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Inside Marine Drive's new restaurant SoBo 20, serving bold Franco-American plates

Inside Marine Drive's new restaurant SoBo 20, serving bold Franco-American plates

Indian Express5 hours ago

In the early 18th century, the French landed on the Mississippi coast and founded New Orleans. Over centuries, it evolved into a major port and commercial hub, the birthplace of jazz, and a cultural gumbo of French, African, Spanish, and Caribbean influences. Among its most distinctive offerings is its bold, soulful Creole and Cajun cuisine, a delicious reflection of the city's layered history.
Now, halfway across the world, that unmistakable NOLA (New Orleans, Louisiana) flavour has landed in Mumbai—courtesy of SoBo 20.
Designed by Sarah Sham's Essajees Atelier, the newly opened 50-seater restaurant on the ground floor of InterContinental Marine Drive exudes retro-glam sophistication—think clean lines, curated lighting, and bold contrasts.
One side features a chic no-reservations bar; on the other, plush seating with marble-topped tables and leather upholstery, anchored by a striking trumpet sculpture on the far wall.
It's an easygoing spot, ideal for post-work drinks, laid-back dinners set to '80s and '90s tunes, or a leisurely Sunday brunch.
SoBo 20 is named after the area and its pincode. 'We wanted the name to feel familiar and accessible,' said Panchali Mahendra, CEO of Dubai-based Atelier House Hospitality, the group behind New Delhi's award-winning INJA. 'When people hear 'French-American,' they often expect something uptight or formal. But we wanted to celebrate the fun of French flavours and the boldness of American ones.' She added that Creole and Cajun cuisine is ideal for the Indian palate, thanks to its spice levels, stews, and textures.
The menu, curated by chef Sudeep Kashikar, is compact yet versatile, offering around 48 dishes, including bar bites, wafer-thin pizzettes, small and large plates, sides, and desserts. Every dish is technique-driven, artfully plated, and designed to surprise — even a humble salad like the Verde.
This green salad arrives with a striking top layer: a delicate mousse-gelee hybrid made with spinach, citrus, and serrano pepper. It rests over a tartare of vegetables like onion, cucumber, edamame, kale, and baby spinach. Studded with candied walnuts, smoked cashew salsa, and sour cream, and crowned with a tiara of microgreens, it's a sensory delight.
A spoonful of everything melts in your mouth, bringing together freshness, flavours, and crunch in a single bite.
Other highlights include house-made focaccia glazed with honey and chilli, served with mascarpone white butter and fried sage; a sun-dried tomato and basil pizzette slicked with arrabbiata sauce and tapenade; and the Potato Mille Feuille — finely layered, crisped potatoes with Cajun seasoning, served with potato foam, rice crackers, and coriander-chive oil on the side.
The cocktail menu, crafted by Supradeep Dey, blends French and American classics in inventive ways. Take the Sidecar Smoke, for instance, a clever fusion of the Old Fashioned and Sidecar. We tried the Night Cap, which arrives in two parts: a quick shot of Alexander No.1 with white chocolate, gin, and cream, followed by a citrusy Blood and Sand.
Considering the culinary influences, the menu leans heavily toward non-vegetarian options. Think smoked prawns on crispy chicken skin (Gambas), soft shell crab linguine, salmon carpaccio, and crowd-favourite chicken paillard with caviar. 'What has surprisingly been a huge favourite is the Louisiana fried chicken burger,' said Mahendra. 'Not many people can do justice to the flavours and get a burger right.'
Desserts, given the French influence, were much anticipated—and they didn't disappoint. The Burrata Ice Cream, for instance, is a mildly sweet, almost salad-like dessert featuring cheese turned into ice cream, topped with an olive oil vinaigrette with orange and honey, and toasted almonds.
Chef Kashikar's favourite is the SoBo Chocolate Pate—inspired by the classic liver pate—but reimagined with 70 per cent dark Valrhona chocolate and bourbon whiskey, finished with frozen grated chilli and a sprinkle of salt for heat and contrast.
Our top pick? The fried beignets with a ginger creme brulee centre, served with caviar for non-vegetarians and without for vegetarians. 'It's a classic New Orleans pastry—just fried dough with powdered sugar on top. But I wanted to bring in a French touch with creme brulee,' said Kashikar.
'We baked the creme, churned and froze it into bonbon moulds, then stuffed it into the beignet batter and fried it. Of course, creme brulee isn't complete without a sugar crust, so we torch the whole beignet.' The result is magical: a crisp shell that gives way to a warm, custardy centre with hints of ginger and caramelised sugar.

