Northern Soul: Discovering the center of English pop culture

The Beatles (with original drummer Pete Best) at the Cavern Club in Liverpool in 1961. (Getty Images)
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Updated 13 December 2024
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Northern Soul: Discovering the center of English pop culture

  • Exploring England’s northwestern powerhouses, Manchester and Liverpool

DUBAI: London might be the UK’s capital, and the center of Britain’s financial and political power, but visitors seeking the true heart of England should head to the two great northern cities of Manchester and Liverpool. Here, two of the main pillars of English popular culture — football and music — take center stage. 




Inside Liverpool FC's Anfield stadium. (Supplied)

As part of the British government’s attempts to raise awareness of tourism opportunities outside of London, Arab News went on a press trip in November that delved deep into the rich cultural history of both cities. The two have much in common. Each has two Premier League football teams — one red, one blue — and in each the red team has historically been far more successful (although in Manchester, that gap is narrowing rapidly). And both have been the focus of movements that have changed the face of pop music: the ‘Madchester’ scene of the late Eighties/early Nineties, and the Merseybeat scene of the Sixties, from which emerged the band often hailed as the greatest of all time, The Beatles — four Liverpool lads who grew up within a few miles of each other, three of whom, it turned out, were among the finest songwriters to have ever lived. (The other was Ringo Starr, who, to be fair, was a metronomic and creative drummer crucial to The Beatles’ sound).  




Manchester's Halle Orchestra at Bridgewater Hall. (Photo by Alex Burns)

In Liverpool, our base is the majestic Titanic hotel, named for the ill-fated liner, which was registered in Liverpool. Thankfully, it lives up to that name only in its impressive scale — even the corridors are enormous — and is anything but a disaster for its guests, providing service and accommodation that would be the envy of any luxury cruise ship. 

It’s part of the regeneration of Liverpool’s docks, and sits just around the corner from Everton’s new stadium, which will be inaugurated at the start of next season (several of our taxi drivers joke that it will be the most impressive stadium in England’s second tier once Everton — Liverpool’s blue team — are relegated this year). But it’s Anfield, home of Liverpool FC, that is globally renowned. We attend the late kick-off against Aston Villa on Nov. 10, and experiencing a game live is the best way to truly understand just how much significance football holds in English culture. While you get a better view of the action watching on television, that’s more than compensated for by the atmosphere — tens of thousands of people gasping, groaning, singing and roaring in unison.  




One of the rooms at the Titanic hotel in Liverpool. (Supplied)

Most English football grounds are now far more welcoming than their reputation suggests — women and children commonly attend, and Liverpool can count many from the Arab world among their supporters thanks to the impact of Egyptian superstar Mo Salah — but the language remains industrial. So if you want to experience a Premier League stadium without the man in the seat in front of you advising the referee exactly where to put his whistle, maybe opt for a tour on a non-matchday. The Anfield one offers a comprehensive journey through Liverpool’s trophy-laden history, right up to the just-ended Jurgen Klopp era, with some great stories from knowledgeable guides and ex-players, visits to the home and away dressing rooms (the away one is considerably less fancy, of course), a pitch-side wander, and a trip to the executive boxes.  

Manchester City’s Etihad stadium tour offers much the same experience, although with more focus on interactive experiences (a press conference with Pep!) — perhaps to compensate for the fact that the team’s history, until the last decade or so, is nothing like as golden as Liverpool’s. It’s an impressive setup though, and probably more fun for kids.  




Manchester City’s Etihad Stadium. (Shutterstock)

Back in Liverpool — and back to music — we visit the world-famous Cavern club, where The Beatles made their name. While it understandably plays up its historic links to the Fab Four, it’s still a thriving venue today, welcoming established international stars, local up-and-comers, and veteran cover bands, and is packed out most nights (mostly with tourists). It’s just one of dozens of bars and clubs in the city center that stage live shows in a city where the music scene continues to flourish.  




The entrance to the Beatles Story on Albert Dock. (Supplied)

To dive deeper into The Beatles’ history, Liver Tours offers a bespoke experience led by incredibly knowledgeable guides who will take you round the major landmarks associated with the band — from their childhood homes, through the church hall where John Lennon and Paul McCartney were first introduced, to places that inspired their songs (Penny Lane, Strawberry Fields, and more). It’s an exhaustive venture, highly recommended for Beatles’ lovers, but perhaps a little too much for casual fans, who may prefer the excellent Beatles Story on Albert Dock — a celebration of the band’s rise to world domination, a reminder of just how quickly it all happened (less than eight years between the release of their debut single and their final album), and a statement about how much the band did for their hometown.  




