Everyone is welcome at Riyadh’s newest, snazzy lounge and restaurant: Soho Club

The eatery's façade is reminiscent of a 1950s-style Broadway theatre. (Supplied)
Updated 08 November 2019

Everyone is welcome at Riyadh’s newest, snazzy lounge and restaurant: Soho Club

DHAHRAN: The word “Soho” likely conjures up images of fashionable districts in New York or London. Or, perhaps, Soho House & Co. — the exclusive, members-only chain of hotels and restaurants popular with the creative community. But Soho Club on Tahliya Street in Riyadh is the Saudi capital’s newest lounge and restaurant — where everyone is welcome — and it’s one of a kind.

On a street that is inundated by dining establishments, Soho Club stands out from the crowd. Its façade is reminiscent of a 1950s-style Broadway theatre — bold lettering, marquee lights, art deco arches, and revolving doors. Past the revolving doors, a bouncer leads you through thick, velvet curtains and upbeat jazz music welcomes you inside.




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Candelabras on rustic, communal tables lend the right amount of allure and mystery. Masquerade masks (depicting a range of emotions), paintings, and vanity mirrors adorn the walls. Luxurious leather lounge chairs dot the premises. Golden scaffolding pipes run along the ceiling and the waitstaff dress in vintage overalls. It feels clandestine, exclusive, and, yes, grandiose.  

But that’s where any association with its namesake ends. Soho Club is frequented by young urbanities and families who come for its relaxed ambience, novel theme, international cuisine, and — of course — the club’s popularity on social media. Popular Insta-spots in the venue include the “Smoking Dog” (an eccentric painting of a dog in a top hat) and the ladies room (decorated like a powder room with plush settees, wall-to-wall mirrors, industrial pipe faucets, and Edison light bulbs hanging from the ceiling).




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Our hosts for the evening, manager Francis Pascua and chef Zakhia Bilen tell us about the food. “It can best be described as contemporary fusion,” says Bilen. “The menu has dishes that customers know, but in a form that is new to their taste buds.” Having worked in the Lebanese culinary industry for 15 years, Bilen brings his expertise in globally-focused cuisine to Soho Club.

Take the extensive appetizers menu: The Cappuccino Soup is a flavorful tomato soup with foam served in a coffee mug, along with a baguette crisp that resembles a sugar biscuit. Superfood like kale and Medjool dates are dressed up with bitter-sweet pomegranate molasses and aromatic truffle oil in the Truffle Salad. Prawns are served in a Chinese cabbage, with two sauces; one sharp, with a wasabi base and the other sweet, with a chilli base.




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Chicken bites glazed in a buffalo sauce are served in a waffle cone and drizzled with buttermilk ranch — chicken wings in maple-soy glaze may not sound original, but they pack a punch that you’ll remember.

The burgers and sliders menu has plenty to choose from. We opt for the Angus ribeye slider with classic accompaniments including fresh onions, tomatoes, lettuce, pickles, cheddar cheese, and chipotle ranch sauce; and the crispy chicken slider with coleslaw, jalapenos, and buttermilk ranch. Bilen’s take on the Mexican-style, El Pollo Loco chicken features a barbequed chicken breast, parmesan aioli, kale leaves, and mango pickles. As a nod to local tastes, the kibdeh roll is served in a buttery, hot dog bun with chimichurri sauce and tahini truffle sauce.




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Although finger food and burgers seem to be crowd favorites, they may fill you up before you get to the mains. And it’s worth saving some space for the house specials. The black Angus short rib is braised in Coca Cola for four hours and served on a bed of celery-root puree; the neutral and earthy tones of the celery offset the sweetness of the tender meat. The baby barbeque chicken dish is served with spicy, herbed potatoes, and an avocado salad.

The dessert and shakes menu is relatively limited, but more than makes up for it with its extravagance. True to its name, The Charlie and the Chocolate Factory ice-cream shake has an assortment of toppings including chocolate chips, cake, and jelly beans.

You might first be tempted to Soho Club for the Insta-worthy photo ops, but you’ll return for the food.


Postcards release sophomore album ‘The Good Soldier’

Postcards is Lebanon’s dream-pop, indie-folk and slowcore pioneers. (Supplied)
Updated 23 January 2020

Postcards release sophomore album ‘The Good Soldier’

  • Frontwoman Julia Sabra discusses the Lebanese indie band’s new record and their growing popularit

BEIRUT: “I feel this album is more angry than sad,” says Julia Sabra, singer and guitarist in Postcards — Lebanon’s dream-pop, indie-folk and slowcore pioneers. She’s nursing a fruit juice on a rainy Beirut morning in December at a local coffeeshop, as she discusses her band’s sophomore studio album, “The Good Solider.” The air is thick with introspection and atmosphere.

Incidentally, atmosphere is exactly what Sabra and her two bandmates — guitarist Marwan Tohme and drummer Pascal Semerdjian — do best. Since their founding in 2013, Postcards have established themselves as one of their country’s most exciting indie exports. Their unique, shoegaze-colored sound, a small army of fervently committed fans, and the fact that they sing in English in a region where the most commercially viable acts are of the Arabic pop variety, all make their ascent to prominence even more intriguing.

Sabra is soft-spoken and eloquent, much like the vocal lines she delivers with vulnerability, discreet composure and tempestuous emotion. 2018’s folksy “I’ll Be Here in the Morning” was recorded when there were still four band members. They amicably parted ways with bassist Rany Bechara shortly after the release of the debut album, which the singer says tightened the dynamic between the three remaining members. “Weirdly, the less people you have, the more powerful the sound is; so, now it’s less about intricacy, and more about the atmosphere you create,” she explains.