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Explained: How one Colombian man brought Zumba to the world, and the row over it in Kerala
Explained: How one Colombian man brought Zumba to the world, and the row over it in Kerala

Indian Express

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  • Indian Express

Explained: How one Colombian man brought Zumba to the world, and the row over it in Kerala

Several religious groups in Kerala recently criticised the state government's decision to introduce Zumba classes in schools to encourage fitness among students, and as part of an anti-drugs measure. Earlier this week, cleric Abdul Samad Pookkottor said, 'Zumba is harmful to the moral life of students. Prayer is the best for mental well-being. We also have yoga. This is an import from the Western world. If the government insists that Zumba dance should be implemented, our clerics will fight against it. Girls and boys should not be allowed to mingle under the pretext of the Zumba dance…' The government said it would continue its policy despite similar comments made by some other organisations. What is Zumba, and what exactly is the controversy about? We explain. It's a relatively new form of exercise that combines dance and aerobics. In 1986, Beto Perez was working as an aerobics instructor in Cali, Colombia, but forgot to bring his tape of American pop hits by Michael Jackson and Madonna to a class. This led him to improvise a 30-minute class using the cassette he had in his car, 'full of Latin songs, specifically salsa and merengue tunes that he had recorded from the radio,' according to a BBC report. His students gave rave reviews. 'Every time I taught, more and more people would show up and take a class. There would be lines out of the door of people waiting to get in. Word travelled fast. This was the beginning of Zumba,' Perez told the BBC. He moved to the capital, Bogota, and later to the United States, without the requisite documents. Colombian pop icon Shakira also hired him to choreograph some songs. Today, Zumba classes have spread worldwide. In India, remixes of film music are also used in classes, rather than strictly Latin music. One major selling point is that its intensity is varied, and participants can choose what they want to do according to their convenience. With different kinds of songs and routines in almost every other class, depending on the instructor, it also offers a more dynamic form of exercise to people who may not enjoy the routine that gyms offer. Further, no equipment is needed for it. While aerobics includes several activities meant to increase oxygen consumption, such as running, swimming or jumping rope, Zumba mainly focuses on high-intensity dance and exercises. The trainer leads the class in sync with the fast-changing music, incorporating jumping jacks, arm stretches, and other moves. The dance workout was initially called the 'Rumba', which means party in Cuban and is also used in Latin America to refer to a variety of dances. 'Zumba' was a play on that. Perez launched his company, Zumba Fitness, based in Miami, with two other partners in 2001. They began by offering classes and certifications to instructors and have since expanded to classes, DVDs, clothing and accessories, and more. Notably, the recommended clothing for Zumba classes is the same as that for any fitness-related activity — proper shoes, and comfortable and breathable outfits suited for movement. However, Zumba has been restricted at times, particularly for women. In Afghanistan, the Taliban banned music and dancing under a strict implementation of Islamic law when it first came to power (1996 to 2001). Some Zumba classes later sprang up, once the regime came to an end. In 2017, Iran was reported to have banned Zumba and arrested people for it. A BBC report from the time quoted Hamid Damghani, a commander of Iran's Islamic Revolutionary Guard Corps, as saying, 'They were arrested by the Guards' intelligence forces while teaching and creating video clips… as they sought to change lifestyles and promote a lack of hijab,' he said. Some religious leaders have continued opposing Zumba's inclusion in schools in recent days. Another cleric, Nazar Faizy Koodathai, said students should not be compelled into 'vulgarity'. 'If well-built students are also forced to dance wearing minimum clothes and mingling with the opposite sex, it is highly deplorable. Instead of introducing Zumba, let the government focus on physical training programmes. Students should not be forced into vulgarity,' he said. However, the state government has shown no signs of walking back its decision so far. The general secretary of the state's ruling Communist Party of India (Marxist), M A Baby, told the media in Kozhikode that 'religion should be kept away from education'. 'Children should grow mingling with one another. Those who oppose should rethink their stand. In a secular country, religion should be kept away from public education. They can comment on issues, but they should not dictate terms on education,' he said. Education Minister V Sivankutty said, 'Certain quarters have come out against Zumba, which is being introduced in schools as part of anti-drug initiatives.' He added, 'What is being held in schools is a short physical fitness programme. Students are performing Zumba in their uniforms.' He said that under the Right to Education Act, it was mandatory for all students to participate in learning activities suggested by the government. The minister also shared videos of students of two schools in Muslim-majority areas performing Zumba in uniform, wearing headscarves. Higher education minister Dr R Bindu also shared a video of college students — including Catholic nuns — dancing to music at a college in Irinjalakuda in Thrissur.

