Review: Sting breathes new life into classic hits at sold-out Abu Dhabi show
That Sting has toured the UAE in various formations over the past 15 years is testament both to his restless musical spirit and the region's adoring audiences. He appeared with a full band – complete with keyboardist, backing vocalist and a harmonica player – in 2023 and shared the stage with trumpeter Chris Botti as a headline act for the Dubai International Jazz Festival in 2016. On his latest tour, dubbed 3.0, he returns to the power trio format for the first time since his days with The Police. It could be viewed as a kind of homecoming, or perhaps an effort to strip back some of the sonic gloss of previous shows. Judging by his sold – out concert at Abu Dhabi's Etihad Arena on Thursday, both readings miss the mark. Backed by long-time guitarist Dominic Miller and drummer Chris Maas, the new set-up sounded vigorous, adding fresh textures to Sting's celebrated catalogue that older fans could appreciate. This is apparent from the outset with the wiry opener Message in a Bottle. Without a full band to smooth out the edges, its glittering, jagged guitar lines are pushed to the forefront, hinting at The Police's often overlooked influence on the post – punk movement. Every Little Thing She Does Is Magic also felt more grounded. Stripped of its synth flourishes, the song became a showcase of the trio's instinctive interplay, with Miller's rippling riffs intertwining with Sting's percussive bass, while Maas provided plenty of space through an agile yet restrained drumming style. Some of Sting's more subdued songs also benefited from the new set-up. Never Coming Home felt more muscular, with his warm, treated bass lines stepping in for the atmospheric keyboards of the original recording. Mad About You, a song about a tempestuous relationship, sounded darker and more foreboding. The bass lines throbbed steadily, while occasional guitar spasms by Miller ratcheted up the tension in this meditation on obsession. Sting's enduring reggae influences – he even released a collaborative album with Shaggy in 2018 – were front and centre during several key moments of the set, particularly in key songs from The Police, where his bass took on an even more prominent role. Spirits in the Material World benefited from the prominence of its pensive, syncopated groove. Walking on the Moon thrived in the trio's minimalism, which heightened its ethereal quality. And in Roxanne, that ever – present bass line took centre stage, prompting the crowd to sing along from the moment its signature intro rang out. The trio clearly enjoy playing together. Despite the relaxed nature of the set, there's no disguising the sheer concentration required to pull these songs off live. Without extra players or backing vocalists, Sting may be working harder on stage than he has for years, with his voice – still rich and fluid – solely carrying those dazzling, and at times complex, melodies in songs like Synchronicity II and If I Ever Lose My Faith in You. It all points to an artist who, at 73, feels utterly invigorated and finding new ways to express familiar material. With the continuing 3.0 tour proving a success, and reports that Sting is planning to record an album with the trio, he seems to have found the sweet spot of celebrating his past while confidently pushing into the future.
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Gulf Today
09-05-2025
- Gulf Today
Met Gala exhibit ‘Superfine' gives voice to emerging Black designers
When the email came from the Metropolitan Museum of Art, Jacques Agbobly at first didn't quite believe it. The Brooklyn-based fashion designer had only been in the business for five years. Now, one of the world's top museums was asking for two of his designs to be shown in 'Superfine: Tailoring Black Style,' the exhibit launched by the starry Met Gala. 'I was just floored with excitement,' Agbobly said in an interview. 'I had to check to make sure it was from an official email. And then the excitement came, and I was like ... am I allowed to say anything to anyone about it?' Agbobly grew up in Togo, watching seamstresses and tailors create beautiful garments in part of the family home that they rented out. Studying fashion later in New York, the aspiring designer watched the Met Gala carpet from afar and dreamed of one day somehow being part of it. 'Superfine: Tailoring Black Style' is the first Costume Institute exhibit to focus exclusively on Black designers, and the first in more than 20 years devoted to menswear. Unlike past shows that highlighted the work of very famous designers like Karl Lagerfeld or Charles James, this exhibit includes a number of up-and-coming designers like Agbobly. 'The range is phenomenal,' says guest curator Monica L. Miller, a Barnard College professor whose book, 'Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity,' is a foundation for the show. 'It's super exciting to showcase the designs of these younger and emerging designers,' says Miller, who took The Associated Press through the show over the weekend before its unveiling at Monday's Met Gala, 'and to see the way they've been thinking about Black representation across time and across geography.' Artwork is displayed. Reuters Miller also spoke about the exhibit at a press preview on Monday morning, at which the Met's CEO, Max Hollein, announced the gala had raised a record $31 million — the first time the fundraiser for the museum's Costume Institute has crossed the $30 million mark and eclipsing last year's haul of more than $26 million. Also appearing was actor and gala co-chair Colman Domingo, who spoke with emotion about the family members — a stepfather, a father, a brother — who introduced him to style. Resplendent in a purple suit by designer Ozwald Boateng, he shared a favourite quote from director and playwright George C. Wolfe: 'God created Black people, and Black people created style.' The exhibit covers Black style over several centuries, but the unifying theme is dandyism, and how designers have