If you are going add to some pyrotechnics to a concert, it’s best to let the actual performer get used to it during rehearsals.
It all made for some unintentional hilarity during Waleed Al Shami’s set on Friday night.
Performing in the Al Raha Beach Theatre on Friday – in a double bill with Lebanese pop star Myriam Fares, as part of Abu Dhabi Summer Season – the 44-year-old Iraqi singer experienced a few scares when flames shot out from hidden mini cannons during his one-hour set.
In a strange way, it provided much-needed thrills to his performance, which was bereft of onstage charisma.
A real pity, as Al Shami is a fantastically versatile singer whose dulcet tones never veered off-pitch throughout his performance.
In Wainak his vocals soared effortlessly over a sea of melancholy strings. He was positively charming in his Ana Asli, with its seductive melange of jazz and Khaleeji arrangements.
In the ballad Ashtaqt Lek, his affecting vocals sunk into the poetic lovelorn lyrics and elicited a beautiful melancholy – it deserved the big ovation.
However, all that vocal skill could not mask the fact that he seemed uncomfortable on stage. Stiff, and rarely straying from his mic stand, he suffered from the frustrating habit plaguing many of his fellow Arab pop stars: reading his lyrics from an iPad placed on a lectern.
In many cases, it sucked the energy right out of the track. The quick tempo of La La should have been a show-stopper, instead, Al Shami had his eyes glued to that pesky gadget to guide him along – it made him resemble someone singing along while checking his email.
Myriam Fares had no such problem. A seasoned entertainer, the artist had her lyrics memorised – hence her freedom to stalk either sider of the stage and winningly engage with the audience.
Dressed in a skin-coloured one-piece suit with flared bottoms and her dark auburn hair at its frizzy best, she would have been equally at home on the set of Saturday Night Fever. There was nothing vintage about her entertaining set, however. She showcased her ability to blend Khaleeji styles with western pop sensibilities.
On Min Ayouni, she had her husky voice front and centre on top of full-bodied arrangements featuring the oud, qanoon and synth pianos.
The call and response of Wa Eish Asawi was a highlight; the Khaleeji-style party track made use of the six-piece percussion section.
Large members of the crowd were on their feet to dance, and Fares immediately joined them from the stage. Hopefully Al Shami was watching on from the side of the stage, taking notes.
Abu Dhabi Summer Season runs until September 11. For the full schedule of programmes, visit abudhabisummerseason.ae
sasaeed@thenational.ae