The Reach at Piccadilly in Manchester is located just round the corner from the city’s main train station and a short walk from the Northern Quarter. (Supplied)

In Manchester, we stayed in The Reach at Piccadilly, located just round the corner from the city’s main train station and a short walk from the Northern Quarter — home to several great independent shops and cafés and a favorite haunt of many of the city’s most famous musicians over the years; many of them are celebrated, if obliquely, in the area’s pavement art. Despite the Reach’s central location, it’s a very peaceful hotel with friendly staff and fantastic breakfasts.  

Our Manchester music tour is a more scattered affair than the Liverpool one — less-focused on a single band (understandable, given how singular The Beatles are) but exploring the breathtaking array of talent spawned in, or coming to, the city and its suburbs, from the 165-year-old Hallé Orchestra; the Free Trade Hall, where Bob Dylan famously performed in the Sixties and the Sex Pistols infamously performed in the Seventies and inspired a legion of young Mancunians to pick up guitars and form bands of their own; on to Seventies rockers 10CC, Eighties miserabilists Joy Division and The Smiths, as well as the creators of one of the all-time-great debut albums The Stone Roses, and the Nineties Britrock behemoths Oasis (plus dozens of others in between). Our guide from Brit Music Tours, once again, carries a wealth of information in his head and doesn’t just reel off a list of facts, but tells numerous insightful and entertaining anecdotes.  

And despite spending several hours on these tours over three days, it feels like we barely scratched the surface of the two cities’ culture — let alone their vibrant foodie scenes, shopping and nightlife. If you’re planning a trip to the UK and would like somewhere more relaxed than London, but with just as much — if not more — to offer, then head northwest.  


Japanese car exhibition zooms into Ithra

Updated 07 February 2025
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Japanese car exhibition zooms into Ithra

DHAHRAN: Ithra, the King Abdulaziz Center for World Culture, is presenting a special vintage car exhibition, which began on Thursday.

The exhibition is part of the Japan Cultural Days event, hosted at Ithra headquarters in Dhahran to celebrate 70 years of Japan-Saudi relations.

The exhibition is part of the Japan Cultural Days event. (Supplied)

The exhibition is being held outdoors in the Energy Exhibit area, which provides a distinctive setting for this unique display.

Maha Abdulhadi, creative programs specialist at Ithra, told Arab News: “With help from Japanese classic car enthusiasts Ali Aldhamin and Nazar Alqlaf, we curated this display to showcase a broad range of vehicles that represent a significant chapter in the history of the Japanese car industry, which is highly appreciated in Saudi Arabia.”

The exhibition features 13 cars, most of which are owned by private collectors in Qatif, and spans a variety of classic models, modern designs, and concept vehicles. “This is a rare opportunity for car enthusiasts in the Kingdom to experience Japanese engineering and design up close,” Abdulhadi said.

The exhibition is being held outdoors in the Energy Exhibit area. (Supplied)

The display highlights the design, technology and innovative features of Japanese vehicles, with the cars available for viewing from 4 p.m. to 10 p.m. each day.

“This unique exhibit showcases Japan’s innovative designs, precision engineering, and passion for performance, enhancing the festival experience,” Abdulhadi said. “A Japanese car show as part of the Japan Cultural Days highlights Japan’s rich automotive heritage, fosters community engagement, and promotes cultural exchange. It also attracts car enthusiasts.”

The exhibition ends on February 8, marking the conclusion of the Japan Cultural Days celebration.


Andria Tayeh named beauty ambassador for Giorgio Armani

Updated 07 February 2025
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Andria Tayeh named beauty ambassador for Giorgio Armani

DUBAI: Giorgio Armani on Thursday announced the appointment of Lebanese Jordanian actress Andria Tayeh as its new Middle East beauty ambassador.

Tayeh, known for her roles in Austrian filmmaker Kurdwin Ayub’s “Mond” and Netflix’s hit series “Al Rawabi School for Girls,” expressed her excitement on Instagram and wrote: “I am thrilled and honored to embark on this new journey with Armani beauty.

“This marks a real milestone for me, as the brand embodies values I have always cherished: timeless elegance, dramatic simplicity, and women empowerment,” she added. “Armani beauty reveals one’s charismatic personality in the most subtle and natural way. It’s this pure simplicity that creates an impact, and this is exactly what I hope to bring to the Arab cinema world.” 


