Discover Bahrain's Indigo Restaurant’s rooftop riches

Enjoy Asian-Mediterranean flavors at Bahrain’s five-star boutique hotel. (Supplied)
Updated 23 August 2019
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Discover Bahrain's Indigo Restaurant’s rooftop riches

MANAMA: You wouldn’t expect to find a palatial and tranquil rooftop restaurant smack in the middle of Bahrain’s oldest and busiest commercial center, the Manama Souq. Yet just a few meters from the iconic 70-year old Bab Al Bahrain lies Indigo Restaurant, the in-house eatery of five-star boutique hotel The Merchant House.

From the moment you step into the restaurant foyer, this fine-dining establishment promises respite from the summer heat, traffic snarls and mayhem of the capital city down below. Once seated, take a moment to appreciate the stately décor. With plenty of floral furnishing, flora, and foliage in aureate lighting, it’s like sitting in a greenhouse (without the heat). Add in the rustic wood furniture and striking artwork (by local Bahraini artists) and Indigo Restaurant is an ideal venue for both a casual evening sipping mocktails with friends or a celebratory three-course meal with that special someone.

Large French doors open onto an expansive terrace with mist machines, a trickling pool, backyard lighting, and no-fuss seating. It’s a fairytale setting worthy of staging a production of Shakespeare’s “A Midsummer Night’s Dream.”

The menu is a fusion of Asian and Mediterranean food, so patrons can expect a lot of fresh, seasonal ingredients paired with piquant Asian flavors. Take, for example, the restaurant’s best-selling appetizer, the Beef Rib Samjang — cherry wood-smoked beef rib served with Korean-style sweet-chili sauce atop crisp, Belgian endive. The appetizer comes with a side of the pipirrana salad — a Spanish classic. A simple goat-cheese salad is elevated with marinated figs, lavash crisps, and a Japanese-style yuzu hazelnut dressing.

To create such distinctive flavors, executive chef Robert Shipman draws on his two decades of experience in southern Europe and, later, with chef Nobu Matsuhisa (of the acclaimed Nobu Restaurant in Dubai and the more recent Nobu Jeddah pop-up). Shipman specializes in Asian cuisine and is renowned for his Greek-Japanese fusion meals in Cyprus. He also brings flavors from the Maldives, Ibiza, and Morocco to Indigo’s menu. Alongside cured and raw meats and sushi, the menu also features a small selection of burgers, including classics like mushroom and Wagyu burgers. The pasta and risotto offerings — tagliatelle Napolitana, risotto funghi, and prawn tagiatelle — are kept strictly Italian.

Shipman says he defers to restaurant patrons for a winning menu. A main that has won the popular vote is the sesame and nigella seed crusted and sautéed hammour. The crunch of the outer crust compliments the soft meat of the fillet and the accompanying bok choy and Moroccan chermoula sauce lend bitter and sweet flavors.

Although the flavor pairings remain more or less the same — meat slow-cooked with balsamic sauce, garlic, and thyme — Shipman’s 18-hour lamb shank stands out from those on other menus in the region. The lamb comes apart effortlessly, giving you a mouthful of meat soaked in balsamic sauces, buttery-soft herb polenta, and dry cherry. It is an ambrosial main.

A summer night calls for a light desert, and the frutti di bosco hits the right spot with assorted forest berries, airy honeycomb crisp, crème de Violette marshmallows, and a dollop of passion cream to offset the tartness of the berries. The Kaffir lime panna cotta with fresh mango sauce, and the yuzu white chocolate cheesecake with walnut halva also come highly recommended, but there is only so much one can devour in an evening. Still, the fresh flavors and the summer garden are enough incentive to come back for more.


Hear them out: The best Arab alternative albums of 2025 

Updated 25 December 2025
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Hear them out: The best Arab alternative albums of 2025 

  • Bojan Preradovic’s pick of records released by indie artists from the Arab world this year 

Saint Levant 

‘Love Letters’ 

With his sophomore LP, the Palestinian artist matures from viral breakout to more vulnerable, multilingual pop and R&B, shaping a compact set of love songs with a firmly Palestinian center. He braids sleek synths, North African grooves, and earworm melodies into pieces that drift between late-night infatuation and clear-eyed reflections on home, distance, and belonging. “DALOONA,” a collaboration with Shamstep pioneers 47Soul, and “KALAMANTINA,” featuring Egyptian rap star Marwan Moussa, both lean into joyful release, while “EXILE” sits with the emotional cost of separation and absence. “Love Letters” threads romance, memory, and identity into understated, exceedingly replayable art. 

