Latest news with #EtihadArena
What's On
6 days ago
- Entertainment
- What's On
Wael Kfoury is performing live at Dubai Opera this weekend
A love song you can't stop humming, a voice you've grown up with and a night you'll want to be at. Wael Kfoury is performing live at Dubai Opera on Saturday, June 22, and it's set to be a special one. Wael Kfoury 101 Wael is a big deal, if you didn't already know. Since the '90s, he's been at the heart of the Arabic music scene, with a long list of chart-topping tracks and millions of devoted fans across the region. With a career spanning over three decades, Wael has built a reputation as one of the Arab world's most enduring musical legends. From passionate ballads to feel-good hits, his songs are woven into the soundtracks of many lives. Dubbed the 'King of Romance,' he's known for pairing deep lyrics with that deep voice – warm, steady, and full of feeling. His live shows? Always packed. Always electric. The music From early hits like El Bint El Awiye and Omri Kellou to more recent favourites like Law Hobna Ghalta and Qalbe Meshtaq , Wael's sound blends contemporary Arabic pop with unmistakable classical roots. He's a balladeer at heart – and when he hits those long notes live, it's goosebumps. The event Whether you've been there from the days of the cassette tape or jumped on board more recently, Wael's music hits deep. Presented by Moments Events, the Lebanese star returns to Dubai for a one-night-only concert inside the city's most iconic venue. Expect a mix of nostalgia, power ballads, and pure charisma. The venue Dubai Opera doesn't really do average nights out. Set in the heart of Downtown, it's the city's go-to for world-class concerts, theatre, and shows. The venue itself is a design marvel, and whether you've been before or it's your first visit, a night here always feels like a special occasion – it's the perfect place for a concert like this. The details Location: Dubai Opera, Sheikh Mohammed bin Rashid Blvd, Downtown Dubai Time: Sunday, June 22, doors open 8pm Tickets: Starting at Dhs350, available via More big names If you're planning your concert calendar, the UAE is stacked: Jennifer Lopez at Etihad Arena on July 29, Lil Baby on October 18, Elissa at Dubai Opera on November 3, Enrique Iglesias in November, and Katy Perry closing the year in December. Images: Getty Images > Sign up for FREE to get exclusive updates that you are interested in
Forbes
6 days ago
- Sport
- Forbes
Holloway Plans To Spoil Poirier's Retirement Then Fight For UFC Title
ABU DHABI, UNITED ARAB EMIRATES - OCTOBER 26: Max Holloway prepares to face Ilia Topuria of Spain in ... More the UFC featherweight championship fight during the UFC 308 event at Etihad Arena on October 26, 2024 in Abu Dhabi, United Arab Emirates. (Photo by Chris Unger/Zuffa LLC) Max Holloway faces Dustin Poirier in the main event of UFC 318. Most of the focus on the trilogy bout between the two has been on the fact that the contest is being billed as Poirier's retirement fight. While Holloway understands that, he sees the matchup as his route to another title fight, this one in the UFC lightweight division. LAS VEGAS, NEVADA - APRIL 11: Max Holloway is seen on stage during the UFC 300 press conference at ... More MGM Grand Garden Arena on April 11, 2024 in Las Vegas, Nevada. (Photo by Jeff Bottari/Zuffa LLC via Getty Images) "I respect Dustin," Holloway said on his YouTube channel (via MMA Junkie) . "He's fought a who's who, and he did everything you could ask for someone to do in this sport. But at the end of the day, it's not even about fighting. It's about respecting Dustin as a man. He's a great guy. He's a good guy. I've got nothing but respect for him, and I can't wait to share the octagon yet again with him. "I know this is Dustin's retirement fight, and he's trying to ride into the sunset, but he can go and do that, and it might be a little bit sad, because I'm going to go out there and get my hand raised. ... Hell of guy, great guy, awesome that it's his retirement fight, but I'm here to spoil his plans and get my hand raised because I'm still going to be here when he's riding off in the sunset. I'm still going to be here. I want to still go get an undisputed title, so I've got to go out and make a statement." "The only message that I'm trying to send is I'm still here," Holloway added. "I know this is Dustin's retirement fight, but his last fight was for a title. I still have title contentions in my mind. Couple weeks before us, there's a title fight at 155 and I've got history with both men. At the end of the day, I go out there and do my thing, I make a statement, I get a statement win, who's to say your boy not fighting for the 155 undisputed title at the end of the year? First things first is Dustin Poirier. I'm not overlooking him. This is his retirement fight. He is taking it serious. Everybody keeps reminding me that he's 2-0. The internet and everywhere all around is saying, 'Why?' I'm going to show you why. I'm going to show you why I got this fight, and I'm going to show the fans why you want to see this fight." The UFC 155-pound title that will be decided a 'couple weeks before' UFC 318 is the UFC 317 matchup between former featherweight