Fans criticise Beyonce for shirt calling Native Americans the enemies of peace
Fans criticise Beyonce for shirt calling Native Americans the enemies of peace

Mint

timean hour ago

  • Mint

Fans criticise Beyonce for shirt calling Native Americans the enemies of peace

Washington, Jun 29 (AP) A T-shirt worn by Beyonce during a Juneteenth performance on her 'Cowboy Carter' tour has sparked a discussion over how Americans frame their history and caused a wave of criticism for the Houston-born superstar. The T-shirt worn during a concert in Paris featured images of the Buffalo Soldiers, who belonged to Black US Army units active during the late 1800s and early 1900s. On the back was a lengthy description of the soldiers that included 'their antagonists were the enemies of peace, order and settlement: warring Indians, bandits, cattle thieves, murderous gunmen, bootleggers, trespassers, and Mexican revolutionaries'. Images of the shirt and videos of the performance are also featured on Beyonce's website. As she prepares to return to the US for performances in her hometown this weekend, fans and Indigenous influencers took to social media to criticise Beyonce for wearing a shirt that frames Native Americans and Mexican revolutionaries as anything but the victims of American imperialism and for promoting anti-Indigenous language. A spokesperson for Beyoncé did not respond to a request for comment. Who were the Buffalo Soldiers? The Buffalo Soldiers served in six military units created after the Civil War in 1866. They were comprised of formerly enslaved men, freemen, and Black Civil War soldiers and fought in hundreds of conflicts — including in the Spanish-American War, World War I, and World War II — until they were disbanded in 1951. As the quote on Beyonce's shirt notes, they also fought numerous battles against Indigenous peoples as part of the US Army's campaign of violence and land theft during the country's westward expansion. 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So you really didn't see a changing in that narrative until recently.' There has often been a lack of diverse voices discussing how the history of the Buffalo Soldiers is framed, said Michelle Tovar, the museum's director of education. The current political climate has put enormous pressure on schools, including those in Texas, to avoid honest discussions about American history, she said. 'Right now, in this area, we are getting pushback from a lot of school districts in which we can't go and teach this history," Tovar said. "We are a museum where we can at least be a hub, where we can invite the community regardless of what districts say, invite them to learn it and do what we can do the outreach to continue to teach honest history.' Historians scrutinise reclamation motive Beyonce's recent album 'Act II: Cowboy Carter' has played on a kind of American iconography, which many see as her way of subverting the country music genre's adjacency to whiteness and reclaiming the cowboy aesthetic for Black Americans. Last year, she became the first Black woman ever to top Billboard's country music chart, and 'Cowboy Carter' won her the top prize at the 2025 Grammy Awards, album of the year. 'The Buffalo Soldiers play this major role in the Black ownership of the American West,' said Tad Stoermer, a historian and professor at Johns Hopkins University. 'In my view, (Beyonce is) well aware of the role that these images play. This is the Cowboy Carter' tour for crying out loud. The entire tour, the entire album, the entire piece is situated in this layered narrative.' But Stoermer also points out that the Buffalo Soldiers have been framed in the American story in a way that also plays into the myths of American nationalism. As Beyoncé's use of Buffalo Soldiers imagery implies, Black Americans also use their story to claim agency over their role in the creation of the country, said Alaina E. Roberts, a historian, author and professor at the University of Pittsburgh who studies the intersection of Black and Native American life from the Civil War to present day. 'That's the category in which she thought maybe she was coming into this conversation, but the Buffalo Soldiers are even a step above that because they were literally involved in not just the settlement of the West but of genocide in a sense,' she said. (AP) PY PY

