa, and beyond.”

Morocco at the Crossroads of the Energy Transition

For Morocco, the gigafactory is a strategic play. The country has spent the last decade diversifying beyond agriculture and textiles, and its automotive sector is already leading its exports, making it Africa’s leading car producer. In 2024, Morocco’s car industry posted record overseas sales of MAD 157 B (USD 15.7 B), cementing its place as the European Union’s top automotive supplier, surpassing China, Japan, and India.

With Europe preparing to ban new fossil fuel cars by 2035, demand for EV batteries is surging. Morocco is uniquely positioned to meet that demand. Around 85% of the gigafactory’s output will be exported to Europe, offering the bloc a reliable alternative to Asian supply routes that have dominated the sector.

The project also strengthens Morocco’s ties with global automakers already present in the country, including Renault and Stellantis, while opening opportunities to serve the fast-growing market for renewable energy storage in Africa and the Middle East.

Overall, the factory aligns with Morocco’s national strategy to retain skilled talent, foster innovation, and reduce economic dependence on traditional sectors. By pivoting toward high-tech industries, Morocco is securing its position in the future global economy.

China’s Strategic Play in Africa

The gigafactory underscores China’s deepening role in Africa’s industrial future. Gotion High-Tech, a leading battery producer, is spearheading the project, but it is not alone. Other Chinese companies, including BTR, CNGR, Hailiang, and Shinzoom, are investing heavily in Morocco’s battery and materials sector, setting up Morocco as a strategic hub for green technology in North Africa.

For Beijing, this is part of a larger strategy: pairing infrastructure and industrial investment to reshape global clean energy supply chains. Morocco’s location just across the Mediterranean from Europe makes it a natural bridgehead for China’s ambitions.

Meanwhile, China’s role in Morocco’s gigafactory is part of a wider push across Africa, where it has steadily expanded from railways and ports to energy and industrial projects in countries like Nigeria.

The implications extend far beyond Morocco. By hosting Africa’s first battery gigafactory, the country is setting a precedent for how the continent can move up the value chain from exporting raw minerals to manufacturing advanced clean technologies.

Ultimately, the Morocco-China partnership is more than an industrial deal. It is a symbol of a new era in which African nations are emerging as active players in the global energy transition. By anchoring the continent’s first battery gigafactory, Morocco has positioned itself as a bridge between Africa, Europe, and Asia in one of the century’s most strategic industries.

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WAFCON 2024 hosts Morocco powered through a penalty shootout to make it into their second consecutive final match. Anissa Lahmari scored the decisive penalty kick as the Atlas Lionesses squeezed past Ghana. All four penalty takers for Morocco scored, while the Black Queens missed their last two penalties after scoring the first two.

Ghana took the lead during regulation, through Stella Nyamekye’s strike halfway through the first half. Sakina Ouzraoui pulled Morocco level shortly into the second half, setting up a tense atmosphere as the match went all the way through extra time. The Black Queens won their quarterfinal match against Algeria on penalties, but they couldn’t repeat the same feat against Morocco, and will now attempt to earn a third-place finish on Friday versus South Africa.

Morocco entered this year’s WAFCON as one of the strongest contenders, as the Atlas Lionesses have emerged as a growing force in African women’s football. They cruised past Mali in the quarterfinals, winning 3-1 and conceding only a late consolation goal.

Morocco boasts two of the highest goalscorers in the tournament so far, including last WAFCON’s Player of the Tournament Ghizlane Chebbak, who scored four goals in the group stage but is yet to find the back of the net in the knockout phase. Forward Ibitsam Jraïdi scored twice against Mali and was among the penalty scorers in the semifinal match. There will be no lack of firepower on Saturday, as the hosts will look to win their first WAFCON title against record holders Nigeria.

A late, chaotic goal was the definitive moment as Nigeria’s Super Falcons edged their way past South Africa to the final. Michelle Alozie’s long ball forward from close to the halfway line flew by two of her chasing teammates and crawled past Banyana Banyana’s onrushing goalkeeper, just over two minutes before the final whistle for regulation time was due to be blown.

Nigeria edged the defending champions out 2-1. Super Falcons’ captain Rasheedat Ajibade opened the scoring from the penalty spot at the end of the first half; however, Linda Motlhalo leveled things up on the hour mark. Alozie’s auspicious strike closed things, leaving South Africa to now compete in Friday's third-place match.

The Super Falcons will be playing for a tenth WAFCON title and a twelfth overall continental title on Saturday. The team has had a remarkable run to the final, with Motlhalo’s strike being the only goal it has conceded all tournament.

Over the weekend, they trounced the Zambia women’s team 5-0, a surprise result considering it was expected to be a tight affair. Instead, Nigeria impressively shut off Zambia’s usually prolific forward pair of Barbra Banda and Racheal Kundananji, on their way to a victory that symbolizes their dominance throughout the tournament.

Through the group stage and the knockout phase, Nigeria has demonstrated that they have the firepower and grit to win, either by overwhelming opponents or grinding out difficult wins, which are strong signs that they’ll be prepared to win it all on Sunday.

