“India is a bigger market. But the project has to have some kind of credibility.”- Hadiqa Kiani

In a candid interview with Instep, Hadiqa Kiani opens up about music, motherhood and everything in between…

By Maheen Sabeeh

Critics may have slammed her for being a Nazia Hassan imitator when Hadiqa Kiani first started out. Her debut album, Raaz (1995) still managed to make a mark. From the early days of ‘Jaan E Jaan’ to ‘Mann Di Mauj’, Hadiqa continued to experiment. With her second record, Hadiqa tossed the “imitator” tag aside. Critics and fans were waking up to her rising star power in an industry where female musicians were still a long lost dream.

With Roshni (1999), Hadiqa began her string of even more wild videos. Whether it was The Matrix-inspired ‘Dupatta’ or the wholesome ‘Boohey Barian’ – Hadiqa Kiani kept reaching for the stars and more.

In between touring the world, Hadiqa recorded her third record, Rung (2002) and with it came a spate of videos such as ‘Yaad Sajan’, ‘Jogi’ and the stunning ‘Mahi’ in which Hadiqa donned the role of a vampire.

After 2002, Hadiqa continued touring and recorded singles, collaborative efforts and the timing also coincided with her being a mother. And now she is back with her fourth record, one that is edgy, young and fitting the global changing sound.

Hadiqa Kiani released the groovy Aasmaan last year. And since then she has been making news constantly. The latest is perhaps the most distinctive.

And that’s Hadiqa’s entry in the field of beauty (for a lack of a better term). With a few ads in local magazines, one wondered if it was really the singer Hadiqa. And Hadiqa confirms this fact herself.

“I’ve worked with so many beauticians. I’ve observed their techniques because I’ve always been interested,” says Hadiqa.

Having worked with stylists like Nabila, Tariq Amin and Khawar Riaz, Hadiqa is now testing the waters herself.

Her love for color – which has always existed throughout her career and the music videos that Hadiqa pulled off such as ‘Mahi’, ‘Dupatta’, ‘Mehr Ma’, ‘Sohnya’ to name a few – has turned Hadiqa towards a slightly different path.

It began at home.
“I worked on a couple of brides in my family. And it’s an incredible feeling to make someone else beautiful,” Hadiqa recalls.

And now Hadiqa is slowly turning it into a professional idea. While music still remains her first love (after her son), the field of styling is also a calling.

Hadiqa isn’t just styling some of her own videos, she is doing more.
“I’m going on that path slowly. I haven’t launched it yet but it’s getting there. A friend of mine owns Lajwanti. That’s a fashion line so in her premises there is also a salon. She asked me to set it up, give the girls some training and with my affiliation it’ll bring a lot of clientele. And I also get a platform,” Hadiqa says candidly.

At 37, she looks better than ever. Motherhood, music and now hair and make-up – that’s how Hadiqa prioritizes it in real life.
In person, she is soft-spoken and opinionated, aware but not disillusioned. Most of all, she is an optimist. It reflects in the sound of Aasmaan which celebrates life, love, relationships. It’s a fun record and not one that is laced with poetry that is driven from current surroundings.

Aasmaan may be Hadiqa’s first full-fledged album since Rung (2002) but she never truly left the scene.
Whether it was singles like ‘Yeh Hum Naheen’ or ‘Mehr Ma’ or ‘Iss Bar Milo’, Hadiqa stuck it out. And it hasn’t been an easy ride.
Hadiqa’s collaborative album, Rough Cut (2007), with Aamir Zaki, saw her under fire. For one thing, the album was in English, making the market limited. And then there was other criticism.

“Rough Cut had two kinds of responses. One was excellent and the other was trash,” Hadiqa laughs. “Some of my fans loved it and there were those who thought I was going through an identity crisis. Starting from ‘Jeevan’ to Aasman, maybe I am going through an identity crisis,” says Hadiqa. “I feel that as a human being it’s all part of our journey to discover. Music is something you need to explore.”
But Hadiqa isn’t clueless about her fan-base or where her career is headed, even as some things continue to remain unpredictable.

Aasmaan is very much a young sound, the kind that is slick yet desi, slightly pop-ish and slightly dance with just the right tinge of electronica thumping.
“People have really liked Aasmaan. But I can’t say that the next album will be the same,” she says.

“I do think about what the youngsters are listening to. I like to cater to everyone and isolate no one but my main focus is youngsters. Kids have this energy about them. They go on the Internet to buy/download the music, they explore new sounds and they make for the most loyal fans,” Hadiqa says with a smile.
The other factors…
Considering Hadiqa’s consistency and star power, it comes as a surprise to note that she is not looking at Bollywood as a possible medium to expand.

“I go with the flow. Who doesn’t want to expand? India is a bigger market. But the project,” she maintains, “has to have some kind of credibility. I am not interested in doing a trashy project. I don’t have that kind of desperation. If something good comes my way, I’ll definitely do it.”

And she reveals an interesting story.
“Indian film music director Pritam wanted me to do a song (‘Yeh Ishq Haiye’) in Jab We Met. It was shot on Kareena Kapoor who had her own preference. Bollywood stars have their own clout and they often push certain names or voices they like.”
But while Hadiqa is not pushy about Bollywood at all, she is very much clued into the digital world of music and its potential to grow as an independent medium.

“We should tap into this market. It is our market. Everything has it’s pros and cons. But I do feel that this medium creates awareness and is a quick and easy way to interact with fans and even critics.”

Times are changing
After over 15 years in the music business, Hadiqa is unfazed by the limelight. She was candid with fans when her marriage didn’t work out. Hadiqa posted a Facebook letter.
“Yes, I did.”
She is a woman, and one of the first few who entered the fold of music at a time when it was not common. There was no media boom and Internet users, it’s reach hadn’t grown as much in Pakistan.
But through it all, Hadiqa remains brutally honest about her personal and professional highs and lows.

“Being in this profession… it effects your personal life. If you have an understanding partner then it can work out,” Hadiqa says on a positive note.
“For me,” she reveals, “both times it was just one factor. The men I married… they married me because I’m Hadiqa Kiani. They didn’t fully understand that music means more than money and fame. It’s something that gives me balance and it’s important to me on a personal level,” she says.

“The stakes are a little higher when you’re in the spotlight,” reflects Hadiqa. “Despite being completely normal at home, insecurities come to the forefront if you don’t have an understanding partner.”
Hadiqa, the pop-star, doesn’t have an aversion to the media. She has come to terms with it even as she struggled in the early years.

“Life, she says, “comes under scrutiny. Initially, I used to get conscious that people are staring but now I’ve become quite carefree. When kids come and ask for my autograph, it’s very humbling and every now and then I come across people who stare and say demeaning things and that’s hurtful but overall it’s all good,” she says with that pleasant smile.
For Hadiqa, the real change came with her son, Naad-e-Ali.

“He’s four now,” she says as she shows his picture to me. It’s the one subject Hadiqa indulges in the most. And Naad-e-Ali, it seems, already has a penchant for rock ‘n’ roll.
“He loves the drums,” she says, “and Ali Azmat. He’ll happily watch him perform. He adores Shahram Azhar of Laal because Shahram sings his name when he meets him. Naade calls Shahram his friend,” she laughs proudly.