 

Zeyne 

‘Awda’ 

Rising Palestinian-Jordanian star Zeyne uses her debut LP to alchemize the last few years of upheaval and her meteoric ascent into a 13-track map of who she is and where she comes from. Folding contemporary R&B and pop into playful rhythms, dabke pulses, and Arabic melodic turns, she sings of home, pressure, and stubborn hope on tracks that feel both diaristic and cinematic. The record shifts between tenderness, unease, and quiet celebration, while guest appearances from Saint Levant and Bayou mix perfectly with the record’s unique flavors rather than overpowering them. This is an exhilarating, soul-searching foray into Arabic alt-pop that treats vulnerability and pride as two sides of the same coin. 

 

Yasmine Hamdan 

‘I remember I forget’  

A quietly piercing LP from the indie icon about what we choose to carry and what we try to erase. Recorded with her trusted musical confidant Marc Collin, the album folds muted electronics, trip-hop beats, oud, and Arabic strings into songs in which personal memory, folk echoes, and her country’s never-ending tumult blur into one. Album closer “Reminiscence” lets the record fade like a long-held breath, reminding us that Hamdan is still one of the few artists capable of molding private anxieties into a shared, luminous language.  

 

Kazdoura

 ‘Ghoyoum’ 

The Toronto-based duo’s debut weaves a story of migration and fracture into a quietly dazzling Arabic fusion record. Vocalist Leen Hamo and multi-instrumentalist John Abou Chacra root everything in Levantine maqams, then let the songs drift toward jazz, psychedelia, and dream pop without ever losing sight of the tarab they grew up on. From the yearning of opener “Marhaba Ahlen” and the fiery feminist chant of “Ya Banat” to the reworked folk of “Hmool El Safar” and the woozy sway of “Khayal” and “Titi Titi,” they sculpt homesickness, resilience, and slow healing into something genuinely transformative. 

 

Tamara Qaddoumi  

‘The Murmur’ 

On her first full-length album, Tamara Qaddoumi stretches the trip-hop and shadowy pop universe she explored on 2021’s EP “Soft Glitch” into a deeper, intensely moving world. Written with longtime collaborator Antonio Hajj, and produced by indie mainstay Fadi Tabbal, “The Murmer” leans on low-end throb, smoldering synths, and incisive guitar lines that feel both intimate and vast. Her voice hovers between confession and spell, circling questions of identity, grief, and attachment that evoke her own hybrid Kuwaiti, Palestinian, Lebanese, and Scottish heritage. The result is a delightfully cobwebby, absorbing LP that lingers long after it ends. 

 

Sanam 

‘Sametou Sawtan’ 

Recorded between Beirut, Byblos, and Paris, “Sametou Sawtan” – Arabic for “I heard a voice” – is a poignant, unsettled collision of noise rock, free jazz, and Arabic folk that fizzes with tension. Produced by Radwan Ghazi Moumneh, the eight tracks by the art-rock sextet are anchored by Sandy Chamoun’s remarkable vocals, which move from murmured prayer to visceral intensity, drawing on classical Arabic poetry and prose and her own lyrics to inhabit figures who are bewildered, grieving, or stubbornly alive. From the opening surge of “Harik” to the slow burn of “Hamam,” Sanam distill personal and collective unease into work that’s urgent, physical, and impossible to ignore. This is an act on the precipice of wider, global renown.  


Nabeel 

 

‘Ghayoom’  

On “Ghayoom,” the Iraqi-American songwriter — real name Yasir Razak — firmly plants the flag of an audacious musical explorer venturing across roads less traveled. He sings in Arabic over a wall of distorted guitars and slowcore drums, enveloped by captivating, shoegaze-colored soundscapes. The artwork, built from worn family photographs, hints at what the music is chasing. These eight tracks pair devotional tenderness with the grit of DIY rock. Opener “Resala” aches with unsent words; “Khatil” hits with uneasy momentum; while the elegant flicker of pop-tinged moments scattered throughout the album maintain a raw and bruised edge.  

 

Malakat 

Al Anhar Wal Oyoon 

On its first showcase, Jordan-based label Malakat gathers seven Arab woman artists and enables them to pull in seven different directions that end up flowing as a single current. “Al Anhar Wal Oyoon” (‘The Rivers and the Springs’), moves from Intibint’s hauntingly inspired vocalization to Liliane Chlela’s serrated electronics, and from Sukkar and DAL!A’s skewed pop to Sandy Chamoun’s voice-led piece, and Bint Mbareh’s closing track, developed in dialogue with visionary producer Nicolas Jaar. Mixed across Amman, the UK, and New York, and mastered by the highly-sought-after Heba Kadry, this is a deeply textured statement of intent from a label quietly redrawing the map of experimental Arab music.