The best restaurants in Singapore for stunning views of the National Day fireworks
As Singapore marks its 60th milestone this year, Singaporeans gear up to honour the past six decades of unity and progress, with the National Day fireworks serving as a dazzling highlight of the celebrations. Against Marina Bay's iconic waterfront and the historic Padang, the annual 9 August parade promises pageantry, passion and grandeur celebrating how far we've come, as well as the journey that lies ahead.
Centred around this year's official theme song—'Here We Are' by Charlie Lim, Kit Chan, and The Island Voices, the show seeks to interweave nostalgia with vistas of the future. Expect aerial displays, the return of the Mobile Column, and synchronised live performances staged across the Padang and Marina Bay that finish off with the dazzling fireworks show that marks 60 years of our collective story.
With Singapore's skyline as the canvas and Marina Bay as the stage, the National Day fireworks have become an annual tradition locals and tourists look forward to. This year, as the city marks its diamond jubilee, the atmosphere promises to be more electric than ever.
While the celebrations light up the sky, the views from the city's top dining destinations offer memorable front-row seats. Whether you're craving elegant tasting menus or laid-back dinners with a view, there is no better way to toast to the nation than with a resplendent fireworks display. Thankfully, we've got all things viewing—and dining—sorted. Here is your complete guide to the most chic and scenic restaurant spots for firework-watching in style.
From sophisticated fine-dining restaurants to vibrant rooftop bars, this guide features a curated selection that is sure to suit every taste and occasion. Wherever you choose to celebrate, expect impeccable cuisine paired with breathtaking views that will make Singapore's 60th birthday truly unforgettable. Coal roasted beetroot, Davidson plum vinegar, golden trout roe, Courtesy of Kaarla
1 / 7 Kaarla
Serving up delectable dishes 51 floors above ground, Kaarla offers more than just a sweeping skyline. Sourcing ingredients from its own rooftop food forest—the highest of its kind in the world—Kaarla beautifully blends hearty Australian flavours with elegant Japanese influences.
This National Day, Kaarla presents a five-course dinner that celebrates both land and sea. Expect unique highlights one after the other, starting with Cold-Smoked Hokkaido Scallops with citrus kombucha and olive caviar, followed by Fremantle Octopus served with bonito potato foam. For your main, opt for either a Yuzu Butter–dressed Australian Market Fish or a tender Wagyu Short Rib with tamari jus . It is mandatory to end on a sweet note—and for that Kaarla presents you with a tantalizing Macadamia Mocha Bliss, completed with charcoal tuile and wattleseed crumble.
88 Market St, #51-02, CapitaSpring 048948
Enquiries: 9837 8248 Courtesy of Kinki Restaurant & Bar
2 / 7 Kinki
For SG60, Japanese gastrobar Kinki dials celebrations up with a special Flavours of Home menu, where Asian street food gets a playful remix. Think laksa gyoza, otah sando , and a 'KFC' rojak that flips the rules and defies convention. Kinki's rooftop spot is scheduled to come alive on National Day with their signature Bottomless Brunch, where you can enjoy two hours of free-flow food and drinks, just in time for the fireworks to dress up the sky in colour.
Finish off the evening with a Chilli Crab Maki and a Singaporean Cocktail Carafe to toast sixty heartfelt years of Singapore. With magnificent views that stretch across the Marina Bay area and a vibe that delicately balances energy and style, Kinki turns National Day into a vibrant celebration—with sushi on standby.
70, #02-02 Collyer Quay, Customs House, 049323
Enquiries: 8363 6697
3 / 7 Cé La Vi
At Cé La Vi, the combination of panoramic views and rich flavours steal the show every National Day. For SG60, this iconic rooftop destination brings a flair of boldness to the table with a three-course brunch menu that reimagines local favourites with a global touch. Choose between silky Hokkaido scallops in a spicy nduja beurre blanc or a burrata tomato salad sprinkled with candied curry walnuts and momo mostarda for starters.
For mains, local classics are in the spotlight, but with a mouth-watering twist: satay-glazed roast chicken paired with coconut rice, rendang-braised short rib dressed in pickled ginger flower, and laksa-style snapper layered with squid and shrimp oil. The tipples on offer range from saké to craft cocktails like the yuzu-laced Geisha and Silk Roast—a smooth espresso martini kissed with macadamia syrup and chocolate. With DJs on deck, cocktails in hand and fireworks overhead, this is the place where SG60 will feel larger than life itself.
1 Bayfront Avenue Marina Bay Sands, Hotel, Tower 3, 018971
Enquiries: 6508 2188
4 / 7 Skai
Perched atop Swissôtel The Stamford, Skai's latest adaptation redefines sky-high dining with a minimalist Nordic-inspired interior, letting the panoramic skyline take centre stage in a polished yet serene setting. Whether you're eyeing a seat at their newly launched Tuna Bar—helmed by Chef Nakao, serving dry-aged cuts flown in from Tokyo—or looking forward to sipping a Golden Hour cocktail while watching the fireworks light up the night sky, Skai delivers elegance at every hour.