“If I’m traveling anywhere for longer than a day, I take him with me,” she tells me. “I was and still am invested in my career but there is a difference now. My son is my priority. My mother is not well and she is also my priority. Then there is everything else,” she says honestly.
But all this hasn’t stopped from looking at the larger picture. It is with this reason that Hadiqa is collaborating with the defiant and brilliant band that is Laal.
“Laal are amazing. They do music that is relevant to our situation, our surroundings. Ignorance is not bliss. We can’t be naive about who we are.”
In other words, it is because of this reason that Hadiqa is collaborating with Laal on a political song with poetry.
“So, where did you guys land, finally? I ask her. Laal have made Habib Jalib a name for a whole new generation.
“Yes,” she finally answers and laughs.
She recalls, “Shahram and Taimur (of Laal) came to see me and together we read a lot of poetry and finally agreed on Habib Jalib,” she says.
It’ll be an interesting collaboration to say the least. And that’s not all.
There is the Pushto song, ‘Jaanan’ (featuring Irfan Kiani) which has become hugely popular and is plastered all over the web with fan-made videos on YouTube. A video is in the pipeline because Hadiqa loves to experiment with languages. And she would love to see Pushto becoming as common a language in music as Punjabi has become.

“”I like exploring new languages. Every language has its own feel. From a singer’s perspective, Turkish music is so diverse, Chinese music is very challenging.”
Neither threatened by the success of the likes of Zeb and Haniya nor in a rush to become the next singing sensation in Bollywood, Hadiqa is ultimately comfortable with her eccentricities and her streak to experiment is still in place. For Hadiqa, it’s never say never.

Photography & Design by:
Osman Zia
Coordination:
Umair Khan @ Anamorphic Ideaz
Wardrobe, makeup and styling : Hadiqa Kiani

Peace with Pak: Breaking the sound barrier in Bollywood

By Maheen Sabeeh

Pakistan, if the ‘50s were all about the queen of melody Nur Jehan, in the ‘60s and ‘70s a newer sound came into our filmi music with names like Ahmed Rushdi, Bangladeshi singing sensation Runa Laila and Sohail Rana ruling the soundboard. The turn for modern pop arrived in the ‘80s when Alamgir first introduced electric synthesizers to Pakistani pop and dekha na tha became an anthem for a new generation and heralded a whole new sound. The wave of disco pop gained steam with Mohammad Ali Shyhaki and reached its zenith with the magic of Nazia and Zoheb Hasan. We were all Disco deewane, so what if it was the Zia era and prohibition was heavily enforced?

All this while, as trends came and went, Ghazal maestro Mehdi Hasan remained extremely popular across the subcontinent.

By the late ‘80s, another turn was taken with the birth of Pakistan’s most iconic pop band to date, Vital Signs. Their song dil dil Pakistan showed that a whole new generation was ready for a brand new attitude. Then, Junoon became the first band to hit success in the land of the pure.

The new millennium brought with it some old comebacks such as Strings, break-ups such as the nasty split of Junoon and ushered in a new era of music, with names like Ali Zafar, Atif Aslam, Ali Azmat (now flying solo), Noori, Shafqat Amanat Ali Khan, Jal, Fuzon among many others.

Atif Aslam

Atif Aslam is the current heartthrob of millions around the world. Mahesh Bhatt took two of Atif’s songs to India for his film Zeher (2005) that fetched Atif a Filmfare nomination among many others. His work in Bollywood makes him a star for the masses. This is one musician willing to push boundaries commercially and musically.

Ali Zafar

Ai Zafar’s rise to success is fascinating since he has never worked in Bollywood, although there are rumours that he may finally do a film there. In 2003, Zafar came with the stylish, funny and bouncy video of Channo that was trailed by his catchy solo album, Huqa Pani. He continued tours with a spate of spanking videos like Chal Dil Meray and Rangeen. Currently working on his third studio album and interacting with fans worldwide via his YouTube channel, Ali Zafar, like his contemporary Atif Aslam, is still ruling the roost.

Ali Azmat

He is the only man in this list who has been making music consistently for nearly two decades. Even Strings were away for eight years but Ali Azmat has never left the glaring limelight. His journey took off with the act that put rock on the Pakistani music map — Junoon. His stint with Bollywood has been rare because he prefers alternative Indian filmmakers and cinema — with Garaj Baras to Pooja Bhatt’s Paap in 2004.

Rahat Fateh Ali Khan

The nephew of the great Nusrat Fateh Ali Khan, Rahat Fateh Ali Khan’s diverse career is mind-boggling. From Hollywood to Bollywood, a trippy solo debut like charkha to devotional albums and playing it with Peter Gabriel, the man caters to both the classes and the masses. Carrying the torch of Nusrat Fateh Ali Khan forward, Rahat sprung to Indian success with mann ki lagan for Paap in 2004 and again with jiya dhadak jaaye re for Kalyug in 2006. Apart from gaining popularity across the border, Rahat is known and approached to collaborate on music around the world.

Strings

Strings arrived on the scene in the ‘90s but really took off in 1992 with the release of their second album, Strings 2 and the smash hit, sar kiye ye pahar but then the band disappeared. After an eight-year hiatus, they returned to the spotlight with the magnificent Duur in 2000 as a duo. Rafiq Wazir Ali and Kareem Bashir, members of the original Strings, had left smoothly and in the new millennium, Bilal Maqsood and Faisal Kapadia carried on. They followed the mammoth success of Duur with the sonorous Dhaani in 2003 and toured the globe. It was from this album that their song najaaney kyun was picked up to be the soundtrack of Spiderman when it was dubbed in Hindi for India. Strings collaborated with Indian pop act Euphoria on the single jeet lo dil in 2004 and with Hariharan on the song bolo bolo after that. In Pakistan, they are commended for going to Bollywood on their terms.

From the Ritz to the Rubble: New Moon soundtrack doesn’t disappoint

The original soundtrack of The Twilight Saga: New Moon brings out young acts such as Ok Go, Lykke Li (to name a few) and heavyweights such as Thom Yorke and The Killers on a darker and edgier record. Instep lends an ear…

By Maheen Sabeeh
Artist: Various Artists
Album: The Twilight Saga: New Moon*****

Meet me on the Equinox/Meet me half way/When the sun is perched at it’s highest peek/In the middle of the day/Let me give my love to you/Let me take your hand/As we walk in the dimming light/Or darling understand/That everything, everything ends…” sang Benjamin Gibbard, the front band of the indie rock act, Death Cab For Cutie on ‘Meet Me on The Equinox’, the lead single off the original soundtrack (OST) of New Moon. The tune is roaring on the charts despite the fact that the film has received mixed reviews. At it’s heart, the OST of New Moon is a conceptual album that delves into the teenage romance of Edward and Bella but it’s done with craft and style. Under the supervision of Alexandra Patsavas, who plays music supervisor to the project, all 14 tracks are original, done specifically for this film, which has become a global phenomenon now, inspiring the comeback of vampires, werewolves as influences on television (True Blood) and in music (Timbaland, Shakira, The Bella Cullen Project and Midnight Sun to name a few). But this isn’t about the juggernaut of Twilight and its lead stars Robert Pattinson and Kristen Stewart, not too much anyway.

Their teenage romance within the film – a vampire falls in love with a girl and all hell breaks loose – is at the core of this album. But it’s not the ‘My Heart Will Go On’ brand of romance. This one is complex, it has layers of darkness and temptations, as those too are undertones within the film. And it is here when the connection between the film comes across as an overall, coherent and ultimately brilliant theme to this album.

