Craig David returns to Malaysia this November, his only Asian stop of TS5 tour
The Craig David Presents TS5: Live in Kuala Lumpur show will take place on November 10 at Mega Star Arena, Sungei Wang Plaza.
Organised by T-Rex Studio, it will be David's only Asian stop on his current world tour. His last performance in Malaysia was in 2014.
View this post on Instagram
A post shared by T-Rex Studio (@trexstudio_my)
The TS5 concept began in 2012 when David hosted pre-party sessions at his Miami penthouse, Tower Suite 5.
Blending UK garage classics, R&B, bashment, old-school anthems and contemporary house, the DJ–vocal hybrid set has since attracted a global following, with over 1.5 million listeners tuning in worldwide.
David has taken the TS5 show to stages in London, Glastonbury, New York and Ibiza, performing as singer, MC and DJ – all at once.
This year also marks a milestone for the 43-year-old star, who released his latest album Commitment on August 8, coinciding with the 25th anniversary of his debut Born to Do It – the record that spawned hits like 7 Days, Fill Me In and Walking Away.
His previous album, The Time Is Now (2018), featured collaborations with Bastille (I Know You) and included tracks such as Heartline.
Tickets for the Kuala Lumpur show are priced between RM288 and RM1,888. More information is available at myticketempire.com.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Entrepreneur
a minute ago
- Entrepreneur
Saif Ali Khan aka Nawab of Pataudi Turns a Year Wiser – And Richer in More Ways Than One
In a nutshell, Saif Ali Khan stands as a prime example of how a star can evolve into a brand-builder, all with precision, patience, and a bit of royal flair You're reading Entrepreneur India, an international franchise of Entrepreneur Media. On August 16, Bollywood actor and the Nawab of Pataudi, Saif Ali Khan, turns 54. Known for his versatile roles and sharp business instincts, Saif has built a portfolio that spans films, heritage tourism, lifestyle brands, and real estate. Saif Ali Khan is the son of veteran actress Sharmila Tagore and the late cricketer Mansoor Ali Khan Pataudi. The actor has not just inherited a rich legacy but also a reputation to build. What we can surely say is that, just like his father, Khan has a persona that reflects his identity, heritage, and long-term credibility, and that shows his royal approach towards business. "I'm not interested in chasing trends. I'd rather be true to my personality and let that reflect in my work and choices," the Kal Ho Naa Ho actor once said in an interview, summing up his approach to entrepreneurship. Heritage Meets Business Saif's involvement in leveraging and maintaining properties that he is blessed to have gotten from his ancestors is not just sentimental. The actor surely knows how to reflect a trend among modern entrepreneurs and has made sure to blend his personal legacy with commercial vision. "The Pataudi Palace is not just a piece of property; it's a part of my family history. Preserving it is as important to me as any role I've played," Saif has once said in a media interaction. Old-School Investment Philosophy Saif treats legacy like a living, breathing brand, be it maintaining the Pataudi Palace or leveraging his heritage for tourism and hospitality projects. And we all know that it's a long game that grows more valuable with time. He's more focused on growing his business, reflecting his own sensibilities in an old-school approach that won't fade away like the latest Instagram trends that last for a while. In his own words, "I don't see myself as a businessman in the traditional sense, but I do believe in making choices that grow in value over time." In a nutshell, Saif Ali Khan stands as a prime example of how a star can evolve into a brand-builder, all with precision, patience, and a bit of royal flair. As he steps into another year, he appears poised to explore even more in premium lifestyle ventures and heritage tourism, making sure his brand is as enduring as his on-screen charm.