Cristiano Ronaldo celebrates his 40th birthday in Saudi Arabia 

Updated 07 February 2025
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Cristiano Ronaldo celebrates his 40th birthday in Saudi Arabia 

DUBAI: Portuguese football star Cristiano Ronaldo marked his 40th birthday in Saudi Arabia, surrounded by family and friends. 

Ronaldo hosted an intimate gathering at Nozomi, a renowned Japanese restaurant in Riyadh. The night featured a private performance by Puerto Rican artist Rauw Alejandro, who entertained guests with hits such as “Punto 40” and “Todo de Ti.” 

In videos shared on social media, the football star was spotted dancing alongside his partner, Georgina Rodriguez, and his mother. 

He shared pictures from the celebration on Instagram, and wrote: “Thank you all for the amazing birthday messages! Had a great day with family and friends, couldn’t wish for anything better.”

As part of the festivities, Al-Nassr, Ronaldo’s current club, presented him with a special birthday cake featuring images of his five Ballon d’Or trophies and childhood photos. The cake was also displayed at the intimate gathering.

Rodriguez shared a birthday message for Ronaldo on Instagram, writing: “Happy birthday to our great love. Thank God for bringing a man like you into my life, and thank life for giving us the greatest happiness — our family, our children. To a life together, always holding each other tightly. Wishing the best to the best.” 

The Kingdom went the extra mile to ensure the footballer’s milestone celebration was memorable.

The Light Ball at Boulevard World illuminated in celebration of Ronaldo’s birthday. The message “We celebrate with you, CR7. Happy birthday. Saudi loves you,” was displayed on the sphere alongside videos of the footballer performing his trademark celebration.

Rodriguez also took to Instagram to share shots of billboards in Riyadh lighting up to honor the star’s 40th birthday. 


Ayman Yossri Daydban: ‘The discrepancy between visual appeal and cultural awareness is key’ 

Updated 07 February 2025
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Ayman Yossri Daydban: ‘The discrepancy between visual appeal and cultural awareness is key’ 

  • The Saudi-Palestinian artist discusses his solo exhibition ‘Winter,’ now showing in Jeddah 

JEDDAH: In his solo exhibition “Winter” at Jeddah’s Athr Gallery, the Saudi-Palestinian artist Ayman Yossri Daydban provides a compelling exploration of ihram clothing — the humble garments worn by pilgrims for the rituals of Hajj and Umrah — and how it connects to climate change.  

“This exhibition is part of my Ihramat collection, which uses the ihram to highlight its significance in popular culture, religious identity, and as clothing and fabric,” Daydban tells Arab News. “The idea behind the color and material is inspired by the climate during Hajj season, the usual hot weather during pilgrimage, and how the ihram fabric is lightweight, designed for enduring the heat.” 

“Winter,” he explains, refers not only to the season but also to what climate change could mean for the future of pilgrimage — suggesting that traditions once defined by their specific environmental contexts may eventually be disrupted.  

Winter from the Ihramat series, 2025. (Supplied)

“White, which is symbolically associated with purity and clarity, is a color that reflects sunlight. When you think about the Hajj happening in the summer, and considering new climate realities and changes, you understand that the idea of ‘winter’ in this context is a metaphor that references the future moments when climate changes may affect pilgrimage,” Daydban says. 

The exhibition, which runs until March, revisits Daydban’s iconic works from previous years, particularly “Ihramat” (2012) and “Muss” (1996), recontextualizing the material and its meanings within the lens of contemporary concerns such as climate change and the commodification of culture and spirituality. 

Daydban, born in Palestine in 1966 and now based in Jeddah, is poised and calm, neatly tying together the philosophical strands of his conversation. His last name means “watchman” in Arabic, and Daydban is an insightful observer of cultural shifts and national identity. His art features in several major international collections, including the British Museum, underscoring his importance as a leading voice on identity, alienation and belonging. 

Winter X, from Ihramat series, 2025. (Supplied)

In “Winter,” Daydban simultaneously weaves together and challenges traditional notions of materiality and spirituality. His use of the ihram fabric in a radically different form emphasizes the fluid nature of cultural objects. Instead of using the fabric as a garment for spiritual purification, he transforms it into everyday items, shifting their role and associations.  

“The way I use the ihram fabric here is quite different from its original context—it’s more like towels or blankets, which changes the associations we have with the material,” he says. “For instance, the blankets, although made of similar fabric, are sourced from China. These blankets are available in stores and contribute to my idea of global trade and the commercial aspects of such cultural items.” 

Daydban has stretched the fabric over identical rectangular wooden panels — uniform, like Muslims praying in rows — with an empty square at the center, seemingly hinting at the Kabaa. One lone piece is the invert of that, furry and full, a rectangle that one could argue fits into the void the others carry.  