One of the most immediately noticeable aspects of the Postcards sound is that you could easily assume they’re from somewhere in the American Midwest. (Supplied)

“The first album was a trial of something new for all of us, and we felt very comfortable with it,” Sabra says of the first LP, on the back of which they scored a record deal and performances at both local and international festivals, as well as tours in Jordan, Dubai, the UK, France, Portugal, Italy and Germany, and opening spots for indie luminaries Beirut, and Angus and Julia Stone.

“The second album took everything a step further and we were able to explore more,” she continues. “We didn’t consciously set out to make it different from the first one... we just follow the music, really. ‘The Good Soldier’ is a natural continuation of our sound.”

One of the most immediately noticeable aspects of the Postcards sound is that you could easily assume they’re from somewhere in the American Midwest. “I feel like we express ourselves in a different language,” Sabra explains. “Our music is not specifically linked to our region. We live here, we speak Arabic to each other and our friends and families; yes, everything we sing about and feel comes from our environment, but it’s pretty complicated... those dynamics when it comes to language. It’s something I think about every day.

Since their founding in 2013, Postcards have established themselves as one of their country’s most exciting indie exports. (Supplied)

“We live in a tiny country, play a niche type of music, sing in English,” Sabra continues. “But it’s not like we’re in denial about where we’re from, or like we look down on Oriental/Arabic music or something silly like that,” she states, with a slight bit of apprehension at the notion. “I feel like the West, with all its multitudes, is allowed to be so many things — why can’t it be the same with us?” In other words, artists from the Middle East are not born of a cultural monolith.

“Abroad, there’s a system: you check out a band, listen to their music and you just go and see them,” she says of her band’s international touring experience. “It’s cool to travel there and see people show up; we ask some of them ‘How did you know about the show?’ ‘Oh, well,’ they say, ‘I’ve just listened to your music!’ It’s real simple.”

Back home, it’s all been a little different. “In Lebanon, it used to be a social thing. You don’t always go to a gig to listen to music, but to hang out... the whole indie bands thing was trendy. However, in the past couple of years, a small but extremely devoted audience has emerged,” she says with bright-eyed reverence for the faithful. “Now there’s a real fanbase of people who listen to the albums and who follow you — even if it’s 200 people at a gig, they really want to be there and hear the music.”

Postcards played a jam-packed release show on January 3 at Beirut’s iconic Metro Al Madina theater. (Supplied)

Like all the other releases in the Postcards catalog, “The Good Solider” was produced by one of Lebanon’s most prolific musical mainstays, Fadi Tabbal, for whom Sabra has a lot of respect. “Fadi is the key,” she says of the Tunefork Studios producer. “He makes people aware of what’s special about their artistic identity, the sonic universes and soundscapes... he’s a perfect mentor, because he pushes you to do your best.”

Tabbal has supported Postcards from the beginning, and now both manages the band and handles their live sound. “It helps that he’s also an artist... an encyclopedia of music, a living version of the Oblique Strategies”, Sabra says, comparing Tabbal to the Brian Eno/Peter Schmidt-created cult card set featuring unconventional, ‘think-outside-the-box’ creative cues.

Sabra does not understate the progression that the band’s second album represents: “It’s a step up for us, working together closely, delving deeper into everything, taking more risks. We’re more aware of what we’re doing. It’s our baby. A very important, emotional statement.” Her compelling vocals navigate the delay-drenched sonic expanses of Tohme’s guitars and bass lines, and the hypnotic whirlwind of Semerdjian’s beats and percussion, all enveloped by entrancing synths and ambient passages.

Like all the other releases in the Postcards catalog, “The Good Solider” was produced by one of Lebanon’s most prolific musical mainstays, Fadi Tabbal, for whom Sabra has a lot of respect. (Supplied)

Both the anger and the melancholy that Sabra used to define “The Good Solider” are on full display on opener “Dead End”, where dramatic, searing guitars emerge intermittently in the chorus out of the aural sea of solitude crafted by the atmospheric instrumentation and Sabra’s lyrics. The title track is the link between the two halves of the album: “That song is sort of the thesis of the album — it’s a synth-y folk song, and the big theme is the realization that things that we believe in and that we were taught to believe are crumbling down.

“The good solider is the person who’s willing to consider letting go of a life where you live according to what’s expected of you — marriage, kids, and all that,” she continues. “Maybe there’s a way to get past this intrinsic patriarchal thing that’s so deeply engrained in us. So, ‘The Good Solider’ is about making your own way, while realizing that it all needs a lot of work and commitment, the kind that not everyone is necessarily cut out for.”

In the context of the turmoil that often seems like a near-permanent fixture of life in Lebanon, Sabra says, “We don’t have any other way to process our lives and what happens to us and how we think and feel. Making music is a bit of a self-involved, but very therapeutic, exercise, and it’s also a representation of who we are at this certain point in time — as both people and artists.”

For now, though, Postcards are just gearing up for what comes next. They played a jam-packed release show on January 3 at Beirut’s iconic Metro Al Madina theater. “We have a bunch of tours coming up; March, June, August and fall... taking over the world, basically,” she smiles, only half-jokingly. “We’re just happy the album’s been set free into the world. From here on, it takes a different meaning – it’s no longer just ours.”