Khaled Al-Jarallah

The Question Is Not How Abdullah Al-Mane' Sang, But How He Got to Abadi Al-Johar's Stage?

This report was published on July 24, 2026 at 00:16, and was last updated at the same time.

The Abadi Al-Johar Arena is one of the most prominent artistic platforms in Saudi Arabia, bearing the name of one of the pillars of Gulf song.

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After the end of Abdullah Al-Mane's concert last week at the Abadi Al-Johar Arena, my mind was occupied with a question not about the quality of his performance, but about how he reached a stage bearing the name of a giant of Gulf art while delivering a modest artistic performance.

This question does not detract from any artist's right to sing, but it puts the selection criteria under the microscope. The stage associated with the name of one of the most important voices in the history of Gulf song is not just a venue for concerts, but a symbol that is supposed to reflect an exceptional artistic level, and to give the audience an experience commensurate with the value its name carries.

What appeared at the concert - in my view - was not a performance that matched this ceiling.

Abdullah Al-Mane's vocal abilities were limited, and that was evident in the song 'Ya Khoi'. Also, his stage presence could not lead the song or give it the required weight, and the performance lacked the fine details that distinguish a singer who performs from an artist who possesses the tools.

The matter is not about Abdullah Al-Mane alone, nor even about Abdulaziz Al-Duwaikhi who salvaged something of his night, but about the message these selections send.

If a stage bearing the name of Abadi Al-Johar receives such levels, then what remains of the distinctiveness of this theater? And what distinguishes it from any other singing platform?

Criticism here does not target individuals as much as it focuses on the philosophy of selection; the artist naturally accepts the opportunity, but whoever has the authority to choose bears the responsibility of preserving the value and symbolism of the place.

Commercially, one cannot judge the success of the concert or lack thereof in the absence of details about fees and operations, but artistically, someone with a genuine artistic taste does not need time to classify it as a modest performance concert.

In the end, the issue is not a concert that ended, but a changing standard. When standards change, big names become mere attraction banners, while theaters gradually lose the role for which they were created: to be a hallmark of quality, and to attract audiences, not just a stop on the concert calendar.

What surprised me more than the level of the concert were the attempts following the evening to create a different impression of it by media professionals or those meddling in the profession.

I read praises and saw illogical statements, as if the requirement was to convince the audience that they had lived an exceptional night, while what was presented on stage does not align - in my estimation - with this description.

The function of arts journalism is not to grant certificates of success to something that has not succeeded, nor to become a public relations arm.

Its role is to document, to evaluate, and to say: here you were right, and here you failed. Because flattery may give the concert a glow for hours, but it harms the artistic scene for years.

Unfortunately, some discourse in arts journalism today no longer reviews the artistic work, but reviews the reactions to it, and content itself with repeating phrases such as 'an exceptional night,' 'great success,' and 'dazzling attendance,' until these phrases are written before the curtain rises.

Art does not need someone to create an aura for it, but someone to protect its standards.

This incident raises broader questions about the artistic standards of major platforms in the Kingdom. The theater that bears the name of an artist of Abadi Al-Johar's stature is supposed to reflect an exceptional artistic level. With the increasing artistic activity in Saudi Arabia, maintaining the quality of performances becomes a necessity to ensure the credibility of these theaters. On the other hand, the commercial dimension remains an influential factor in choosing artists, which may weaken the artistic symbolism of the place.