The night from Tuesday to Wednesday seemed endless as global attention fixed on a region poised to ignite, while some attended summer concerts in a deeply divided Lebanese capital.
Images of Beirut’s Waterfront, known for its summer vibrancy, circulated widely online. On the evening of Tuesday, July 30, around 7:30 p.m., about a thousand fans of pan-Arab rave music waited in line at security gates, while VIP ticket holders filled the open-air stands. Spectators in flip-flops or high heels paraded under the watchful eyes of security guards and police, gathered to see al-Shami, a rising Syrian artist.
Twenty minutes later, an explosion rocked the capital and its surroundings, sparking panic among event organizers who had been bracing for the possibility of cancellation, following the strike on Majdal Shams that was blamed on Hezbollah by Israel — with the latter threatening retaliation.
Social media videos showed thick clouds of smoke rising from Haret Hreik, a southern suburb of Beirut, where preliminary reports indicated that a high-ranking Hezbollah commander had been targeted by the Israeli army.
“At that time, there were 1,500 people in the pit facing the DJ. The rapper in question showed no signs of being affected, and the army did not intervene, so we decided to continue with our activities,” said Amin Abiyaghi, producer and founder of the Beirut Holidays festival, which was concluding its 2024 edition with performances by Guy Manoukian and Pink Martini.
Although 10% of the expected audience did not turn up for the closing night, 4,500 fans attended the performance of a young musician, who remained indifferent to the grim atmosphere outside the event space designed to cater to his artistic vision. Opinions are divided: Some see it as “indecent,” while others view it as a “symbol of the Lebanese people's will to live despite terrifying news.” This division extends to online debates, where some criticize the perceived insensitivity of the event amid ongoing conflict.
Abiyaghi continued: "These days, criticism has become a little too easy. The reality in our field is quite different. There are major financial consequences weighing on the shoulders of people who have agreed, without sponsorship or gain, to help produce such shows. And this is cultural resistance! We're not going to let Israel have its way by canceling!" Additionally, he indignantly recalled the sudden interest shown by the Israeli press in a concert by the Lebanese diva Elissa, "which was picked up for political purposes on their TV channels and elsewhere. We're proving it, we're going to continue."
Culture, despite the drums of war
The night from Tuesday to Wednesday seemed endless as global attention fixed on a region poised to ignite, between two Olympic events in Paris. Throughout the evening, conflicting reports emerged, while news presenters strained to convey the gravity of the situation, including the unknown fate of Fouad Shukur, the Hezbollah military leader assassinated by Israel.
Since the beginning of summer, despite the tense situation in Lebanon and the distant drums of war, music has continued to resonate through the country's tourist cities. From the concert of singer Abeer Nehmeh at Dhour Choueir’s Kay Lounge to the performance of Ash, a French-Egyptian multi-instrumentalist in Byblos, music has persisted. Some journalists and commentators close to Hezbollah have criticized these events on social media, pointing to images of concerts that have continued amid unrest.
Lebanon's cultural scene: Balancing performances amid rising tensions
Organizers of upcoming shows express concern and have consulted with their teams about a potential escalation of the ongoing exchange of attacks between Israel and Hezbollah. Scenarios and plans from the summer of 2006 — which was marked by a war with Israel — are being revisited to develop strategies that would minimize financial damage, anticipated even before the Israeli retaliation in Haret Hreik and the assassination of Hamas political leader Ismail Haniyeh in Tehran.
While Western performers have redirected their tours away from Lebanon due to security concerns, Arab artists have continued with their schedules and had stadiums to fill. However, on the morning of Tuesday, Aug. 30, entertainment company GMH & TMG confirmed the postponement of several concerts, including those of Egyptian Tamer Hosny on Aug. 3, Syrian Assala on Aug. 10, and a show featuring Assi al-Hellani, Haifa Wehbe, and Iraqi Saif Nabeel on Aug. 8.
Historic festivals have opted to scale back their activities in response to the risks. The Baalbeck Festival, situated in the heart of the Bekaa region, which is frequently targeted by Israeli strikes, has scheduled only a symbolic concert on August 29 at Horch Tabet. Meanwhile, Beiteddine has been canceled entirely “in support of South Lebanon and Gaza,” according to its president Nora Joumblatt. Beiteddine also inaugurated three exhibitions at the Emirs’ Palace on July 25, “illuminating it as a symbol of resistance,” the organizing committee noted.
The Caracalla troupe, which was due to present its show inspired by the Arabian Nights on Wednesday July 31, has postponed its opening until Aug. 8. Concurrently, many productions have confirmed to L’Orient-Le Jour that preparations continue until further notice. French-Congolese rapper Dadju will perform at the Beirut Waterfront on July 31, as will Les Mayyas the following day.
In theatre, Metro al-Madina asserts that “the show goes on,” as does Monnot, with no changes currently planned.
In Lebanon, which teeters on the edge of conflict, dancing on a volcano, the cultural and artistic scene is honoring most of its commitments in front of a skeptical, anxious public, deeply divided between the calm of some and the timidity of others. The party goes on for some, but until when?
This article was originally published in French in L'Orient-Le Jour and translated by Tasnim Chaaban.