For all Twilight naysayers, one would say that New Moon OST easily surpasses its predecessor. In comparison, this one has an air of mystery and soft gloom with a more mature outlook. And this fact gives more credibility to the record as an OST of a film where teenage love and its pure dilemma make for a storyboard.  Because it’s a soundtrack, the mood exists, but almost all the bands are solid and experimental enough to not churn out cheesy, pop-rockish bland tunes. It’s all done intelligently but it’s not mechanical.

Death Cab for Cutie, who are no longer strangers to fame but hail from the ingenious world of indie rock deliver the poetic ‘Meet Me on the Equinox’. The official video, with interspersed shots of the band performing and clips from the film, has an impact. The raw emotions of the two actors mixed with crushing riffs, beautiful words, defiant yet mellow and at times defeatist vocal work of Ben makes it one of the best songs of this year.

For Ben Gibbard, the song is more personal than Edward and Bella’s romance.

“The song at its core is just about meeting another halfway, because life is very short, because there’s only a brief period of time to really connect with people, and that it’s important to recognize that. I just wanted something that kind of tonally matched the story and the scenes within the film, so they could kind of be put alongside but not be telling a narrative you’re watching on the screen.”

Death Cab for Cutie, one of the main stars of the indie world of music are now making it towards mainstream. In 2010, this will be one act to watch out for. With a Grammy nod for their EP The Open Door, in the Best Alternative Music Album category this year; the band is looking hot in the coming year.

And that’s the thing about this soundtrack. Not every name is familiar. But music supervisor Alexandra has mixed it all up.

The heavyweights such as Thom Yorke (Radiohead), The Killers, Death Cab for Cutie and the British punk favourite Muse may pull in the chart-topping numbers (and they deserve to for their individual talents on this record) but with time, the stars of the indie/alternative world of music such as Band of Skulls, Bon Iver, Sea Wolf, Grizzly Bear, Editors, Lykke Li, Ok Go and Black Rebel Motorcycle Club – shine too. They deliver tunes that give this record that well-rounded edge.

Thom Yorke’s ‘Hearing Damage’ is eerie as it opens on strange static noises and soon Thom Yorke sings in haunting, chilly tones, “A tear in my brain/Allows the voices in/They wanna push you off the path/With their frequency wires And you can do no wrong/In my eyes.” It’s classic Yorke with a magnificent drum-like beat, and a static that refuses to shut off but fades away slowly. It’s studio effects kept to the minimal and in a way only Thom Yorke can pull.

The guys from Nevada, The Killers haven’t lost their touch. On ‘A White Demon Love Song’, Brandon Flowers channels less aggression and opens on gloomier notes, “White demon, where’s your selfish kiss?/White demon sorrow will arrange/Let’s not forget about the fear/Black invitation to this place that cannot change”.

While the sound swells between wrenching pianos and crunchy yet timely riffs, the mood expands. Brandon brings his anguish on the floor emotively, “White demon, widen your heart’s scope/ White demon, who let your friends go?” – It’s The Killers going more epic in character and that’s a good thing.

Forget their weak second record that almost made us write them off, the band redeemed itself with Sawdust and the groovy, eccentric and somewhat moody Day & Age. This single is another up for The Killers.

Indie favourites Ok Go, famous for their incredibly energetic videos of ‘A Million Ways’ and ‘Here It Goes Again’ go subtle with ‘Shooting the Moon’. With psychedelic keyboard effects and slow acoustic strings right up till the end where their signature rock ‘n roll streak comes in slyly, Ok Go continue their experiments uniquely.

Lykke Li’s ‘Possibility’ has a soft gospel feel to it and is drenched in desperation, dilemma and heartache.

In the long run, this record pushes many acts in a much bigger limelight – we’re talking about the soundtrack of The Twilight Saga: New Moon.

Irrespective of the mighty name of the Twilight film franchise attached to it, the soundtrack with it’s varied texture is sweeping and works as a record on its own. Music supervisor Alexandra Patsavas, the woman behind the soundtracks of telly series The OC, Grey’s Anatomy and Gossip Girl has delivered a fabulous record under her watchful eyes. Kudos. Forget the film, just go for this record; to discover new names, rekindle romance with old ones and let the sound take over. Even Twilight loathers should be stunned.

*****Get it NOW!
****Just get it
***Maybe maybe not
**Just download
the best song
*Forget that this was mad

The A to Z of 2009

Instep takes a quick look at the year that was 2009 as we welcome the New Year…

By Amar Ayaz, Amina Baig and Maheen Sabeeh

A for ‘Aik Alif’

‘Aik Alif’ brought Noori back in the spotlight with the great Saeein Zahoor. It remains the best collaboration of the year with Saeein’s deep vocals, Ali Noor on a musical quest and Ali Hamza singing words of hope. At a time when Pakistan is going through constant mayhem, ‘Aik Alif’ sends the right message: Look within. And we all did. Bravo!

B for Bollywood dance classes

Love it or hate it, danceable Bollywood music has the most straitlaced of people secretly bobbing their heads to tunes like ‘Dil Bole Hadippa’ and wondering if they could pull those moves better than Shahid and Rani. With Hasan Rizvi of Bodybeat Dance Studio at Shapes, and Joshinder Chaggar’s Bollywood dance workouts, everybody who has had the good sense to join has become marvelously toned while getting their ‘Bebo’ on.

C for Cookery shows

Crazy as it sounds, one of the biggest audience pullers in Pakistan throughout ‘09 have been the cooking shows on TV. Our chefs hold all the magnetism of any soap star for housewives and younger newly-marrieds alike. They feature mother-daughter cooking act; chefs Rahat and Maida, a lady called Sameena who cooks on a budget and slicing, dicing men who’re changing the definition of masculinity. Product endorsement, exclusive cookbooks and competitions: local chefs are conjuring up a yummy broth of entertainment… tarka laga ke.

D for Downloads

YouTube isn’t the only force behind the growing Internet culture. That honour must also go to downloads. Looking for Chris Cornell’s cover of Michael Jackson’s ‘Billie Jean’ or Zeb and Haniya’s ‘Chup’ (which shot to fame as a raging Internet hit) or new alternatives to mainstream commercial smash hits – downloads are the way to go. And 2009 has been about downloads – from Coke Studio sessions to Overload’s new record to underground music brewing right here at home.

E for EP comeback

Remember eight guys banging their heads onstage while playing their instruments? It was the merger of Entity and Paradigm – two separate acts – as one that became EP back in the early 2000s. With an excellent debut album to their credit, the alternative rock act ultimately split; films, television, other bands, etc. Earlier this year, EP announced their comeback. The new line-up includes Fawad Afzal Khan (vocals), Ahmed Ali Butt (vocals & keyboards), Hassaan Khalid (rhythm guitar), Salman Albert (lead guitars), and Waqar Khan (Drums). Whether or not Xulfi’s absence is felt in EP’s second album – currently being worked on – remains to be seen but from the way EP have been performing (Youtube their recent gigs), it seems this rock outfit is ready to shake things up again.