champion Ilia Topuria and ex-lightweight champ Charles Oliveira for the title that Islam Makhachev left vacant when he decided to more to welterweight. Topuria knocked out Holloway at UFC 308 in October 2024 in his second and final defense of his UFC featherweight crown. Holloway defeated Oliveira in a UFC Fight Night main event in 2015, winning the featherweight fight by TKO (injury) in the first round. NEWARK, NEW JERSEY - JUNE 01: Dustin Poirier is introduced before in his lightweight bout against ... More Islam Makhachev of Russia during UFC 302 at Prudential Center on June 01, 2024 in Newark, New Jersey. (Photo by) Poirier (30-9-0-1) has been a UFC fighter since 2011. At the time he had a 7-1 record. Between 2011 and 2018, Poirier went 16-4-0-1, picking up notable wins over Max Holloway, Bobby Green, Jim Miller, Anthony Pettis, Justin Gaethje, and Eddie Alvarez. His losses during that stretch came to The Korean Zombie, Cub Swanson, Conor McGregor, and Michael Johnson. Poirier's wins over Miller, Pettis, Gaethje, and Alvarez set him up to fight for the interim UFC lightweight title against then-UFC featherweight titleholder Max Holloway. Poirier was the No. 3 ranked fighter in the UFC 155-pound division at the time, April 2019. Poirier claimed the interim crown with a decision win. In September 2019, Poirier faced Khabib Nurmagomedov in a title unification bout. Nurmagomedov won that contest by third-round submission. Three wins after that, including two TKO victories over Conor McGregor, put Poirier in another lightweight title fight. He lost that battle to Charles Oliveira, falling to a rear-naked choke in the third round of their December 2021 matchup. The 36-year-old Poirier is 2-2 since that setback with wins over Michael Chandler and Benoit Saint Denis. Poirier's losses during that run came against Justin Gaethje for the BMF title and, most recently, opposite Islam Makhachev for the UFC lightweight title at UFC 302 in June 2024. Poirier has 15 fight-night bonus awards, which ties him for fourth all-time in that category. Poirier is the No. 5 ranked UFC lightweight. ABU DHABI, UNITED ARAB EMIRATES - OCTOBER 26: Max Holloway prepares to face Ilia Topuria of Spain in ... More the UFC featherweight championship fight during the UFC 308 event at Etihad Arena on October 26, 2024 in Abu Dhabi, United Arab Emirates. (Photo by Chris Unger/Zuffa LLC) Max Holloway (26-8) has been with the UFC since 2012. If there's a stat that the UFC tracks, chances are Holloway is among the leaders. He holds the UFC featherweight record for wins (20), finishes (11), knockouts (nine), win streak (13 straight), total fight time (6:58:57), significant strikes landed (2,971), and total strikes landed (3,180). Holloway's overall UFC records include significant strikes landed (3,457) and total strikes landed (3,706). Holloway's run as UFC featherweight champ began in June 2017 when he knocked out Jose Aldo. Holloway entered that contest as the interim champ, a belt he won by knocking out Anthony Pettis in December 2016. He defended his title against Aldo (TKO), Brian Ortega (TKO), and Frankie Edgar (decision). He also attempted to win the interim UFC lightweight belt during that run, but he fell short, dropping a decision to Dustin Poirier. Holloway's championship run ended in December 2019 when Alexander Volkanovski beat him by decision. Volkanovski retained the title in an immediate rematch. Wins over Calvin Kattar and Yair Rodriguez earned Holloway another shot at Volkanovski and his title in July 2022, but the champ retained his belt with a decision win. Holloway followed that setback with wins over Arnold Allen, the Korean Zombie, and Justin Gaethje. The Gaethje victory, a fight that many voted 'Fight of the Year' and 'Knockout of the Year,' earned Holloway the BMF title. That fight took place at 155 pounds. Holloway followed his BMF title win with the first knockout loss of his career, falling to Ilia Topuria in a UFC featherweight title fight in October 2024. Holloway is the No. 1 fighter in the official UFC featherweight rankings. He is also ranked at No. 4 at 155 pounds and sits at No. 12 in the pound-for-pound rankings. ATLANTA, GA - APRIL 13: (R-L) Dustin Poirier reacts after defeating Max Holloway in their interim ... More lightweight championship bout during the UFC 236 event at State Farm Arena on April 13, 2019 in Atlanta, Georgia. (Photo by Josh Hedges/Zuffa LLC/Zuffa LLC via Getty Images) Poirier is 2-0 against Holloway. They first met in a featherweight scrap at UFC 143 in February 2012. The bout was Holloway's fifth pro fight and first as a member of the UFC. He was 4-0 heading into the contest. Meanwhile, Poirier had been with the WEC/UFC for two years by then with a 11-1 pro record. Poirier won that fight, and earned Submission of the Night, for his first-round triangle armbar stoppage. The two faced off for the second time in April 2019 at UFC 236. That matchup was for the interim UFC lightweight title. Poirier won that 'Fight of the Night' bonus-winning scrap. Poirier failed to unify the title, losing to Khabib Nurmagomedov by submission at UFC 242 in September 2019. We will have more on UFC 318: Holloway vs. Poirier 3 as fight night nears.