As for the plate: charred Black Onyx steaks, creamy kabocha pumpkin, and sashimi-grade tuna crudo with ponzu and yuzu kosho are sure to leave your palate and stomach satisfied. If you're looking for some late-night revelry, the Supper Club menu serves up indulgent bites like Wagyu sliders and Iberico yakitori—all under the glimmer of Singapore's city lights.
2 Stamford Rd, Lvl 70 #70-01, Singapore 178882
Enquiries: 6837 3322
5 / 7 Sushisamba
Japanese flavours pair themselves with a hint of Brazilian flair and Peruvian passion at Sushisamba, where exotic ingredients dance on the palate in celebration. On National Day, the 57th floor of Capital Tower will transform into a vibrant scene of festivities with a one-day-only Free-Flow Party Brunch. Expect samba dancers, DJ sets and a feast designed for indulgence.
From wagyu taquitos to seafood laksa rice and live robata stations featuring sambal prawns, every bite is guaranteed to offer a mix of bold, fresh tastes that culminates in a local twist. The sushi stations feature everything from chilli crab rolls to classic nigiri, while options for dessert bring a local twist: taro cake, gula melaka cheesecake and mango-passionfruit tarts. Stay on for dinner, as fireworks streak across the Marina Bay sky.
168 Robinson Rd, Level 52 Capital Tower, Singapore 068912
Enquiries: 6550 2290
6 / 7 Altro Zafferano
Altro Zafferano is where Italian indulgence fuses with local zest. Head Chef Federico Schiraldi puts his spin on Singapore's iconic flavours for this year's SG60 celebration—with three unique menus that merge Italian flair with bold, local flavours. Brunch begins with red prawns on ice, truffled focaccia, and silky burrata—followed by plates like foie gras risotto and a hearty calamarata pasta tossed with tiger prawns and clams.
For dinner, guests have an option to choose from two tasting menus: a four-course sunset sitting or a five-course evening experience, specially timed to the fireworks. Laksa-oil scallops, spanner crab tagliolini, and a Wagyu striploin soaked in black pepper jus steal the show—before ending on a sweet and distinctly Singaporean note with pandan tiramisu.
10 Collyer Quay, Level 43, Singapore 049315
Enquiries: 6509 1488
7 / 7 Saint Pierre
With soft lighting and elegant waterfront views, Saint Pierre invites you into its intimate world of fine dining. This National Day, the two-Michelin-starred restaurant offers a tasting menu curated with precision thanks to Chef Emmanuel Stroobant, whose cuisine marries French finesse with Asian ingredients.
Lunch offers a rich four-course tasting menu featuring delicate canapés—lobster with pomelo, miso shimeji , and teardrop peas with tofu. These are followed by highlights such as Hokkaido hairy crab served with house-made mantou and Omi beef glazed in tamarind and black garlic. A yuzu brown butter financier finishes the meal to celebrate local flavours.
1 Fullerton Road, #02-02B, One Fullerton, 049213
Enquiries: 6438 0887
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'If you accept it as being something artificial, in the long run, it seems more natural, for me.' By contrast, Wilson's first foray into opera, and his first collaboration with Glass, Einstein On The Beach (1976), is a comparatively trim five-hour work. It has no plot, but its tableaux touches on nuclear power, space travel and even Einstein's love of playing the violin. And while it has plenty of text – counting sequences, solfege syllables, the lyrics to the pop song Mr. Bojangles and sections of poetry and prose by Christopher Knowles, Samuel M. Johnson and Lucinda Childs – none of it is dialogue. The audience, free to leave and return during a performance, is presented with ideas about Einstein by inference and metaphor rather than directly. A son of Texas Wilson was born in Waco, Texas, on Oct 4, 1941, to lawyer Diugiud Mims Wilson Jr and homemaker Velma Loree Hamilton. Because he had a stammer as a child, his parents sent him to study dance in the hope of building his self-confidence. His teacher, Ms Byrd Hoffman, noticed that the boy's problem was that he was trying to speak too quickly, and his words were colliding. She taught him to slow down and focus his thought processes, and he overcame his impediment, although he later used the halting patterns and repetition of his childhood stammer as an element in his work. 'Byrd Hoffman was in her 70s when I first met her,' Wilson told the website Theater Art Life in 2020. 'She taught me dance, and she understood the body in a remarkable way. She talked to me about the energy in my body. About relaxing. About letting my energy flow through.' He memorialised his teacher by using her name in several projects, including his first New York ensemble, the Byrd Hoffman School of Byrds, and the Byrd Hoffman Foundation, which underwrites various projects of his, including the Watermill Center, a 4ha arts incubator on Long Island's South Fork. Wilson enrolled at the University of Texas at Austin in 1959 to study business administration, but dropped out in 1962. While there, however, he took a job working in the kitchen of the Austin State Hospital for the Mentally Handicapped. At his request, he was soon reassigned to the hospital's recreation department, where he used the skills he had learnt from Ms Hoffman to help patients channel their energy into making