
Offlimits Festival: Who's headlining the inaugural event in Abu Dhabi?
Abu Dhabi has long been known for hosting some of the world's biggest stars. The Offlimits Music Festival, which will debut on 26 April at Etihad Park, will welcome an electrifying lineup of artists. While several names have already been announced, the entire roster, featuring some of the biggest acts from across the world, has now been revealed.
UK-born twin brothers Michael and Lukas Fernandes-Pense, collectively known as Altego, have transformed into a global phenomenon with their DJing skills. Amassing over 156 million streams and over four billion TikTok views, their set promises to bring high-energy beats to the capital.
Representing the electronic music scene, Ukrainian duo ARTBAT is known for their techno beats. With tracks like Horizon , Mandrake , and Uplift , as well as performances at major festivals worldwide, expect an unforgettable set in Abu Dhabi as well.
Ed Sheeran needs no introduction. With his soulful lyrics and heartfelt melodies, he has captivated audiences worldwide. Known for hits like Bad Habits , Shape of You and Thinking Out Loud , his headlining performance at Offlimits Music Festival will be nothing short of magical.
Faithless has been influential in the music since the 90s, with tracks like God Is a DJ and Insomnia becoming fan favourites. Known as the pioneers of EDM, they will bring their mix of house, trance, and trip-hop to Abu Dhabi.
Like Faithless, Fun Lovin' Criminals have also carved out a niche for themselves since the 90s. Known for their breakout track, Scooby Snacks , the band brings groovy rhythms and engaging banter, promising a fun-filled set to get the crowd moving.
Hailing from England, Kaiser Chiefs will bring singalong hits like I Predict a Riot and Ruby to the OffLimits Music Festival. They've become a staple in the British rock scene, and their upcoming performance in Abu Dhabi promises to have the crowd on their feet.
Dubai's very own Mr Levier brings a fusion of house, electronic, and dance anthems to the stage. Whether he's dropping a classic house banger or introducing the audience to a fresh track, Mister Levier's performance at Offlimits Music Festival will be a sonic journey.
Bringing their anthemic pop-rock sound to Abu Dhabi, OneRepublic is set to deliver an electrifying show. Frontman Ryan Tedder's powerful vocals and the band's massive hits like Apologise and Counting Stars make them a must-see headlining act at the festival.
Iranian-Dutch artist Sevdaliza brings her blend of alternative R&B, electronic, and experimental sounds to the Offlimits Music Festival. With her hit tracks, such as Human and Marilyn Monroe , Sevdaliza is sure to wow the crowd.
Palestinian-Jordanian pop singer Zeyne promises to blend Middle Eastern influences with contemporary pop, creating a unique sound. Her performance as part of the OffLimits Music Festival promises to be nothing short of powerful.
Tickets to the Offlimits Music Festival are now live, starting at AED 495.
GO: Visit https://abu-dhabi.platinumlist.net for tickets and more information.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Campaign ME
2 days ago
- Campaign ME
How TV and video content reflect and shape societal trends
TV and video content do more than entertain – they participate in a powerful cultural feedback loop. What society values, questions, or fears often finds its way into the content we consume. In turn, that content influences public opinion, behaviour and culture. This dynamic exchange between media and society is constant and evolving, with creators and audiences shaping each other in real time. Below is a breakdown of how TV and video content both reflect and shape societal trends. Reflecting societal trends TV and video often serve as a mirror to society, revealing what we care about, what we're debating and how our identities are shifting. Real-world issues in storytelling: Contemporary storytelling often draws from real-world concerns. Documentaries and dramas address urgent issues – When They See Us explores systemic racism and police brutality, while Taare Zameen Par sheds light on mental health and learning disabilities. These stories echo public discourse and deepen social awareness. Generational trends and digital culture: The rise of YouTube, TikTok and other participatory platforms reflects a shift toward democratised media. Audiences no longer just consume content – they create it. This shift mirrors our culture's move toward individual expression, authenticity and instant connection. Shaping societal trends While content reflects society, it also actively shapes it – guiding how we think, what we value and how we behave. Setting norms and aspirations: TV shows influence cultural expectations and lifestyle choices. Sex and the City, for instance, redefined urban single life and consumer culture for an entire generation. Home renovation shows influence how people view personal space and home-ownership. Language, fashion and pop aesthetics: TV and video are major trendsetters. Catchphrases, fashion styles and makeup looks often go viral after appearing in a popular series. Shows such as Euphoria and Stranger Things have shaped youth fashion, music and visual culture across social platforms. Shaping political and social perspectives: Satirical news programmes such as The Daily Show or Last Week Tonight don't just entertain – they inform and persuade. They help frame political events for a younger, often more sceptical audience. Meanwhile, political dramas such as House of Cards influence public perception of government and leadership. Feedback loop between media and society In today's digital world, the relationship between media and society is more interactive than ever. Audiences