Who Gets the Mic? Abu Dhabi's Open-Access Stage Draws 2,000

A single white plastic chair, placed under the lights of Manarat Al Saadiyat, has become the organising symbol of Jalsa, a grassroots performance series that has drawn more than 2,000 attendees to the Abu Dhabi venue since its launch this summer. For the company behind it, Harmony Abu Dhabi, the chair represents a deliberate policy of open access: anyone may take the seat, take the microphone, and perform.

The venue’s role is central. All four editions of the series have been hosted at Manarat Al Saadiyat, structured as “chapters,” each drawing on a different part of the UAE’s story. The first, The Majlis, reflected the welcoming spirit of the traditional Emirati majlis. The second, The Desert, explored the resilience needed to survive in the harshest conditions. The third, The Sea, turned to the country’s connections with the wider world. The final chapter, held last week, was The Stars, which used the stars that once guided journeys across desert and sea as a symbol of dreams and aspirations.

Harmony Abu Dhabi was founded by three friends from different corners of the creative world. Hamad Al Shamsi, an NYUAD alumnus, works as a master of ceremonies and is passionate about storytelling. Abdullah Al Shamsi, who performs under the stage name NotSoHuman, began his singing career by posting song covers on social media and released his debut single, Love it Up, in 2023. Preston Dcosta is a pianist, drummer and sound engineer. The idea for Jalsa, Arabic for gathering or a sitting, took shape during a car ride between the three.

Access to the stage is governed by a clear rule. “Performances are diverse and allocated on a first-come, first-served basis,” Abdullah explains. The result, according to the organisers, is a roster that spans first-time performers and a range of nationalities. “We have people performing for the very first time. We have a performer who is three years old,” Hamad says. “People from Ghana to the UAE to South Africa to Korea to Russia, it goes all around.”

The initiative emerged from a gap its founders identified in Abu Dhabi’s cultural provision. While the emirate’s arts and culture scene is growing quickly, grassroots communities for local creatives remain scarce. “If we wanted to perform in an open mic, we had to go from Abu Dhabi to Dubai. There was nothing home-grown in Abu Dhabi. So we decided to start something on our own,” Preston says.

Running the series has depended heavily on volunteer labour. A production team of more than 25 volunteers has supported the four editions, with more than 100 people having taken the stage over four months. “We want people to be able to shine, to find a platform in Abu Dhabi,” Hamad says. “There is so much Abu Dhabi has to offer, and we’re just a drop in the ocean.”

The question of who pays is central to how the organisers see their mandate. Jalsa remains an out-of-pocket initiative with free entry, and its only monetisation comes from a small baqala selling branded merchandise and local snacks. The team hopes to secure funding to grow the community and support more talent, not only in music but across other creative fields. Preston is firm on the principle: “We are against the idea of artists having to pay. We will never make the open mic a paid event because the artists have spent so much time, so much effort refining their art form.”

For participants, the value lies in what the platform makes possible. Lavalina, a singer and bassist, says Jalsa offers emerging artists more than a venue. “It gives a stepping stone to continuing your journey. And being able to pursue your dreams as a career, not just as a vocation or as a hobby,” she says. Attendees echo that sense of purpose. “I love seeing the community coming together. I love the initiative of the young coming in,” says Aysha, who has attended the events.

Whether the hoped-for funding materialises, and whether the free-entry principle can survive growth, may now decide how far this home-grown platform can extend its open mandate.