F for fundos, foreign press and fashion

That Fashion Pakistan Week (FPW) was a triumph pulled safely with loads of flair is a given. That it would attract the attention of scores of international war journalists covering the crisis in Pakistan was a bonus that was by turns amusing and advantageous. With the foreign press covering the event with headlines such as ‘Fashion Week under the shadow of the Taliban’; it did serve to highlight the fact that if such a grand event could be held in Pakistan, then life is going on as normal. For four days Pakistan had another face in the media, of ‘tattoos defying the Taliban’ or so some goras claimed. We were more excited by fashion, which has a paralell history to the Taliban in Pakistan. It’s not an act of defiance; it’s part of our tradition.

G for Gossip Girl

From its gorgeous fashionistas to the lifestyle of Manhattan’s elite, Gossip Girl is, without a doubt, one of the biggest shows on television today. The ensemble cast, filled with young actors like Ed Westwick (who plays the wicked bad boy Chuck), Blake Lively (who plays the ‘it’ girl Serena) and Leighton Meester (who plays mean girl queen Blair) among many others, makes it all the more engaging. And it’s a nice change from medical and criminal shows everywhere. Gossip Girl is fun, devious at times and unpredictable on most days. And hey, the soundtrack makes for a great listen as well.

H for Hamza, Ali (Noori)

We prefer calling him Hamza. There are way too many Alis in the music industry. Since the launch of Suno Ke Main Hun Jawan, the man in the limelight has been Ali Noor. 2009 belonged to Ali Hamza; it was his coming out party (no, not that kind of coming out). At Coke Studio Ali Hamza displayed his versatility by playing the banjo on both Saeein Zahoor and Noori’s song ‘Aik Alif,’ Saeein Zahoor’s ‘Toomba’, and also on Ali Zafar’s ‘Yaar Dhadee’, with a tremendous feel for the instrument. He then surprised most people as he released a naat, ‘Madinay Mein’, which showed Noori fans the power of his voice.

I for Independent fashion, music and movies

This year has seen the rise of the indie culture around the world. This trend has also crept in to Pakistan so we see indie bands like Coven, Mauj and Overload rise up the ranks. Movies have also followed the same route, which is evident in the buzz Slackistan, Made in Pakistan and the Taqwacore documentary are generating at home and abroad. As for fashion, indie labels producing t-shirts make the rounds with Daku and I heart KHI to name a few.

J for ‘Jaan Jaye’

‘Jaan Jaye’ came, ran on the radio, got downloaded via the Internet and generally became an instant hit in 2006. In 2009, the ‘Jaan Jaye’ video came, aired on TV, got YouTubed like mad and became an instant hit. A fun, funky video for a fun, funky song – there was no way this could go in another direction!

K for Karafilm Festival

The 2009 Karafilm Festival saw a positive development this time around as Pakistani talent seemed to emerge and win awards for filmmaking and acting. As is expected from Karafilm, there were many great movies on show. Apart from hosting submissions from 44 countries, Pakistani filmmakers held their own. The Festival showcased 140 films, over 12 days of screenings, which included a panel of judges from Pakistan and abroad. Many filmmakers attended from around the world. This included our friends across the border, Mahesh Bhatt and Nandita Das, the latter of whom won the Best Feature Film award for Firaaq.

L for L’Oreal

L’Oreal finally decided Pakistan was worth it and L’Oreal Professionnel was launched here officially in Spring ‘09 with Musharaf Hai as L’Oréal Paris, Pakistan CEO.

Nabila, the chosen stylist to represent L’Oreal in Pakistan launched the ‘Nabila Changes’ campaign with a slicker than slick music video which played on colour as an entity of it’s own. With the recession and acts of violence being felt throughout the country at that time as well; the launch of L’Oreal was hopeful proof that life and business do indeed go on.

M for Maria Wasti

One of television’s finest actress today, Maria Wasti managed to charm audiences everywhere. In Ramchand Pakistani, she was not in the lead role (that role went to Indian actress Nandita Das) but Maria’s Kamla was significant and gave Ramchand Pakistani that necessary zing. That one role has turned Maria into an even bigger star, not just with the classes, but the masses as well. This year she picked up an LSA for Best Actress in a Film beating Lollywood favourite Saima to win the popular award. And cheers to that!

N for Nonexistent LSAs

We sorely missed the blazing nominations of music, fashion, cinema and film walking away without a ceremony. This was the first year since the inception of the Lux Style Awards that they did not take place. While the winners were given their trophies in what can only be termed as a ‘photo-op’ with a meet-the-press like situation, the fun and fervour that surrounds the show didn’t exist this year. Fabulous fashion, poignant plays, groundbreaking music records, super songs and super stars make the show. Photo-ops are for the red carpet and politicians. They can’t replace an actual ceremony.

O for Oprah

Oprah Winfrey has held a global audience rapt with the Oprah Winfrey Show for over 20 years and even as her show is on it’s way out – Oprah is drawing as much – or perhaps more attention than ever. Once the show is wrapped up, Oprah will focus on her cable TV network, OWN: The Oprah Winfrey Network. A smart move, because it would take an entire television network for Oprah to remain as prolific as she did through the Oprah Winfrey Show.

P for Pichal Pairee

While many musicians wait for their albums to release, Overload took the game to the next level by releasing their second album, Pichal Pairee on their website, where fans can download it for free. And Pichal Pairee comes with its share of psychedelic rock, dhols, thumping percussion and soft keyboards with vocalist, Meesha Shafi in tow. Pichal Pairee, the record, is experimental to the core, tripped out and a more refined effort from the musical outfit that is Overload.

Q for ‘Qismat Apnay Haath Mein’

If ‘Aik Alif’ is the song of the year, then in the same vein, the video of Shehzad Roy’s ‘Qismat Apnay Haath Mein’ by Ahsan Rahim is the video of ‘09.
From Guantanamo Bay-like detention facility to the aggression of prisoners, the plight of load-shedding to the tongue-in-cheek and sarcastic lyrics, it’s a full-on winner. The issues raised in this video are very real and hit close to home. Like ‘Laga Reh’, the video is hilarious but its not preachy.

R for Rohail Hyatt

While the music industry, much like the rest of the country, suffered through economic recession, political upheaval and more, Rohail Hyatt brought Coke Studio to the forefront. Known as ‘Pa’ Hyatt on the sets of Coke Studio, it was Rohail who turned the initial idea of Battle of the Bands (long before Coke Studio launched) into Coke Studio. And this year, with little musical activity, Coke Studio is still alive in the minds of music aficionados, thanks to Rohail Hyatt.

S for Scandals and sassiness

Scandalously delicious as always, Lollywood beauty Meera still just under the age of 26, was also discovered to be just a little married this summer. There was also the curious case of Veena Malik and cricketer Muhammad Asif. Then there was the case of a journalist working at a broadcast channel who went to town about one of the big guns of that world sexually harassing her. He remains unscathed but his reputation has taken a it, not that it matters much to a man in our patriarchal society. What we love is women coming out and holding their own, against all odds, even at the risk of making fools of themselves or being slandered. How can any society become accepting unless there is scandal to accept?

T for Twilight franchise

Truth be told, the one phenomenon that swept everybody off their feet this year was the Twilight Saga: books, movies and music alike. The lure of the Twilight series lies in a clear hierarchal order – Robert Pattinson, Kristen Stewart and Robert Pattinson, and the fact that Robert Pattinson plays a vampire with a heart of gold. Classic. Or not, but we are hooked, and good.