Yahoo
2 hours ago
- Yahoo
Hextar World Mall arrives Nov 2025 in PJ with Olympic-sized ice rink, Malaysia's largest indoor playground & pickleball courts
Mark your calendars everyone! 29 Nov 2025 will see the grand unveiling of Hextar World, a sprawling 1.8-million-square-foot lifestyle hub in the heart of Empire City, Petaling Jaya. Envisioned as a playground for both the casual wanderer and the cultured, this flagship destination will gather 6 themed zones and over 600 brands beneath a single, architecturally striking roof. Think of it as Malaysia's latest answer to 'Where do we go today?' — with everything from retail therapy to cultural indulgence. Yet, in a year already brimming with new malls and more slated for 2026, what truly sets Hextar World apart from the rest? One of its one-of-a-kind attractions is the Malaysia National Ice Skating Stadium (MYNISS), returning in all its glory with an Olympic-sized rink primed for professional figure skating, ice hockey face-offs, and other activities. Not far away, Slope Master — Malaysia's largest indoor ski training facility — offers snowy adventures no matter the season. Already in soft-launch since 11 Aug, it's inviting both first-time skiers and seasoned pros to swap sneakers for skis. If water is more your element, the country's largest indoor waterpark is also joining the lineup, promising year-round waves of fun. There are also other major tenants including Village Grocer for your essentials, Jungle Gym for the little ones, and a suite of sports facilities including Sport Planet, Playa Racquet Club for the ever-growing pickleball community, and the 91 Sports Arena. Culture, too, is not forgotten. Ballet Theatre Malaysia — the nation's first professional ballet company — will make its home here in a dedicated venue designed to host performances. And because no visit to the mall is complete without a culinary stop, the eateries lineup reads like a passport so far. Expect La Boca's vibrant Latin American fare, Luckin Coffee's modern brews from China, Senkyaku Banrai's immersive Japanese dining experience, and NomNom Food Hall's various offerings. When the curtains rise this November, Hextar World won't just open its doors — it will open a new chapter for leisure, retail, and culture in Petaling Jaya, reshaping how Malaysians spend their days off. South Korean fast food chain Lotteria enters Malaysian market in 2025 through Serai Group partnership The post Hextar World Mall arrives Nov 2025 in PJ with Olympic-sized ice rink, Malaysia's largest indoor playground & pickleball courts appeared first on
Associated Press
3 hours ago
- Associated Press
Global Times: Sculptures of Nanjing Massacre remind viewers of Chinese people's suffering, hope for peace
08/15/2025, Beijing, China // KISS PR Brand Story PressWire // Literary and artistic works themed on the Chinese People's War of Resistance against Japanese Aggression (1931-45), be they classic works created during the war or works looking back on history, all carry historical memories and the national spirit. Through artistic forms, they cross the long river of time, allowing us to deeply feel the fearlessness and perseverance of the Chinese people during the War of Resistance against Japanese Aggression, while inspiring people's patriotic feelings. The Global Times launched this special series of Indelible Memories about literary and artistic works themed on the war to draw wisdom and strength from the spirit of the people. On a scorching summer day, stepping into the resting hall at Beijing's Imperial Ancestral Temple, visitors were greeted not only by a refreshing coolness but also by a profound sense of history. This gravity stemmed not just from the imposing centuries-old architecture, but even more from the collection of artworks on display - each capturing pivotal moments from the Chinese People's War of Resistance against Japanese Aggression. In particular, a group of sculptures on the white central exhibition platform commanded special attention. Each figure in this group of sculptures intensifies the visual impact of fear and despair through contorted bodies, hollow gazes, and torn garments. Some look up to the sky, some scream in silence, some struggle for survival, while others have already fallen, their lives lost. This is the work of Wu Weishan, former director of the National Art Museum of China. Titled Tao Nan, or Fleeing from Calamity, it is the theme sculpture for the expansion of the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders. On July 28, at the opening ceremony of this art exhibition, which highlights the perseverance and resistance of the Chinese people during the War of Resistance against Japanese Aggression, Wu told the Global Times that the purpose of creating these sculptures is to remember history, not hatred. 'Art can serve to commemorate history and call for peace, fully expressing the Chinese people's values and love for peace,' he said. These sculptures are bearers of history, embodying the longing for peace. Such expressions run through generations of Chinese artistic creation - every line, every chisel mark, every brushstroke aims to ensure that people never forget. Turning sorrow into power The sculptures displayed in the main hall of the Imperial Ancestral Temple are, on average, only a few dozen centimeters in height, while their enlarged versions stand solemnly at the Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders in Nanjing, East China's Jiangsu Province. Taken as a whole, this group of sculptures resembles a powerful musical movement: rising, falling, flowing, ascending, soaring. Spatially, the energy these sculptures project envelops viewers in an atmosphere of deep compassion and sorrow. Even before entering the memorial, visitors are already touched, so that once inside, each sight of a bone fragment or a blood-stained garment evokes boundless grief and reflection. In these sculptures created from 2005 to 2007, Wu avoided direct depiction of the Japanese army's atrocities, choosing instead to focus on the victims, capturing the devastation and suffering of Nanjing's residents during the massacre - their families shattered, their lives destroyed. He explained that these works are meant to 'bring the victims back to life,' allowing their last cries before death to express the shared voice of humanity. By giving form to the souls of all those who suffered, the