art. He moved to Brooklyn in 1963 and studied architecture and interior design at Pratt Institute, earning his Bachelor of Fine Arts degree in 1965. While a student at Pratt, he designed puppets for Motel, the final play in Jean-Claude van Itallie's satirical America Hurrah trilogy, which was staged at the Pocket Theatre in New York and at the Royal Court Theatre in London. He also earned money working as a therapist for brain-damaged children. Wilson presented experimental works of his own at the Peerless Theatre , a movie house across the street from Pratt. He briefly returned to Texas at his parents' insistence, but his life as a young gay man with theatrical interests proved difficult for him under the eyes of his deeply religious family. He attempted suicide, he said, and was briefly institutionalised in Texas. On his release, he returned to New York, where he rented a loft in SoHo and started the Byrd Hoffman School of Byrds. While writing his early plays, he supported himself by teaching acting and movement classes in Summit, New Jersey, where one day, in 1968, he saw an altercation between a police officer and a young black man, Raymond Andrews, who was deaf and mute and unable to defend himself. Wilson took the teenager under his wing, appearing in court on his behalf and eventually adopting him. Wilson collaborated with Andrews on Deafman Glance (1971), which he described as a 'silent opera'. By then, he had attracted notice with his first mature work, The King Of Spain (1969). Seeing this three-hour, plot-free play, Harvey Lichtenstein, director of the Brooklyn Academy of Music, commissioned Wilson's next work, The Life And Times Of Sigmund Freud (1969). Einstein On The Beach In 1975, shortly after producing A Letter For Queen Victoria and The $ Value Of Man, Wilson disbanded his Byrd ensemble and – after two years of discussion about a subject – began work with Glass on Einstein On The Beach. Glass, recognising that he and Wilson shared ideas about the expansiveness of time, had approached him about collaborating in 1973. Einstein, which had its premiere at the Festival d'Avignon in France in July 1976 and was staged at the Metropolitan Opera House in New York that November, has proved to be among the most durable works in Wilson and Glass's catalogues. It has been recorded three times and revived regularly, with world tours in 1985, 1992 and 2012-15. 'What it means exactly is hard to put in words,' John Rockwell wrote in the Times after the Avignon premiere. 'Wilson calmly accepts most interpretations people care to make. The phrase 'on the beach' may have some reference to the post-apocalyptic novel of that name. The overall theme of the play might be said to be a consideration of the same moral and cosmic issues that concerned Einstein himself in his later years, principally the role of science in the modern world and the relation of science to religion.' Wilson and Glass went on to produce other operas , White Raven (1998) and Monsters Of Grace (1998). In 2022, Wilson produced H-100 Seconds To Midnight, a work inspired by physicist Stephen Hawking, with texts by Etel Adnan and music by Glass and Dickie Landry. From Ginsberg to Gaga Wilson's other notable collaborations include Euripides' Alcestis (1986) with Laurie Anderson; Cosmopolitan Greetings (1988) with Allen Ginsberg; a Spirituals recital, Great Day In The Morning (1982), and stagings of Arnold Schoenberg's Erwartung (1995) and Franz Schubert's Winterreise (2001) for soprano Jessye Norman. He was also commissioned by the then-Singapore Arts Festival for 2000's Hot Water which divided audiences. Then Straits Times theatre critic Clarissa Oon called it 'the theatrical equivalent of a musical fountain'. He was also commissioned by Esplanade - Theatres on the Bay in 2004 to make I La Galigo, a three-hour, 10-minute adaptation of a 6,000-page Bugis epic. He also worked several times with singer-songwriter Lady Gaga, including one work at the Louvre in Paris in 2013 involving what he called Video Portraits of her, posing her in the guise of subjects of historic paintings. Wilson's other creative partners included actors Brad Pitt, Winona Ryder, Renee Fleming, Alan Cumming and several animals – i ncluding a porcupine and a snowy owl – all of whom sat for Video Portraits he produced in 2004. The series has been screened at more than 50 museums and galleries around the world, as well as in Times Square. 'My theatre is formal. It's different from the way most directors work,' Wilson told Texas Monthly in 2020. 'It's another world I create; it's not a world that you see wherever you are, if you're in your office or if you're on the streets or at home. This is a different world. 'It's a world that's created for a stage. Light is different. The space is different. The way you walk is different. The way you sing is different than the way you sing in the shower.' He added: 'Theatre serves a unique function in society. It's a forum where people come together and can share something together for a brief period of time. Art has the possibility of uniting us. And the reason that we make theatre – the reason we call it a play – is we're playing. We're having fun. And if you don't have fun playing, then don't do it.' Wilson is survived by Andrews, along with a sister, Suzanne, and a niece, Lori Lambert. NYTIMES