U for Uth Oye!

Uth Oye! – The name says it all. The tees by Uth Oye! are as sarcastic and desi as they come. The initiative of six people, Uth Oye! launched this year, getting young celebrities like Omran Shafique, Adnan Malik, VJ Anoushey Ashraf, among a few others to model the tees (as opposed to professional models), making the whole campaign entertaining, noteworthy and funky. The idea behind Uth Oye! is more than sarcastic, wearable tees. It’s a social campaign, done in a constructive and tongue-in-cheek manner with 50 per cent of the profits going towards charity.

V for Vampires

V is for vampires who have us very smitten. And we love so many of their kind that had vampires actually existed, humanity would cease to exist (we would be tempted into becoming vampires or become their supper). Bloodsuckers on Twilight, True Blood and Vampire Diaries are just the most fanatically followed ones – vampire mania has given birth to many more films and shows, which have a limited audience. And can we just say, if Timbaland starts singing about it (‘Morning After Dark’ off his new album Shock Value II) – it must be really, really popular. Viva la vampires, baby!

W for Werewolves

Werewolves… because just one kind of fantastical fiend is not enough to satiate our macabre romanticism. Who hasn’t dabbled in werewolves this year? Shakira came out with her album Shewolf with a track that shared the title with the album. Taylor Lautner kicked some serious six-pack butt with his own in New Moon. Team Jacob, anyone? And True Blood, that show about our first love, vampires, has also introduced werewolves into it’s repertoire of beasts. “Darling this is no joke/This is lycanthropy”.

X for Xulfi (Call)

Xulfi has had quite a year. After 2007’s monumental hit, ‘Laaree Chootee’, Call arrived in Bollywood. Two years later, Bollywood came knocking on Xulfi’s door. And he answered. In 2009, Xulfi managed a double whammy. First there was Bolly flick Aasma – The Sky is the Limit, which featured Xulfi as a singer and lyricist. And then there was Aftab Shivdasani’s Aloo Chaat. Xulfi composed the tunes (‘Kuch Aisa’ and ‘Reh Jaane Do’) himself, penned the words and sang both tunes for the film. While local critics and die-hard Call fans may bash him for selling out to the Indian sound, Xulfi is adamant that Call’s next record, Dhoom, will change minds.

Y for ‘Yaar Dhadee’

Ustad M Jumman’s classic hit went through a musical makeover at Coke Studio this year and boy, what a version it is! With Ali Zafar taking on the mic and showing off his skill as a playful yet poignant singer and with a mesh of seasoned players ranging from Gumby to Javed Iqbal, Omran Shafique, percussion masters Babar Khanna and Waris Baloo among many others setting the soft, melodic musical structure, this re-done version has ultimately introduced a new generation to a phenomenal classic.

Z for Zeb and Haniya

Amidst all the turmoil that Pakistan has faced in recent times, one of the most refreshing developments has been the projection of Zeb and Haniya onto our music scene. Soothing vocals, melodic tunes and poignant poetry seems to be the perfect medicine for the disease of destruction that our country faces. Their appearance on Coke Studio and the release of their debut album Chup has clearly put them amongst the stars of our industry. The mix of jazzy tunes with bluesy beats, sprinkled with the language and culture of Pakistan make Zeb and Haniya worthy representatives of Pakistan on the world music stage.

King Khan is back!

Shah Rukh Khan’s charismatic and chilly My Name is Khan promo is a must-watch
My Name is Khan
*ing: Shah Rukh Khan, Kajol, Jimmy Shergill and Sonya Jehan
Directed by Karan Johar
Link: http://www.youtube.com/watch?v=Qvo1CnAo6pQ

You may have seen this particular trailer amidst the daily dosage of Indian soap operas. But then again, electricity woes may have prevented you. Or the sedating content (but that’s another story).

So here is why this promo might be a silver lining for Shah Rukh Khan fans and critics.

With an introduction by Shah Rukh to Rizwan Khan, it is clear that King Khan is truly one of the most magnetic stars and actors Bollywood can flaunt with pride, even today.

This promo shows off two sides of Shah Rukh Khan: the superstar who can charm millions and the actor that SRK’s Rizwan Khan brings forward.

The actual film promo opens with the lines “Fox Star Studios & Fox Searchlight Pictures present”, which just goes to show the strong tie developing between mainstream Bollywood and Hollywood. With Shankar-Ehsan-Loy behind the music and the background score, the melancholy sounds of the music add more power to the scenes as they pull together.

Rizwan Khan suffers from a rare form of Autism. Within the promo, the effect of such a disease on Rizwan’s life and how he plays it, the meeting between Mandira (Kajol) and Rizwan and their life together as a happy family located in the United States of America – is just beautiful work. It may sound like a typical K. Jo vehicle. But it gets chillier as Rizwan Khan narrates:

“Main janta tha key 9/11 mein maray unginat masoomon ki jaan ki keemat puri insaniyat ko chukani hogi)”

(I knew that all of humanity would have to pay for the innocent lives lost in 9/11).

Chaos, confusion and biases take form as the reel progresses. And Rizwan Khan, because of his disease which makes him a suspicious character, decides to meet the President of the United States of America. Sounds stupid? Rizwan Khan’s determined posture gives it weight.

In between are shots of Kajol – as a wife and a mother, distraught, fearful in a post 9/11 world. The story isn’t the point here. After New York and Kurbaan, one has the right to seriously doubt the screenplay. But the promo is all about SRK’s acting prowess as a man under suspicion, with unwavering faith, and a disease that makes him an outcast in many ways.

Not since Chak De India! has Shah Rukh Khan – the actor – shown this much promise.

SRK needs a hit and My Name is Khan just might be what the doctor ordered.

Karan Johar must congratulate his editors on creating fabulous trailers.

– Maheen Sabeeh

– My Name is Khan opens worldwide (and perhaps in Pakistan) on February 12, 2009

“This was the first Indian tour since the 26/11 attacks. It was a good ice-breaker.” – Faisal Kapadia Strings front man talks to Instep about touring India, the local concert circuit and the high of performing at the recently concluded Twenty20 match between Pakistan and New Zealand…

Maheen Sabeeh
Karachi

Before Jal’s tour of India, Strings were touring across the border and have returned home this week. “This was our first Indian tour since the 26/11 attacks. We performed in Delhi twice, once in Jaipur and once at Bangalore,” Faisal Kapadia told Instep in a telephonic conversation.

The long-term consequences, as Faisal Kapadia (Strings front man) had pointed out earlier, stand true. It took eight years for cultural exchange to develop between the two countries. It was because the door to India was finally opening up, enough for a Lollywood diva to debut in Bollywood with Mahesh Bhatt’s Nazar. Atif Aslam’s career took off and he is flying high since. Rahat Fateh Ali Khan and so many others became bigger entities at home and across the border as a result. Since 26/11 attacks, things have been at a standstill but it seems the fog is clearing. Slowly, things may be changing once again.

Jal’s front man denies any anti-Pakistan sentiment. Strings also felt the same.

They represented Pakistan at the South Asian Bands Festival at Purana Qila, New Delhi.

“We performed at the same festival two years ago. We were representing Pakistan. We performed in the same festival two years back but after 26/11 attacks, the situation was tense and so we couldn’t perform last year. It was good to return. It was a good ice-breaker.

