Mohammad Recalled Fadel's Memory... And Ayaish Ignited the Glow of the National Theatre
Between a memory that recalls the songs of yesterday and a voice forging its presence in the present, the Sheikh Jaber Al-Ahmad Cultural Center hosted two consecutive nights of music on Thursday and Friday evenings, each carrying its own distinct character.
On Thursday evening, Lebanese artist Mohammad Fadel Shaker took the stage of the Sheikh Jaber Al-Ali Music Hall to revisit a selection of his father’s works, marking a distinctive launch for the center’s new cultural season. Meanwhile, on Friday evening, Saudi artist Aaidh Yusuf led his audience at the National Theatre through a night characterized by joy, interaction, and a sense of royal grandeur.
Al-Rai documented the details of both evenings, during which each artist presented his own experience and identity to an audience that served as the common thread between the two nights—through their presence, engagement, and active participation in the singing. This week reflected the diversity of the musical scene embraced by the center as it kicks off its new cultural season.
On Thursday evening, Mohammad appeared before his audience, taking the stage at a concert organized by Al-Musaylim Production in collaboration with Takhayyal for Artistic Production. From the outset, the event carried the hallmarks of the experience he chose to present, placing a collection of his father’s songs at the core of his program. He revisited works deeply embedded in listeners’ memories, alongside a number of his own compositions, delivering them with his unique voice, emotion, and style.
He opened the evening with “Ahlia Risma” (The Most Beautiful Drawing), before moving through a series of well-known pieces, including “Ya Ghaib” (O Absent One), “Sahran Habibi” (Awake, My Love), “Zay Al-Hawa” (Like the Wind), and “Law ‘Ala Qalbi” (If It Were on My Heart). He concluded the first part of the concert with “Law ‘Ala Qalbi,” amidst clear applause and participation from the audience.
The evening continued in its second segment with “Dahkat Al-Dunya” (The World Laughed), followed by a succession of songs, including “Ya Hayat Al-Ruh” (O Life of the Soul), “Ya Hayati” (O My Life), “Fayn Layalik” (Where Are Your Nights), “Yana Yana,” and “Maqool” (Plausible), as well as “Ruh Al-Bahr” (Go to the Sea), “Lamma Betwahshini” (When I Miss You), and “Al-Hubb Wa Bas” (Love and Nothing Else). The space for participation between the stage and the hall expanded, particularly with songs that resonated with the audience’s memories.
Amidst all this, the orchestra, led by Maestro Basim Al-Mir, delivered a distinguished performance that helped maintain the musical structure of the concert and the harmony of its segments.
The following day, the atmosphere shifted to the National Theatre, where Aaidh stood on its stage for the first time. He presented a musical evening filled with radiance and joy, delighting the attendees with his distinctive voice and a selection of his songs. His cheerful style and spontaneous jokes, beloved by his fans, added a lightness and fun to the evening’s ambiance, which was produced and organized by Musican.
Aaidh launched his concert to a sold-out crowd with “Halu Al-Kalam” (Sweet Words), opening a wide door to songs the audience knew well and had memorized. He then moved between “Aalam Al-Ashqaq” (The World of Lovers), “Nasitni” (I Forgot Me), and “Ajrah” (I Hurt), while the audience engaged with the songs through singing and applause. It was clear from the very beginning that the relationship between Aaidh and his audience would be one of the night’s most prominent elements.
The orchestra, led by Maestro Ahmad Taha, contributed to giving the evening its musical presence through a cohesive performance and balanced choices that accompanied Aaidh’s transitions between songs, maintaining the concert’s rhythm and flow.
With the song “Wallahi Ma Yarmash” (I Swear He Doesn’t Blink), the hall’s enthusiasm grew, and a state of harmony between Aaidh and the attendees became apparent. They echoed his words, transforming certain moments of the song into collective singing that extended from the stage to every corner of the hall.
After a brief intermission, Aaid returned to the stage with renewed energy and a fresh look, presenting another diverse mix of his works, including “Warrior’s Break,” “Tajini,” and “Love of Kuwait.” The atmosphere of joy and singing continued, with the audience remaining engaged at every moment, clapping, participating, and singing along, while Aaid maintained his close connection with the attendees.
Before the concert began, artist Aaid Yusuf made a point of meeting with the media, where he expressed his happiness at reconnecting with his audience in Kuwait, emphasizing that performing before them always holds a special place for him, given the love and engagement he receives for his work. He also expressed his delight at singing for the first time on the stage of the National Theatre, within a major cultural landmark such as the Sheikh Jaber Al-Ahmad Cultural Center, which represents a vital space for art and music in Kuwait.