The National
13-06-2025
- Entertainment
- The National
Why Mamma Mia! still resonates globally 26 years after its West End stage debut
With over 25 years of success trailing its reputation across the globe, Mamma Mia! hits the stage at Abu Dhabi's Etihad Arena for the first time, with heart and splendour to spare. On opening night, fans of the musical arrived in island-inspired outfits centred on the Greece-set show, and danced in the aisles when the well-known Abba songs kicked into gear. Richard Standing, who plays Sam Carmichael – one of protagonist Sophie Sheridan's three dads – says the show is still relevant 26 years after it debuted in London's West End because its themes resonate with everyone. 'The fact that it's about old people who need to find love, young people finding all forms of love, and sorting out complications of what a family can be – these things are universal, they speak to everyone,' Standing tells The National. Over the past two decades, Standing has seen an evolution in Mamma Mia! 's audience. When it started, he saw mostly young women bringing along their often-reluctant partners, both of whom would always end up dancing together. But after the film adaptation, starring Meryl Streep and Amanda Seyfried released in 2008, the target audience grew far more diverse, attracting men and women young and old. 'That film did the show a lot of favours. It brought six-year-olds, 16, 36, 66 and 96-year-olds. I've seen four or five generations of people,' says Standing. What makes it more special is the cast's connection with the audience during the performance. 'You can't beat live theatre. You can't beat that feeling. It's indescribable,' says Ellie Kingdon, who plays Sophie Sheridan. 'I hope it's going to be received well here. We've never been to Abu Dhabi before, but the vibe we have already is amazing,' she adds. For an international performance, which has staged 50 productions in several languages and over 400 cities, Mamma Mia! 's cast have been at the forefront of absorbing cultural nuances in their audience's behaviour during the show. Standing, who has performed in over 40 countries, including twice in Dubai and once in Amman, says the varying reactions keep things fun. 'The best bit about an international tour is the people. In the end, everybody loves the story, because who doesn't love a story about love? Love is the answer. 'The things that we share are so much greater than the things that are different,' he adds. 'Thank You for the Music' One of the most integral parts of Mamma Mia! is its soundtrack, encompassing more than 20 Abba songs throughout. Stuart Reid, who plays Harry Bright – another one of Sophie's fathers – says Abba's music is a cornerstone of pop culture, constantly renewing itself in different ways, creating 'universal appeal' for the show. 'We go to many countries where English isn't the mother tongue, but the show gets the same response because it's about the story and the music,' he says. By the end of the show, when the cast sing Waterloo, Mamma Mia and Dancing Queen during the encore, everybody in the audience is up on their feet and dancing, soaking in the final moments of a memorable performance, says Bob Harms, who plays Bill Austin. 'We just want people to enjoy, and I have no doubt everywhere we go, people do,' he says. So, which of the three is the father? Mamma Mia! 's flair and charm would not be nearly what it is now without the mystery of who Sophie's real father is. While fans of the show love to speculate, the answer has not been revealed – yet. However, for Kingdon, the most special scenes in the show are the intimate moments with each of her fathers. 'There are some really interesting moments where you see the shift in Sophie's story, and I think they're my favourite parts to play.' Each of the three male leads has their own take, too. 'I used to mind this when I was younger, but the whole point of the musical is that a family can be anything. In the end, it doesn't really matter because all three of them decide to share that responsibility,' says Stanning, who marries Sophie's mother, Donna, in the story. However, he adds with a mischievous gleam in his eye: 'But yes, of course, it is me.' Reid believes the show is not about who the father is, but rather about the three men who want to be in Sophie's life, each believing they are her true father. 'We're all in this journey together,' he says. Mamma Mia! movie.