Faisal elaborated further, “There were performers from countries like Nepal, Afghanistan, Maldives, Sri Lanka and Bangladesh. And they really made an effort to bring it all together.”

From South Asian Bands Festival, Strings also landed at a college in Delhi. And college-goers make for an excellent crowd.

“It was high energy and it was incredible.”

And then the guys went off to Jaipur and Bangalore, where they performed at the Hubba Festival. Hubba?

“Hubba Festival,” explained Faisal, “features everything from classical music to pop.”

And Strings are happy with the response they garnered even after a one-year sabbatical from regular Indian tours, due to obvious reasons.

Describing the experience, Faisal said, “We performed on the Pop Night and we were the only act performing. Getting so many people as an audience was a high. It’s different than when one is performing with a bevy of artists because such shows can pull in bigger crowds. But to be able to perform alone and generate such a good response was elevating.”

Before the Indian tour, Strings recently performed in Karachi as well at a small but super successful gig. Talking about the Karachi gig, Faisal said, “Karachi was a blast.”

They also performed in Lahore recently and more prominently at the recently concluded T20 cricket match between Pakistan and New Zealand in the U.A.E.

“We’ve performed in stadiums before. We performed once when Pakistan was playing against South Africa and later at a World Cup,” reminisces Faisal, “But we had one song slot in those series. This was different. We had a proper stage with mics and a huge audience. It was great.”

It’s unfortunate that an act like Strings who made a comeback in the spotlight (not that they ever truly left…) in early 2008 – with Koi Aanay Wala Hai’s release – cannot show off their live skills too often in Pakistan anymore. Live concerts still take place, but not often and the scale of designing a ‘concert’ hasn’t truly come in. This is a time when venues are undisclosed until d-day.

“It’s a tragedy,” says Faisal. “Consistent performances have become rare under our current climate. Do people want to come out of the house?” he asks rhetorically and continues, “But after Muharram, we are hoping to plan a tour of Pakistan.”

Try as you might (be my guest), Strings are hard to ignore, whether you love ‘em or hate ‘em. Their last video, ‘Titliyan’ is perhaps one of the most honest and inspiring tribute videos ever done in Pakistan.

“We’ve had a tremendous response to the video. In such times, we often don’t feel inspired or in the spirit of entertaining others amidst such chaos. But ‘Titliyan’ is different. It’s different from anything we’ve ever done,” says Faisal.

Not surprisingly, the video has not only given director Soheb Akhtar some weight but has also generated a positive response from viewers across the board.

“It’s not just the youth appreciating the video, but people from all walks of life,” says Faisal.

And why not? ‘Titliyan’ is so nostalgic and commands attention, not just for the soft melody (signature Strings stuff) but for those images – that range from Waheed Murad to legends like Iqbal Bano and Ustad Nusrat Fateh Ali Khan – that remind us of the talent and the power of those who paved the path for future generations in their respective fields.

“Every time you sit down and watch those images (in the video of ‘Titliyan’), you get the shivers,” divulges Faisal.

The impact of ‘Titliyan’ didn’t go unnoticed in India where the crowds, as Faisal reveals, chanted “Titliyan’”.

The video hasn’t launched in India but people have already seen it, thanks to the age of Internet and YouTube. And Faisal believes in the power of the Internet. “Internet will become so strong and ultimately it is the future, with new mediums on the rise.”

The globe-trotting pop superstars are now planning to take a break.

“For now, we are taking a break but we are looking at a full-fledged Pakistan tour in the coming weeks.”

In the case of Strings, never say never.

– Instep Today catches up with Farhan Saeed of Jal as he tours India with his musical outfit Jal and finds out about playing across the border, Indian sentiment and more…

By Maheen Sabeeh

Tomorrow is just a song away

With Muharram upon us, many musicians are heading to other destinations. Strings made us proud by performing at the recent South Asian Bands Festival (Purana Qila, New Delhi) representing Pakistan. Since then, the dynamos of Pakistani pop have gone on a touring spree of India and have just returned home (but more on them later). And they aren’t the only ones giving Indians a doze of pure electric Pakistani pop.

The other act is Jal, the band which managed to reinvent itself with Boondh, their second record, after Atif Aslam left the building. With Farhan Saeed on vocals, Goher Mumtaz on vocals and Shazi on backing vocals and bass, the trio delivered the smash hit ‘Sajni’ in 2007 off their successful second album, Boondh. Since then, their graph has been on the rise. After Boondh’s release, Jal went onto win three Lux Style Awards in 2008 for Best Music Album (Boondh), Song of the Year (‘Sajni’) and Best Music Video for ‘Sajni’ by Bilal Lashari.

Jal’s front man may not have the same electric vibe that makes Atif Aslam – the man Farhan came to replace in Jal – such a charismatic performer but he is definitely improving as a live performer, even if the vocals still need some work. But that will come with time. As a performer, Farhan has grown. Just YouTube any of his recent shows in India. And hey, urban pop music is as much as about ‘performance’ as it is about hitting the right notes. He isn’t the same as he was during his ‘Woh Lamhey’ days.

Since September ‘09, Farhan has been blogging. He blogs on: (www.farhansbutt.blogspot.com) and actually writes back to his followers, fans. But blogging isn’t the only thing on his mind. In between touring India and blogging, Farhan is planning to open a rock cafe. Instep Today caught up with Farhan Saeed (in Delhi) via email and here’s what he told us…

Instep Today: Are you still in India?

Farhan Saeed: Yes, we are still in India. We’re here till New Year’s Eve.

Instep Today: How is the situation for Pakistani musicians in a post 26/11 India? Have things calmed down?

Farhan Saeed: Honestly, it feels like what we’ve been hearing since the 26/11 attacks wasn’t so true. The response we’re getting here doesn’t suggest that there’s any anti-Pakistan sentiment, especially with what they call “janta”!

We’ve uploaded some videos on our Facebook page of our first show of this tour at Hindu’s College. It’s number third all over India. That’s conclusive in itself. So to answer your question, I think things are pretty much settled.

Instep Today: How’s the response to the new video?

Farhan Saeed: The new video is ‘Hamein Itna Pyar‘. Considering the situation of Pakistan and how many new songs are not working, it was quite decent. Criticism is always welcome, but overall it was good for the band.

Instep Today: What is your solo project? Café Rock?

Farhan Saeed: Cafe Rock, yeah it’s my project. It’s situated near Hussain Chowk in Lahore. I came up with this idea considering the fact that we, being Pakistanis, don’t have a lot to do so it’s a new concept in Pakistan of dining in with entertainment. There will be a live stage, dedicated to performances. All the underground artists will give auditions and will perform every Friday and Saturday night. It’s basically a platform for new artists, just to promote good talent and provide public (of all age groups) entertainment with good quality food. So yeah fingers crossed!

Instep Today: You’ve recently launched a blog…

Farhan Saeed: Blogging is just a way to interact with my well-wishers. I can give them updates regularly about the band and what’s happening in my life. Though I am finding it difficult to update it regularly but I am trying!

Instep Today: How was Aag Alive?

Farhan Saeed: Unfortunately Aag Alive was not that good. You must’ve heard about how it was washed out (it rained). We couldn’t stay there after it was postponed for two days because we had to leave for India. From what we heard, it didn’t end up very well. Still, the effort is worth appreciating.