are no longer passive viewers – they're active participants. Real-time reactions and content evolution: Social media has revolutionised how audiences respond to content. Viewer feedback – whether praise, critique, or backlash – reaches creators instantly. This immediacy has led to real-time adjustments in casting, storytelling and tone. Influence of social movements: Movements such as #MeToo and Black Lives Matter have directly affected the media landscape. Networks and studios are rethinking representation, investing in inclusive narratives and prioritising authentic voices to reflect societal calls for justice and equality. Demand for authenticity and representation: Audiences demand content that feels real and inclusive. This push has led to diverse casts, culturally sensitive writing and collaborations with underrepresented creators. Media now responds not just to market trends, but to ethical and cultural imperatives. Media as a cultural force TV and video content are cultural artifacts and engines of change. They both document and shape the identities, ideologies and dreams of society. As digital platforms and global audiences grow, so does the speed and scale of this feedback loop. What we see on screen doesn't just reflect who we are – it helps define who we're becoming. By Prasad S. Amin, CEO, Integrated Advertising Services (IAS MEDIA)


Khaleej Times
2 days ago
- Khaleej Times
Streaming trends 2025: Are weekly episodes replacing the binge?
For years, streaming taught us to binge. Entire seasons dropped in one go, the 'Next Episode' button eliminated cliffhanger suspense, and weekend marathons became the norm. But now, something surprising is happening — especially among Gen Z: the weekly drop is back, and it's not just working — it's winning. Take The Last of Us Season 2 on OSN+, a gritty, emotionally devastating post-apocalyptic series that concluded after a seven-week run on May 26 in the UAE, becoming a Monday ritual across the Middle East. The show didn't just dominate timelines — it's dominated time. One episode a week. No skipping ahead. No spoilers unless you dare. What changed? This is the generation long believed to crave instant gratification — the same cohort known for skipping intros, doubling playback speed, and abandoning a series two minutes in. Yet they're showing up week after week for slow-burn television, emotionally raw narratives, and serialised suspense. Why? Because binge culture may have offered control, but the weekly drop delivers community. According to OSN+, Gen Z viewers in MENA (Middle East and North Africa) are choosing weekly drops over binge dumps; 47 of the top 50 most in-demand shows in early 2023 in MENA followed a weekly or staggered release model. TikTok and the rise of episodic attention Ironically, the same Gen Z that's glued to TikTok's short-form content is helping drive this shift. TikTok, once known for its 15-second dopamine hits, has evolved into a platform of mini-episodic storytelling. Viral multi-part sagas like the 'Who Did I Marry?' series or real-life 'Storytime' confessions span five, ten, sometimes twenty clips — and viewers stick around. These aren't just passive watches; they're participatory. Viewers stitch reactions, drop theories, and stay hooked until the final reveal. Sound familiar? It's the same energy fueling weekly appointment TV. In Gen Z's own vernacular, 'it's giving… community.' Weekly drops vs. the binge: What platforms are doing Streaming services have started to take notice and vary their release strategies accordingly: Netflix remains synonymous with binge culture (Bridgerton, Baby Reindeer, Selling Sunset) — often dropping entire seasons at once. But it has flirted with the weekly format for reality shows like The Circle and Love Is Blind, using cliffhangers and staggered episodes to fuel online buzz. It also drops seasons in parts; for instance, makers of Stranger Things released seven episodes of their hit show's fourth season on May 27, 2022, and the remaining two episodes on July 1, 2022. Disney+ almost exclusively releases episodes weekly for major titles like The Mandalorian, Loki, and The Acolyte, leaning into fandom discussion and long-tail engagement. Amazon Prime Video often uses a hybrid model. Shows like The Boys and Invincible premiere with two or three episodes, then shift to weekly drops. HBO/Max (and by extension OSN+ in the Middle East) is a purist in this space, famously championing weekly releases for shows like House of the Dragon, and now The Last of Us. The result? A groundswell of online chatter, theories, and emotional build-up that just doesn't happen with full-season dumps. Each model serves a purpose, but there's a growing appetite for the slow-burn — especially when the story deserves space to breathe. When The Last of Us S2 premiered on OSN+, fans weren't just watching — they were posting, reacting, and predicting. Major character arcs — like the divisive arrival of Abby (played by Kaitlyn Dever), or the emotionally loaded moments with Joel (Pedro Pascal) — became weekly conversation starters. TikTok exploded with edits and think pieces; Reddit threads broke down symbolism, flashbacks, even line delivery. This isn't just consumption — it's participation. Each episode becomes a cultural event, a shared pause in the chaos of content overload. And in a world where everything moves fast, the wait becomes a feature, not a flaw. The return of the weekly drop isn't just a throwback — it's a digital coping mechanism. It builds anticipation. It invites reflection. It lets stories sink in. For a generation bombarded with stimuli, the wait might just be the magic. Binge culture trained us to race. Weekly TV is teaching us to feel. What do you prefer? Binge watching or weekly episode drops.