The National
12-06-2025
- Entertainment
- The National
Review: Mamma Mia! brings sequins, nostalgia and power of community to Abu Dhabi
There's a visible shift that spreads across an audience during Mamma Mia! – one that goes from shy engagement to full-bodied joy, as if muscle memory has kicked in and everyone suddenly remembers the words to Dancing Queen. That collective response, so reliably evoked by this long-running musical, raises a deeper question: what purpose should a stage show serve once it has crossed the threshold from hit to institution? Since its West End premiere in 1999, the Abba -fuelled jukebox musical Mamma Mia! has gone from being a breakout success to a shared cultural memory. It is a show so familiar to some in the audience, that they often collectively hum the songs before the curtain even rises. The version currently playing at Etihad Arena in Abu Dhabi, part of an international touring production, is a case study in what it means to stage something so popular and loved. The challenge does not lie in execution. By now, Mamma Mia! has been honed to a fine commercial polish: the touring cast hit their marks, the lighting cues are crisp and the music is performed with faithful gusto. It is, in every sense, a successful production. The more interesting question is whether that success should still be measured in technical proficiency or whether – once a musical enters the cultural canon – the more pressing task is to find something new within it. While bobbing my head along to the familiar tunes, I couldn't help but think: should a show such as Mamma Mia! change? Or perhaps more accurately: for whom must it change? That may not be Mamma Mia! 's burden to bear. Classics endure for a reason, but as the musical celebrates more than two decades of sold-out runs and repeat performances, it invites some reflection: how do we keep something alive without embalming it? This Abu Dhabi run delivers what audiences expect: escapism, warmth, glitter and the familiar groove of Abba songs. The plot, in which a young bride named Sophie invites three of her mother Donna's former lovers to her wedding to discover who her father is, remains secondary to the soundtrack. While the dialogue is breezy and the stakes are gentle, the emotional architecture still has the potential to surprise. In this version, that potential is most visible in Steph Parry's Donna, whose rendition of The Winner Takes It All resists melodrama and leans into a more controlled devastation. It's a performance that momentarily lifts the show out of its party-dress expectations and into something more raw and grounded – a vulnerability I've always found hard to locate in Meryl Streep's otherwise formidable interpretation in the film adaptation. Also deserving of mention is Ellie Kingdon's Sophie, played with a disarming sincerity and vocal clarity that gives the character both weight and warmth. Donna's longtime friends and former bandmates, Tanya and Rosie (brought to life with magnificent flair by Sarah Earnshaw and Nicky Swift) inject the production with verve, comic precision and impeccable timing. Their presence offers a necessary counterbalance to the show's emotional currents, and their scenes together offer pure enjoyment. These are performances likely shaped by experience rather than invention, but maybe that's the point. In a play so well-known, elevation doesn't always mean transformation. For me, having seen Mamma Mia! multiple times, including when it came to Dubai in 2021, the broader production felt like it was playing too close to the template at points. There was a smoothness to the staging that, while admirable, felt cautious. Even some of the more spirited numbers, such as Voulez-Vous or Does Your Mother Know, were energetic but stopped short of fully surrendering to the moment. However, for audiences seeing it for the first time, as many in Abu Dhabi could be, the show remains a revelation. The story's optimism, the undeniable power of hearing Abba sung live – these things still have the capacity to feel fresh, especially when encountered without the weight of prior viewings. In that sense, the production is doing precisely what it needs to: making the old feel new again for someone else. I attended the opening night, and the venue was near capacity. A decade ago, such productions arrived sporadically in the UAE, often met with curiosity rather than fervent demand. But in recent years, the frequency and reception of large-scale international musicals suggest a cultural shift is underway. It seems the capital is not just importing musicals, but also nurturing an audience for them. The show's final encore, a sequinned celebration of Dancing Queen and Waterloo was a beautiful shared moment between the cast, the crowd and even this critic. It was at this point – hands raised, lyrics mouthed back in unison – that Mamma Mia! reminded me why it endures. The production's staying power lies in its ability to gather strangers and turn them, at least temporarily, into a community. Is it a sign of theatre culture taking root in the UAE? I'm excited even just by the idea of it.