Mauj release ‘Long Story Short’ as OST for the telefilm Ek Graduate Ki Long Story Short

Maheen Sabeeh
Karachi

So what if Mauj’s debut album, Now in Technicolor, isn’t seeing a physical release? The digital release happened a while back. And once that happens, the songs always find a way of leaking illegally. In Mauj’s case though, this may not be such a bad thing. The band deserves a physical release. The songs should be out, right here at home. But the ever-changing release dates haven’t helped in clearing any smoke. Now with the month of Muharram starting, the fog thickens.
Speaking with Instep Today recently, the multi-talented front man of Mauj, Omran Shafique revealed the same, once more. “No word on the release of Now in Technicolor or the video of ‘Mona’ I’ve stopped holding my breath.”
While there is no physical release, digital release does exist. Mauj’s album has released on iTunes, Napster and Amazon. On their Facebook page, Mauj honestly stated, “Pakistan will have to wait unfortunately until Fire Records decides to release it. Thanks for your patience and support.”
Speaking to Instep Today, Omran confirmed the digital factor. “It’s only a digital release for now. At some point we’ll have CDs made available but not right now.”
In the meantime of course, the album has leaked all over the web illegally. Even with crackdowns, it is there and can be found easily.
But Mauj doesn’t give up easy. Omran Shafique is not wasting away in the hopes of a physical release of Mauj’s much-talked about/heard debut album.

Recently the video of Omran’s other musical project, Kostal (with Taha Malik), was released. Compared to the sound of Mauj and Co-VEN (Omran’s two juggling acts), Kostal is definitely different with its hip hop groove and electronica-feel. “It doesn’t sound like anything else I’ve done so it is the alternative to the alternatives,” says Omran.
Directed by Uns Mufti, the video of the already popular single ‘Jaan Jaye’ – thanks to the power of the Internet, local radio stations, fashion shows, you get the drill – has a tongue-in-cheek storyboard with the right doze of glamour and spunk. Speak of Kostal’s album release and Omran maintains that it will be an “independent” one. And considering the fact that Mauj’s debut album is still strangely in doldrums as far as a release is concerned, independent may be the way to go. Overload are doing just fine.
Anyway, while Kostal gear up for an eventual independent release, Mauj are not looking back. Work on the next Mauj album is already underway, according to Omran.
And in between the release of Mauj’s debut and its follow-up, there is a new song to keep one stuck to the sound of Mauj. The new tune from Mauj is cheekily titled, ‘Long Story Short’ for a Geo teleplay called Ek Graduate Ki Long Story Short.
“The song is available for download on various Pakistani music websites on the Internet. Look around,” says Omran. “You’ll find it.”

And was this the first time Mauj have done a song for a telefilm?
“This was the first time I wrote a song based within definite parameters. Omer Ikram called me up and said he wanted an old school Nazia Hasan type song with lyrics based around the script he gave me. I read through the script and came up with ‘Long Story Short’. It turned out to be a fun little song! I still haven’t managed to catch the actual TV show yet, but I’ve heard it turned out good as well. Big thanks to Omer for getting me on board!” elaborates Omran.
And there’s more. Other than playing with Ali Azmat (in studio and live), Omran is currently working with drummer par excellence Gumby at his new studio – LJP studios. “There are a few songs we are producing, and the stuff coming out is amazing.”
Omran and Gumby’s work on Ali Azmat’s Klashinfolk, live gigs, Coke Studio sessions are just some examples of how fiery these two can be when collaborating. So while we wait in the real world for Mauj’s Now in Technicolor, fears that the promising band will wither away can be quashed. Mauj are nowhere near giving up their act…

2012****

*ing: John Cusack, Amanda Peet, Oliver Platt, Danny Glover and Thandie Newton
Directed by Roland Emmerich

“Inspired by the bestselling non-fiction book Fingerprints of the Gods by author Graham Hancock, 2012 is yet another attempt by filmmaker Roland Emmerich to bring the ‘end is near’ theory to the big screen. He is, after all, the man behind films like Independence Day and The Day After Tomorrow – both films dealing with the end of the world. So what makes this film different?

For one thing, it’s the cast that makes the film go round and of course, Hollywood at its best in depicting biblical floods across the world. Imagine a world where North Pole is in Wisconsin (USA), Christ the Redeemer statue (one of the new Seven Wonders of the World, in Brazil) falls to the ground. It’s fascinating each time. The jaw-dropping sequences are all over the film and are enough to keep one glued to the screen. But that is only half the reason why 2012 works as a film. Director Emmerich uses the end of the world as a pretext to humanity and nothing is cut and dry. The film moves in different time frames and the heads of most nations around the world including the mighty US of A are all in the loop about the upcoming global natural disasters. Natural disasters that come in all shapes and sizes. Volcanic eruptions, typhoons, tsunami and glaciers all hit the earth faster than the scientists predicted. And then begins the game of political agenda, survival of human race, the rise of Asia and human faith in its purest form. There is nothing too extraordinary about this film. If you watch too much commercial Hollywood, this film might even be a turn off. Some of the apocalyptic scenarios do tend to go overboard, especially since the end of time is a recurrent theme in director Roland Emmerich’s previous films. But getting past some similarities, Roland deserves a nod for extracting natural performances from a well-rounded ensemble cast.

If there is one man who makes this film worthy, it’s John Cusack as Jackson Curtis. He lives like a slob and is a published author but a very unsuccessful one I might add. He barely sleeps, lives off temp jobs and is divorced. But the unspoken words between him and his ex-wife Kate Curtis (Amanda Peet) and just the sparks between them is complicated but makes the story more real. Jackson is like the silver lining in a dark, hazy sky in 2012. His refusal to give up, his consistency in making every life count, his instinct to jump to protect others and the emotions that range from fear to panic and pain and even joy – John Cusack is the star of the show.

The other star is Oliver Platt who plays Carl Anheuser, an adviser to the President of the United States of America. Playing political roles has always been Oliver’s niche. From Aaron Sorkin’s The West Wing to Executive Decision – Oliver excels in these roles. And in this film, he is the man you grow to hate. He stands between the scientists, world leaders and the truth. His inherent need to save genetically chosen special human beings who will take the next generation ahead is sick. He is despicable as the man who manipulates the government oh so slyly. Danny Glover in his role as the President of the United States of America is charismatic, humane and simple. He plays it like a pro and it’s his demeanour to not be a part of a cover-up that sets him apart from other leaders. Thandie Newton, as the First Daughter, is fiery and headstrong. Ultimately this film is about its ensemble casting that makes such a difference. And the very idea that it ain’t over until it’s really over. At least that’s the afterthought left. Check it out for not just jaw dropping shots but the stacked odds against humanity and the courage to fight.

Maheen Sabeeh,
2012 is now playing in theatres across Pakistan

Don’t look back in anger

Atif Aslam scores another hit with Ajab Prem Ki Ghazab Kahani while Indian singer Abhijeet lashes out against Pakistani
singers. What’s the deal?

Maheen Sabeeh
Karachi

The really wild spin

Ajab Prem Ki Ghazab Kahani refuses to climb off the charts. Whether its local urban charts, music channels (Indian and Pakistani) or music stores, the ’song’ is always blaring out from one place to another. The song in question is the remixed version of ‘Tu Jaane Na’ off the AJPKGK OST. Atif Aslam lent his voice to two songs (’Tu Jaane Na’ and ‘Tera Hone Laga Hoon’) of this high profile Indian flick starring the new rising stars of Bollywood; Ranbir Kapoor and Katrina Kaif.