How Willy Chavarria turned his Paris runway show into a protest against migrant detention
How Willy Chavarria turned his Paris runway show into a protest against migrant detention

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How Willy Chavarria turned his Paris runway show into a protest against migrant detention

Source: X/@Fashionography Art has always found ways to quietly yet assertively challenge authority and express dissent. From Picasso's Guernica confronting the horrors of war, to Oskar Rabin and the Bulldozer Exhibition defying Soviet censorship, creative expression has long served as a powerful response to injustice. On Friday, that spirit of protest lived on — not in a gallery or street mural, but on the red-carpeted runway of the Spring/Summer 2026 show at Paris Fashion Week. Willy Chavarria, the Mexican-American designer known for infusing activism into fashion, opened his show with a moment that was less about spectacle and more about reckoning. As reported by Vogue , 35 men walked solemnly down the runway in white T-shirts and shorts designed in collaboration with the American Civil Liberties Union (ACLU), then knelt with heads bowed — a deliberate reference to the posture forced upon inmates at El Salvador's mega-prison and migrants held in U.S. detention. The runway's silence was deafening. Each model — still, kneeling, expressionless — became a living sculpture of the voiceless. The garments, stark in their simplicity, held more than fabric; they carried a message. Inside the label of each T-shirt read a striking line: 'THE ACLU DARES TO CREATE A MORE PERFECT UNION – BEYOND ONE PERSON, PARTY, OR SIDE.' This wasn't just fashion — it was a public reckoning. Chavarria, whose past collections have explored themes of masculinity, immigration, and identity, used this show to directly comment on the systemic criminalization of migrants. The opening tableau drew direct parallels to the Salvadoran mega-prisons, where thousands are incarcerated under mass arrests with little due process. Source: Getty Images Speaking to Vogue , Chavarria tied the performance to real-time horrors: 'Today and as of yesterday, ICE is attacking the town of Huron. There are tanks rolling through the streets, and there are armed militia surrounding homes. So it's a state of horror,' he said. He added that the opening scene was intended 'to contrast against the beauty of the people that are actually being kidnapped and shipped away, broken away from their families. The chaos that we're seeing right now.' Source: X Even the show's invitation carried the weight of resistance. Guests received a replica of a legal summons, similar in design to the documents many migrants receive from U.S. immigration authorities. But Chavarria's version had a quiet defiance etched into it: the top read 'NOTICE OF RIGHT TO EXIST' — a radical, humanizing declaration in a world where migration is too often treated as a crime. The invitation also featured a mock Social Security card, replacing government-issued numbers with the attendee's seat assignment. Willy Chavarria has long been known for blurring the line between politics and fashion, but this time, the message was not embedded subtly in form or tailoring — it was stark, spoken aloud, unmissable. In a time when spectacle often overshadows sincerity, he used the runway to restore purpose.

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