Gulf Today
2 days ago
- Gulf Today
Swiatek sweeps aside Svitolina to set up semis showdown with Sabalenka
Four-times champion Iga Swiatek of Poland swept aside Ukraine's Elina Svitolina 6-1 7-5 on a windy day at the French Open on Tuesday to earn a semi-final spot and stay in the hunt for a record-breaking victory in Paris. The 24-year-old, who accepted a one-month doping ban late last year, is looking to become the first woman in the professional era since 1968 to win four consecutive titles in Paris. Although she failed to win a title going into the French Open this season, she looks to have rediscovered her remarkable claycourt form in Paris. She will next play world number one Aryna Sabalenka in a mouth-watering semi-final after the Belarusian beat China's Zheng Qinwen 7-6 (7/3), 6-3. 'I should have had better intensity in the beginning of the second set,' Swiatek said in a post-match interview. 'When I saw my intensity go low I got it high again. I am happy I did it at the end of the set. 'Against Aryna it is always a challenge. She has a game for every surface. I have to do the work, be brave with my shots and go for it. She is having a great season.' 'I will not lie. It will be a tough match but am happy for the challenge,' she said. The Pole is now on a 26-match winning streak at the French Open, following her title three-peat between 2022-24 to add to her 2020 crown. Swiatek, playing in an initially sparsely filled Philipp Chatrier stadium, broke the Ukrainian, in her fifth quarter-final appearance in Paris, early and kept her on the back foot with her heavy top-spin forehand and rapid changes in pace and direction. Svitolina desperately tried to hang on but she could not match her opponent's power in rallies, sending a forehand into the net to hand her another break as Swiatek bagged the set on her serve in the next game. With her husband, French tennis player Gael Monfils, watching from the stands, Svitolina ignited hope among the crowd when she moved 5-4 up in the second set. Three unforced forehand errors in the next game, however, proved too many and Swiatek raced through the next three games to seal victory, firing three aces in the final game including one on match point. Earlier, reigning US Open champion Sabalenka defied the windy conditions and Zheng to avenge her recent loss to the Chinese star in Rome. 'The last tournament I was pretty exhausted,' said Sabalenka. 'Today I was more fresh I was ready to battle.' Sabalenka once again got the upper hand on Zheng, who had been on a winning streak of 10 matches on the Paris clay after her run to Olympic gold last year. Zheng broke and led 4-2 in the first set. But numerous unforced errors — 31 in total — allowed the Belarusian to come back. The second set was also tight before Sabalenka broke back to lead 4-3, taking advantage of her opponent's errors. 'I gave her the chance, so easy,' said Zheng, who has lost seven times in eight meetings to Sabalenka, including in last year's Australian Open final. Madrid Open champion Sabalenka feels she is ready to go all the way in Paris, where her previous best performance was reaching the semi-finals two years ago. 'It's high-level matches. I'm super excited to go out there and to fight and to do everything I need to get the win,' said Sabalenka of her tie against Swiatek. Meanwhile, Italian craftsman Lorenzo Musetti used his full palette of shots to decorate Court Philippe Chatrier with blistering baseline winners, beating American Frances Tiafoe 6-2 4-6 7-5 6-2 to reach the French Open semi-finals for the first time on Tuesday. Musetti, who said he put some order in his mind and game, did not let frustration take the best of him after losing the second set and once he found his groove, there was no stopping him as 15th seed Tiafoe gradually lost the plot, twice arguing with the chair umpire over line calls. He bowed out with yet another routine shot into the net, his 'Big Foe' neck chain dripping with sweat as a testimony of the battle just fought. 'Definitely Frances did not start the way he wanted but today was really complicated, it was so windy and difficult to mange to properly hit the ball,' said Musetti. Agencies