expressed that ethos through history. For Agbobly, dandyism is 'about taking space. As a Black designer, as a queer person, a lot of it is rooted in people telling us who we should be or how we should act ... dandyism really goes against that. It's about showing up and looking your best self and taking up space and announcing that you're here.' Pieces are seen during a press preview of exhibition 'Superfine: Tailoring Black Style' at The Metropolitan Museum of Art in New York City. Reuters The exhibit, which opens to the public on May 10, begins with its own definition: someone who 'studies above everything else to dress elegantly and fashionably.' Miller has organized it into 12 conceptual sections: Ownership, presence, distinction, disguise, freedom, champion, respectability, jook, heritage, beauty, cool and cosmopolitanism. The 'ownership' section begins with two livery coats worn by enslaved people. One of them, from Maryland, looks lavish and elaborate, in purple velvet trimmed with gold metallic threading. The garments were intended to show the wealth of their owners. In other words, Miller says, the enslaved themselves were items of conspicuous consumption. The other is a livery coat of tan broadcloth, likely manufactured by Brooks Brothers and worn by an enslaved child or adolescent boy in Louisiana just before the Civil War. Elsewhere, there's a contemporary, glittering ensemble by British designer Grace Wales Bonner, made of crushed silk velvet and embroidered with crystals and the cowrie shells historically used as currency in Africa. There's also a so-called 'dollar bill suit' by the label — the jacket sporting a laminated one-dollar bill stitched to the breast pocket, meant to suggest the absence of wealth. The 'disguise' section includes a collection of 19th-century newspaper ads announcing rewards for catching runaway enslaved people. A view of the exhibit. AFP The ads, Miller notes, would often describe someone who was 'particularly fond of dress' — or note that the person had taken large wardrobes. The reason was twofold: The fancy clothes made it possible for an enslaved person to cloak their identity. But also, when they finally made it to freedom, they could sell the clothing to help fund their new lives, Miller says. 'So dressing above one's station sometimes was a matter of life and death,' the curator says, 'and also enabled people to transition from being enslaved to being liberated.' The contemporary part of this section includes striking embroidered jackets by the label Off-White that purposely play with gender roles — like displaying an ostensibly 'male' jacket on a female mannequin. Stopping by a set of portraits from the early 19th century, as abolitionism was happening in the North, Miller explains that the subjects are Black men who were successful, well off enough to commission or sit for portraits, and dressed 'in the finest fashions of the day.' Like William Whipper, an abolitionist and wealthy lumber merchant who also founded a literary society. They represent the beginnings of a Black middle and upper middle class in America, Miller says. But she points out a group of racist caricatures in a case right across from the portraits. One of Miller's favourite items in the heritage section is Agbobly's bright-coloured ensemble based on the hues of bags that West African migrants used to transport their belongings. Also displayed is Agbobly's denim suit embellished with crystals and beads. It's a tribute not only to the hairbraiding salons where the designer spent time as a child, but also the earrings his grandmother or aunts would wear when they went to church. Associated Press
FACT
28-04-2025
- FACT
FACT Review: Ed Sheeran's one-man show proves to be the perfect equation
Ed Sheeran performed as part of the inaugural Offlimits Music Festival which also marked his debut in Abu Dhabi. Abu Dhabi has been upping the ante lately with a lineup of incredible concerts. 2025 kicked off with Coldplay, and we've since seen legends like Sting, Christina Aguilera, and Usher set stages on fire. Most recently, it was Ed Sheeran who headlined the inaugural Offlimits Music Festival in the capital. Bringing his Mathematics Tour to Abu Dhabi's Etihad Park, this marked Ed Sheeran's first-ever performance in the UAE capital. He had previously wowed Dubai crowds last year with the same tour. As a long time Ed Sheeran fan, this concert was a third time's the charm moment. Having missed his 2015 show at Dubai Media City Amphitheater and 2024 Dubai shows, his performance as part of the Offlimits Music Festival felt like fate — even if fate involved a very last-minute dash to the venue. Getting into Etihad Park was its own mini adventure. With Yas Mall parking packed to the brim, a solid 15-minute mall trek and then to the actual gate, FACT made it just in time. Before Ed Sheeran took the stage, One Republic had gotten the crowd buzzing. The band's frontman, Ryan Tedder signed off cheekily, announcing, 'Next up is Ed Sheeran from the UK… he's alright,' sending ripples of laughter and cheers through the crowd. Then, without any dramatic pause, playful tease, or the usual 'get-your-phones-ready' intro most artists lean on, Ed Sheeran burst onto the stage strumming — and drumming — with his battered and beloved guitar. The crowd instantly erupted. Dressed in simple black trousers and a black T-shirt that had 'Abu Dhabi' printed across it in the colourful style of his Mathematics Tour branding, Ed Sheeran took command of the stage effortlessly. He kicked off with a guitar solo, layering beats with his loop pedal. This lets him create tunes completely live and have them looped, freeing him up to interact with the crowd without missing a note. Once Ed Sheeran was in the groove, he launched into Castle on the Hill, with the entire crowd belting along. Behind him, animations danced across giant screens — some clips from his album artwork, some live visuals like butterflies fluttering across bright backgrounds. It added a dreamy feel without overpowering the simplicity of his