Winter V, From Ihramat series, 2025. (Supplied)

In his transformation of the ihram fabric, Daydban emphasizes the economic and cultural implications of how these objects move through global systems. “The materials have a significant connection to economic matters,” he says. “Although the cloths may appear similar, each has its own unique pattern and design. The variations offer a chance to explore cultural identity, to consider how these designs hold individual meaning, yet can be visually selected without awareness of their cultural background. The patterns in the cloth might be taken for granted without understanding the cultural implications behind them. This discrepancy between visual appeal and cultural awareness is key in my work.” 

Through the juxtaposition of global trade and religious symbols, Daydban highlights the dissonance between the sacred and the commercial.  

“What I’m trying to achieve is a reflection on beauty in the details of cultural symbols — taking a material like the ihram and transforming it into something that holds contemporary meaning,” he explains. “Through ‘Winter,’ I examine how fabric can transcend its usual associations with ritual to become a statement about today’s world. It’s a critique of how these items, which once carried deep religious significance, are now sold and consumed globally, detached from their cultural roots.” 

Winter Ten. (Supplied)

The exhibition addresses how even the smallest details within the fabric can carry powerful meanings. “(It) is deeply connected to trade, materials, and economics — using the ihram as a tool to reflect on the broader systems that control these items,” Daydban says. “In terms of design, each square in the exhibition holds a specific visual and symbolic weight. Even though they may seem similar at first glance, they each possess a unique quality that highlights how even the smallest details make a difference when exploring identity. 

“The show invites viewers to experience a connection between the material and the emotion it conveys, to understand how ihram is not merely a religious garment but a global symbol of cultural exchange and transformation,” he adds. “As an artist, I’m trying to make sense of how such materials are used across different contexts, with their significance becoming diluted as they move through systems of commerce.”  

The idea that art can challenge the commodification of cultural symbols is central to “Winter,” with Daydban urging his audience to reconsider their understanding of material value and cultural meaning. 

“I encourage viewers to reflect on this transformation and the relationship between artistic practice and commercial influence,” he says. “Take a moment to consider the process of how cultural objects are commodified and how, through art, we can bring awareness to their deeper meanings.” 


REVIEW: Mo Amer’s comedy drama ‘Mo’ makes triumphant return with season two

Updated 07 February 2025
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REVIEW: Mo Amer’s comedy drama ‘Mo’ makes triumphant return with season two

DUBAI: Season two of Mo Amer’s semi-autobiographical comedy drama is apparently its last. Amer has said the events of the series had to stop before Oct. 7, 2023, to avoid the horrors that have since been perpetrated in Gaza overtaking the narrative. Though understandable, that’s a real shame, because “Mo” is one of the best shows on television, exploring incredibly complex and divisive topics — family, religion, imbalance of power, exile, mental health, parenthood, multiculturalism and much more — with an artful lightness of touch, without ever taking them lightly. In season two, the ensemble cast are once again excellent, always serving the story, never looking to outshine it.

Amer plays Mo Najjar, a Kuwait-born Palestinian refugee living in Houston, Texas. Mo, his mother Yusra (the superb Farah Bsieso), and his older brother Sameer (Omar Elba) have been waiting more than two decades to have their asylum case heard.

Season two begins with Mo in Mexico, six months after the events of season one saw him stranded there. He’s living with the aunts of his ex-girlfriend Maria (Mo believes the fact he told her to “move on” will not prevent them reuniting — he’s wrong), and his family’s asylum hearing is just days away, but bureaucracy is preventing him from returning to be with them.

In one of several examples of the way “Mo” tackles dark topics with rare grace and humor, Mo attempts to illegally cross back into the US but is captured by border patrol and incarcerated (though not before his country music impersonation nearly convinces his captors he’s a red-blooded American). When he does eventually get back ‘home,’ he finds the family olive oil business is thriving, and that Maria has indeed moved on, starting a relationship with an Israeli chef.

Seeing friends and family prospering without him isn’t something Mo is necessarily ready to celebrate. That’s one of the great things about the show: Amer is as comfortable pointing out Mo’s own failings — his neediness, his pride — as he is railing at, say, the Kafkaesque officialdom that plagues his family’s existence. “Mo” is beautifully balanced in so many ways — from the blend of tragedy and comedy to the mix of maddening realism and fantastical dream sequences. Even the family’s joyous return to Palestine in the finale must be weighed against their stoicism in the face of the iniquities visited on them by the Occupation.

“Mo” isn’t just a great show, but a necessary one.