sculptures become important vessels of the human spirit. Only in this way can artworks urge all humankind to reflect, so that the lessons of the past will never be forgotten. Outside the memorial, the sculptures were set within a pool symbolizing the path to escape terror, depicting 10 groups of 21 figures fleeing their homes in the wake of the bloody massacre. Nearly life-sized, these sculptures enhance the sense of realism. Among them are an elderly son supporting his octogenarian mother as they flee, a violated young woman standing by a well, and a monk closing the eyes of the wrongfully slain as he escapes. The sculptures are cast in a silvery-gray tone, distinct from the familiar bronze and copper hues, symbolizing the survivors' escape from overwhelming terror. The piece that moved the sculptor most was one of an infant clinging to his deceased mother, seeking milk from her lifeless body. This work is based on the harrowing experience of Nanjing Massacre survivor Chang Zhiqiang's family. Three of his younger brothers were bayoneted to death, his mother fatally stabbed in the lungs. Amidst tears, he placed his youngest brother beside their mother, and the infant crawled to her chest to nurse. That final drop of milk marked both an end and a fragile hope. By the next day, mother and child had frozen together in the bitter cold, never to be parted. The process of creating these sculptures was far from tranquil for Wu. Immersed in historical research and interviews with survivors like Chang Zhiqiang and Xia Shuqin, he was deeply affected by the anguish and outcries captured in old photographs and personal stories. Many sleepless nights followed, and even as he walked through the old districts of Nanjing, he would sometimes imagine hearing the echoes of explosions and cries of slaughter. Wu employed a variety of sculpting techniques - chiseling, striking, pounding, and molding by hand. He recalled working outdoors in the sweltering 38 C heat, laboring through the night for hours. His deep sorrow and anguish over this chapter of history were transformed into the speed and power of his artistic creation. Looking further back, this passionate engagement with the history of the war - a fervor that transforms into powerful artistic energy - has also flowed from the hands of the elder generations of artists, many of whom witnessed these events firsthand. Their collective memory and creative expression have ensured that the tragedy and heroism of that era continue to live on, warning and inspiring future generations through the language of art. Never forget Xiao Feng, the 10th president of the China Academy of Art, passed away in Hangzhou on July 8 at the age of 93. He created a work depicting Canadian surgeon Norman Bethune treating Eighth Route Army soldiers during the War against Japanese Aggression, which was included in textbooks across the country. Xiao Ge, his youngest daughter, told the Global Times that her father had been proud all his life of being a literary and art soldier in the New Fourth Army. Depicted in the painting jointly created by Xiao and his wife Song Ren is a makeshift operating table that was set up in a dilapidated temple not far from the front lines. Outside, the sounds of war rage on, while inside, Bethune stands calm and focused, his brow slightly furrowed and lips pressed tightly together as he meticulously performs surgery on a wounded soldier. In the background, a vigilant guard stands watch at the temple door, ever alert to protect the scene within. Critics note that through artistic treatment, the image's sense of narrative, drama, and conflict is enhanced in the painting, effectively highlighting Bethune's contributions to resisting aggression and pursuing peace. Xiao's works are mostly tied to his experiences and memories from the war. In his creations, there have been images of guerrilla fighters maneuvering through the Luoxiao Mountains, New Fourth Army soldiers bidding farewell to Jiangnan, officers and soldiers watering their horses by the Yangtze River, and warriors hidden among reeds. His works go beyond mere narratives of suffering, focusing instead on capturing moments of warmth amidst the chaos of war. 'They (Xiao and Song) pursued truth, goodness and beauty, worked for their beliefs and the people all their lives, and finally donated all their works to the people,' the painter's daughter said. On the eastern side of the exhibition hall displaying Wu's sculptures, the painting Victory and Harmony by post-1990 artist Hong Fangzhou hangs on the red wall of the East Wing Hall of the Imperial Ancestral Temple, quietly awaiting an audience. This artwork is divided into two main sections of white and red, blending fragments of war - like the remnants of shells and the blood and tears of heroes - with the joyful laughter of people celebrating peace after victory. The stark contrast between the two sides further underscores the preciousness of peace. From Xiao, a witness and survivor of war, to young artist Hong, each generation of creators has used their own unique perspectives and artistic forms to capture that history of blood and fire, passing on the longing for peace. As Wu expressed in a poem he inscribed upon completing this group of sculptures: With unspeakable sorrow, I recall those blood-soaked storms; With trembling hands, I caress the souls of the 300,000 departed; With a child's pure heart, I engrave the pain of this suffering nation. I pray, I hope, for the awakening of this ancient people - the rise of the spirit! Source: Global Times: Company: Global Times Contact Person: Anna Li Email: [email protected] Website: City: Beijing Disclaimer: This press release may contain forward-looking statements. Forward-looking statements describe future expectations, plans, results, or strategies (including product offerings, regulatory plans and business plans) and may change without notice. You are cautioned that such statements are subject to a multitude of risks and uncertainties that could cause future circumstances, events, or results to differ materially from those projected in the forward-looking statements, including the risks that actual results may differ materially from those projected in the forward-looking statements. Source published by Submit Press Release >> Global Times: Sculptures of Nanjing Massacre remind viewers of Chinese people's suffering, hope for peace