The film is now just over one month old and has walked away with mixed to positive reviews. For Atif Aslam, this is fantastic news. He does few Indian films in a given year and now that he is picking big (star-studded, in other words) films, his popularity will further increase across the Indian musical stratosphere.

But the popularity of Pakistani voices – this really isn’t about what remuneration they earn from each film or lack thereof – has been pissing Indian singers off.

Sonu Nigam had made a snide statement a while back. But the man, who is really ticked off these days, with the popularity of the likes of Atif Aslam and Rahat Fateh Ali Khan; is Indian playback singer Abhijeet. He’s also tried his hand at pop stardom but that didn’t really work out for long. That’s a story for another time though.

In a recent interview with Times of India, Abhijeet lashed out, stating: “Why do they (The Bhatt family) call Pakistani singers and actors to work in India when we have so much talent here?” Indeed Mahesh Bhatt should be credited for taking the step forward. His visits to Pakistan, the support for KaraFilm Festival has led to cross-border cultural exchange. And so, according to Abhijeet, he should be investigated. Clearly, Abhijeet has the importance of cultural exchange on mind… not.

The once-formidable and now sinking singer went on to say: “People praise Rahat Fateh Ali Khan’s voice, but have they heard Sukhwinder Singh? There’s no better singer than Sukhwinder. The irony is that it’s hardly been a year since 26/11 and already songs of two Pakistani singers, Atif Aslam and Rahat Fateh Ali Khan, are topping the Indian music charts.”

To understand Abhijeet, one needs not to look at Pakistani singers but the shape of the Indian music industry where Indian film music makes the biggest cut.

The woes of Bollywood

For one thing, Pakistani singers (try as they might, so many of them want to make a mark in India) don’t do too much work in India. Take Atif Aslam as an example. In his five year long musical career, he has done five films in Bollywood. It started with Zeher (2005) and was followed by Kalyug (2005), Bas Ek Pal (2006), Race (2008), Kismat Konnection (2008) and now in 2009 there is Ajab Prem Ki Ghazab Kahani. And each Atif song was as popular as the next. The songs weren’t exactly the stuff of legend; groundbreaking musical inventiveness was nowhere to be found. But tunes like ‘Tere Bin’, ‘Pehli Nazar’ and now ‘Tu Jaane Na’ worked because Atif Aslam, like his peers, Rahat Fateh Ali Khan or (the selective) Strings does not possess a generic voice. He can stand out.

The trend of pop musicians entering Indian playback singing scene isn’t restricted to Pakistani artists alone. Shankar Mahadevan of the famous Shankar-Ehsaan-Loy tri-tet hails from Indian pop (remember Breathless?) music back in its heyday. As Indian pop music struggled; more and more Indian pop singers went for playback singing. Its lucrative and its the only thing that sells the most.

Sonu Nigam used to be a pop singer and now has his heart set on being an actor (as with actors who are trying to be singers such as Farhan Akhtar, Aishwarya Rai, Hrithik Roshan, etc etc). The trend of pop mixing in with Bollywood soon led others in as Indian pop music saturated into nothing but remixes of classic Indian songs.

Meanwhile Indian pop singers like Shaan, Alisha Chinoi, K.K joined in and made singers of ’90s Bollywood music such as Kumar Sanu and Udit Narayan, the not-so-cool voices. Indian actors themselves pushed pop singers forward. Neeraj Shridar, the man who was known for the band Bombay Vikings was pushed forward in Bollywood by Akshay Kumar. (’Hare Ram, Hare Krishna’, ‘Love Mera Hit Hit’ are two of his most famous hits). This year’s Kambhakkt Ishq had the RDB-composed ‘Om Mangalam’. Akshay brought them onto the project. Why didn’t he call Sukhwinder, I wonder? Maybe he needs an investigation too…

Rahat, the other consistent voice in Bollywood, has done more films than Atif or Strings) but he neither pretends to be a commercial pop star nor a Sufic qawwal. He can do a tripped-out hypnotic record like Charkha with Rohail Hyatt and then go on to sing ‘Teri Ore’. So what? It’s called diversity.

Shiraz Uppal, Roxen, Azal – they all understand that to capture India, some tunes in Bollywood are really not such a bad day. Now how they strike that deal is another story. But Pakistani singers don’t exactly work in every other Indian film to begin with. And India has drowned its own pop acts. Where are the Colonial Cousins now? Comprising of Hari Haran and Leslie Lewis, the band did make a mark in the nineties with some wonderful pop songs (Indian classical mixed with funky Western treatment) but eventually Hari Haran did come to Bollywood. Now Colonial Cousins are making their debut as music composers for a Tamil film, Modhi Vilayadyu.

Nonsensical rants?

Bollywood or the Hindi film industry is massive. According to CNN, Bollywood “releases nearly 1,000 films annually.”

That’s rapid. If a few Pakistani singers sing in some films, how does it harm a singer like Abhijeet in an industry so huge? It isn’t the old school Bollywood where melodies flowed and one sang along. With the evolving time and sound, Bollywood has had to evolve.

If actors can get replaced with time and they do – look at Raveena Tandon, Kajol, Juhi Chawla, Jackie Shroff. Even Shah Rukh, Aamir, Salman and Saif Ali Khan can’t stop the next wave of actors that include Hrithik Roshan, Abhishek Bachchan, Shahid Kapoor, Ranbir Kapoor, Imran Khan and even Emraan Hashmi (call it sheer dumb luck but he can deliver hits) – then why can’t singers?

Abhijeet, Shaan and Sonu Nigam (while hugely talented singers) can sing for pretty much anyone and get away with it. But with Pakistani singers, it’s not that simple. Shafqat singing ‘Mitwa’ didn’t gel with Shah Rukh singing the words on screen. Ranbir looks too young to pull an Atif onscreen and Atif’s voice is too unique, too powerful to be incongruous. However, Atif’s vocals make the song work. And Pritam, who worked with Atif on the soundtrack of Race, Kismat Konnection and Bas Ek Pal has understood that Pakistani voices are different. They can stand out amidst the brilliant talent of Sukhwinder Singh, K.K and many others.

In the case of Abhijeet, it sounds more like a case of sour grapes. The man once sang for Shah Rukh Khan in well known movies like Anjaam, Zamana Deewana, Yes Boss, Duplicate, Bad Shah, Phir Bhi Dil Hai Hindustani and Chalte Chalte. Even now, Abhijeet has sung on the OST of Om Shanti Om and is working in Bollywood. And his concern for Sukhwinder Singh sounds quite pointless. It was Sukhwinder who sang last year’s ‘Jai Ho’ which went onto win the Oscar and has been nominated for a Grammy this year. During this year he sang the famous ‘Marjaani’ off Billu Barkber and ‘Dhan Te’ off Kaminey and both songs have been raging hits; here, there, everywhere. The man does not sound like most Indian singers.

In the end, when a 27-year-old singer from across the border manages to score hit after hit in the filmi, generic musical structure of Bollywood year after year – and not because the songs are absolute gems but his voice has a unique character that even I find hard to describe – it sounds like a case of sour grapes. And that is why one just can’t take Abhijeet seriously anymore. Case dismissed.