The winners of WAFCON 2024 will go home with an all-new trophy and a prize of $1 million. Second- and third-place teams will receive $500,000 and $300,000, respectively.

This story was originally posted July 22 at 3:37 p.m. and has been updated.

July 23, 10:53 a.m. Updated to include semifinal results and finals updates.

It is common knowledge in the Arab world that Egyptians tend to overstate their cultural achievements. They successfully exported their films and music to the rest of the region, asserting themselves as an artistic hub for decades (and sometimes forgetting that they are not the only ones creating good art).

Growing up with Ramadan mosalsalat, other Arabic speakers usually switch to the Egyptian dialect when talking with an Egyptian because most Egyptians only understand their own dialect. As a result, there is a certain resentment when Egyptians dominate cultural spheres.

This is to say that I am aware of how controversially Egyptian April’s list of best North African songs is. But denying that the catchiest, most interesting music came out of Egypt this month would be a lie. So, at the risk of being part of the Egypt-centric problem, here are this month’s song recommendations.

Carly Gibert, Lella Fadda - “Everything new [remix]” (Egypt, Spain)

Egypt’s most-streamed female rapper Lella Fadda jumps on a remix of Spanish singer Carly Gibert’s “Everything New,” rapping in Arabic and Italian over the track’s industrial beat. With its ethereal back vocals and harp-like synths, “Everything New” is at once a hopeful spring song and a badass rap collaboration.

Nadah El Shazly - “Kaabi Aali” (Egypt)

“Kaabi Aali” teases the upcoming second album of Egyptian-born, Montreal-based producer, vocalist, and composer Nadah El Shazly, titled Laini Tani, set for release on June 6. As with her previous offerings, El Shazly creates a hypnotic, multi-layered soundscape, fusing experimental electronics and Egyptian rhythms over which she delivers haunting vocals. “This song takes place amidst Cairo’s neon green city lights and should definitely be listened to at high volume in the car,” says El Shazly.

Wegz, Tayc - “Girlfriend” (Egypt, France, Cameroon)

Rapper Wegz teams up with French Cameroonian R&B singer Tayc for Afro-R&B track “Girlfriend,” demonstrating Wegz’ versatility; the single dropped only a few days after a nostalgic return to his 2019 trap roots on “ElWa3d.” While the track is an interesting, unusual conversation between artists from different worlds, I would have loved Wegz to do a dance scene like Tayc for real revolutionary appeal.

Mazin Hamid, Eiman Yousif - “Ya Jamal Alneel” (Sudan)

Sudanese musician and actor Eiman Yousif, best known for her role in Goodbye Julia, collaborates with Mazin Hamid for “Ya Jamal Alneel,” an ode to the beauty of the River Nile. Over simple guitar and melodica chords, this heartfelt duet remembers Khartoum as the place where the White and the Blue Nile converge, invoking memories of joyful afternoons at the riverbank before the outbreak of war.

Dallo - “Ghara (Remastered)” (Egypt)

Cairo-born electronic music producer Dallo returns with “Ghara (Remastered),” a hypnotic journey that links sufi chants with electronic experimentation and plays with the voice as a soundscape.

Warchieff, Freek, Ma-Beyn, The Hws, TUFF - “Mahzla” (Egypt, Saudi Arabia, Somalia, Syria, Palestine)

On “Mahzla,” Saudi producer Warchieff brings together a powerful group of up-and-coming rappers from North Africa and the Levant. The track features Freek, Ma-Beyn, The Hws, and TUFF, blending their high-energy bars and various Arabic dialects with hard-hitting trap beats and an experimental soundscape built on an unsettling bassline.

DJ Habibeats, Felukah - “Hayati” (Egypt, Palestine, US)

Taking us back to the early 2000s, Palestinian American DJ Habibeats and Egyptian rapper and singer Felukah throw a garage party on “Hayati,” a dance track that makes me yearn for summer. Over Habibeats’ trap rhythms and R&B textures, Felukah delivers bilingual Arabic and English vocals that explore diasporic identity, a theme relevant to both US-based artists. The mood switch halfway through the track makes me want to hit repeat every time it ends.

Marwan Moussa - “Bosakber” (Egypt)

Egyptian German rapper Marwan Moussa, the country’s third most streamed rapper, is preparing to release his most personal album. The album is split into five parts, each section tracing the stages of grief—denial, anger, bargaining, depression, and acceptance—after the loss of his mother. “Bosakber” is the second preview single, a fusion of hip-hop beats, sufi elements, oud arrangements, and shaabi that narrates the experience of heartbreak, trust issues, and spiraling mental chaos. The music video is a testament to Moussa’s love for film, which he studied in Rome.

Obie - “AS7a” (Sudan)

Obie is a Sudanese teenager with a promising flow. On his latest track, “AS7A,” he reintroduces himself to the scene after releasing his Supernova EP last year, and I am intrigued. Mixing fast, playful beats inspired by Afrobeats and Amapiano, paired with his effortless, assertive bars, Obie sounds older than he really is.