The National
12-06-2025
- Entertainment
- The National
Mamma Mia! brings sequins, nostalgia and the power of community to Abu Dhabi
There's a visible shift that spreads across an audience during Mamma Mia! – one that goes from shy engagement to full-bodied joy, as if muscle memory has kicked in and everyone suddenly remembers the words to Dancing Queen. That collective response, so reliably evoked by this long-running musical, raises a deeper question: what purpose should a stage show serve once it has crossed the threshold from hit to institution? Since its West End premiere in 1999, the Abba -fuelled jukebox musical Mamma Mia! has gone from being a breakout success to a shared cultural memory. It is a show so familiar to some in the audience, that they often collectively hum the songs before the curtain even rises. The version currently playing at Etihad Arena in Abu Dhabi, part of an international touring production, is a case study in what it means to stage something so popular and loved. The challenge does not lie in execution. By now, Mamma Mia! has been honed to a fine commercial polish: the touring cast hit their marks, the lighting cues are crisp and the music is performed with faithful gusto. It is, in every sense, a successful production. The more interesting question is whether that success should still be measured in technical proficiency or whether – once a musical enters the cultural canon – the more pressing task is to find something new within it. While bobbing my head along to the familiar tunes, I couldn't help but think: should a show such as Mamma Mia! change? Or perhaps more accurately: for whom must it change? That may not be Mamma Mia! 's burden to bear. Classics endure for a reason, but as the musical celebrates more than two decades of sold-out runs and repeat performances, it invites some reflection: how do we keep something alive without embalming it? This Abu Dhabi run delivers what audiences expect: escapism, warmth, glitter and the familiar groove of Abba songs. The plot, in which a young bride named Sophie invites three of her mother Donna's former lovers to her wedding to discover who her father is, remains secondary to the soundtrack. While the dialogue is breezy and the stakes are gentle, the emotional architecture still has the potential to surprise. In this version, that potential is most visible in Steph Parry's Donna, whose rendition of The Winner Takes It All resists melodrama and leans into a more controlled devastation. It's a performance that momentarily lifts the show out of its party-dress expectations and into something more raw and grounded – a vulnerability I've always found hard to locate in Meryl Streep's otherwise formidable interpretation in the film adaptation. Also deserving of mention is Ellie Kingdon's Sophie, played with a disarming sincerity and vocal clarity that gives the character both weight and warmth. Donna's longtime friends and former bandmates, Tanya and Rosie (brought to life with magnificent flair by Sarah Earnshaw and Nicky Swift) inject the production with verve, comic precision and impeccable timing. Their presence offers a necessary counterbalance to the show's emotional currents, and their scenes together offer pure enjoyment. These are performances likely shaped by experience rather than invention, but maybe that's the point. In a play so well-known, elevation doesn't always mean transformation. For me, having seen Mamma Mia! multiple times, including when it came to Dubai in 2021, the broader production felt like it was playing too close to the template at points. There was a smoothness to the staging that, while admirable, felt cautious. Even some of the more spirited numbers, such as Voulez-Vous or Does Your Mother Know, were energetic but stopped short of fully surrendering to the moment. However, for audiences seeing it for the first time, as many in Abu Dhabi could be, the show remains a revelation. The story's optimism, the undeniable power of hearing Abba sung live – these things still have the capacity to feel fresh, especially when encountered without the weight of prior viewings. In that sense, the production is doing precisely what it needs to: making the old feel new again for someone else. I attended the opening night, and the venue was near capacity. A decade ago, such productions arrived sporadically in the UAE, often met with curiosity rather than fervent demand. But in recent years, the frequency and reception of large-scale international musicals suggest a cultural shift is underway. It seems the capital is not just importing musicals, but also nurturing an audience for them. The show's final encore, a sequinned celebration of Dancing Queen and Waterloo was a beautiful shared moment between the cast, the crowd and even this critic. It was at this point – hands raised, lyrics mouthed back in unison – that Mamma Mia! reminded me why it endures. The production's staying power lies in its ability to gather strangers and turn them, at least temporarily, into a community. Is it a sign of theatre culture taking root in the UAE? I'm excited even just by the idea of it.