one-man-band setup. Ed Sheeran rolled through hit after hit — Shivers, I'm a Mess, and The A Team. Fun fact: the singer confessed he thought The A Team would be a one-hit-wonder. Safe to say, things turned out just fine for him. When he sang Give Me Love, the mood mellowed, but the crowd stayed connected, humming along with him. Then, picking the energy right back up, he invited the audience to sing along that only made the night feel even more special. Next came Don't and Take It Back, where Ed Sheeran went full rap mode, ditching his guitar for a bit and just spitting bars. While most artists spend live shows switching flashy outfits, Ed Sheeran stuck to his trusty black tee and swapped out guitars instead. It was clear. For him, it's about the music, not the theatrics. Soon, he slowed things down with Happier, Love Yourself and Sing. When Photograph started, you could feel the emotional shift. That song hit differently as the crowd swayed under a soft green sage-like animation playing on the screens. From there, the set flowed beautifully — One, Perfect and Thinking Out Loud had couples dancing and grooving in a sea of lights, before everyone jumped back up for Ed Sheeran's latest track, Azizam. Finally, we hit the home stretch with the high-energy Shape of You — the entire Etihad Park jumping in unison — before he closed the night with Bad Habits and a massive firework display that lit up the sky. It was a grand, sparkling finale to a night that felt like it flew by too fast. Ed Sheeran performed for two hours straight — no backing band, no break, just a man, his guitar, his loop pedal, and 30,000 fans singing right along. Most artists would have taken a breather, but not Ed Sheeran. He powered through with an energy and passion that proves why he's considered one of the best live performers today. Now, to be fair, not everything was perfect. While Ed Sheeran's performance was spot on, the sound system at Etihad Park left a bit to be desired. It felt overly loud and slightly distorted with that crackling sound that can get a bit uncomfortable. Maybe it was because the organisers were trying to project all the way to the back of a massive crowd or to drown out the sounds from the other stages, which really should have been inactive during the headline set. All in all, Ed Sheeran's set at the Offlimits Music Festival was nothing short of incredible. The sheer talent, energy, and heart he brought to the stage completely overshadowed everything else. After years of near-misses, finally seeing Ed live felt like the perfect full-circle moment — worth every step of the mad dash to the venue. GO: Visit for more information.
The National
04-04-2025
- The National
Review: Sting breathes new life into classic hits at sold-out Abu Dhabi show
That Sting has toured the UAE in various formations over the past 15 years is testament both to his restless musical spirit and the region's adoring audiences. He appeared with a full band – complete with keyboardist, backing vocalist and a harmonica player – in 2023 and shared the stage with trumpeter Chris Botti as a headline act for the Dubai International Jazz Festival in 2016. On his latest tour, dubbed 3.0, he returns to the power trio format for the first time since his days with The Police. It could be viewed as a kind of homecoming, or perhaps an effort to strip back some of the sonic gloss of previous shows. Judging by his sold – out concert at Abu Dhabi's Etihad Arena on Thursday, both readings miss the mark. Backed by long-time guitarist Dominic Miller and drummer Chris Maas, the new set-up sounded vigorous, adding fresh textures to Sting's celebrated catalogue that older fans could appreciate. This is apparent from the outset with the wiry opener Message in a Bottle. Without a full band to smooth out the edges, its glittering, jagged guitar lines are pushed to the forefront, hinting at The Police's often overlooked influence on the post – punk movement. Every Little Thing She Does Is Magic also felt more grounded. Stripped of its synth flourishes, the song became a showcase of the trio's instinctive interplay, with Miller's rippling riffs intertwining with Sting's percussive bass, while Maas provided plenty of space through an agile yet restrained drumming style. Some of Sting's more subdued songs also benefited from the new set-up. Never Coming Home felt more muscular, with his warm, treated bass lines stepping in for the atmospheric keyboards of the original recording. Mad About You, a song about a tempestuous relationship, sounded darker and more foreboding. The bass lines throbbed steadily, while occasional guitar spasms by Miller ratcheted up the tension in this meditation on obsession. Sting's enduring reggae influences – he even released a collaborative album with Shaggy in 2018 – were front and centre during several key moments of the set, particularly in key songs from The Police, where his bass took on an even more prominent role. Spirits in the Material World benefited from the prominence of its pensive, syncopated groove. Walking on the Moon thrived in the trio's minimalism, which heightened its ethereal quality. And in Roxanne, that ever – present bass line took centre stage, prompting the crowd to sing along from the moment its signature intro rang out. The trio clearly enjoy playing together. Despite the relaxed nature of the set, there's no disguising the sheer concentration required to pull these songs off live. Without extra players or backing vocalists, Sting may be working harder on stage than he has for years, with his voice – still rich and fluid – solely carrying those dazzling, and at times complex, melodies in songs like Synchronicity II and If I Ever Lose My Faith in You. It all points to an artist who, at 73, feels utterly invigorated and finding new ways to express familiar material. With the continuing 3.0 tour proving a success, and reports that Sting is planning to record an album with the trio, he seems to have found the sweet spot of celebrating his past while confidently pushing into the future.
