The winners dress to the nines… and wish the Lux Style Awards had happened!

Maheen Sabeeh
Karachi

The Lux Style Awards did not take place this year. The actual event with the full fireworks of the four industries – fashion, film, music and television – that collectively stands together under one roof, for one night only was replaced. It was as if the show had been desecrated into small pieces, scattered throughout the room.

For the first time since the inception of the Lux Style Awards in 2002, the show was cut down to a ceremonial photo shoot, which also served as a platform for the media to mingle with the winners and just the winners. No nominees were present either.

While the winners were decked up in stylish garb and holding their trophies, it was a sad state of affairs. Even as the press thronged around superstars like Shaan, the magic moment never happened. The buzz that surrounds the Lux Style Awards evaporated into thin air, leaving one wondering where the show is headed next.

And this pinch was felt by some winners as well.

“I think the award ceremony should’ve happened. It’s a tense situation but Karachi, I feel, is not that unsafe. By not doing the show, we are putting the unsafe stamp on everything. And if we really take that direction, than what’s next? Schools and universities should be closed if it is that unsafe,” said Shehzad Roy when asked how he felt about the LSAs not going forward with an actual ceremony.

Talat Hussain, who picked up the award for Best TV Actor (Terrestrial) for his role in Kabhi Aye Na Judai echoed a similar sentiment.

“It is very unfortunate that we are so insecure in our own country. The show should’ve happened,” he said.

There were some plus points.

First time LSA nominee and winner Faisal Rafi, who shared the award for Best Music Director with Rohail Hyatt for Rahat Fateh Ali Khan’s Charkha, dedicated the award to Ahmed Anis, the poet behind the album, and to Fateh Ali Khan and Rahat Fateh Ali Khan.

“This award is for them. It’s a tribute to these people,” said Faisal Rafi.

Maria Wasti admitted that working in Ramchand Pakistani was a thrilling experience.“I worked with quite a few of the team before because I am a television actor. The experience was fantastic.”

When asked how she felt about the show being cancelled, Maria said, “We can look at everything in two ways. We can either shut off or we can look at the things that are happening and hope for things to improve.”

Shehzad Roy admitted that winning an award for Qismat Apnay Haath Mein, a record with heavy socio-political undertones, was an encouraging sign.

“The fact that Qismat Apnay Haath Mein can win despite being a politically charged album is encouraging and goes to show that such music can be appreciated.”

The optimistic Khawar Riaz, who picked up Best Fashion Photographer, admitted that the show should’ve happened. But also stated that “even if the show didn’t happen, this photo-op happened and that’s still something.”

Ameer Zeb Khan, who won Best Male Model for the third consecutive time, was thrilled to win. “Things are tough and the situation in the country is difficult. But one can’t stop living. Things have taken a hit, but they haven’t stopped and one can only hope it gets better.”

Maria Wasti got it right. One can hope it gets better…

And the winners are…

CINEMA

Film of the Year
Ramchand Pakistani

Best Film Actor
Shaan in Zille Shah

Best Film Actress
Maria Wasti in Ramchand Pakistani

MUSIC

Best Music Album
Qismat Apnay Haath Mein by Shehzad Roy

Best Music Video Director
Ahsan Rahim for ‘Laga Reh’ by Shehzad Roy

Best Music Director
Rohail Hyatt and Faisal Rafi for Charkha by Rahat Fateh Ali Khan

Song of the Year
‘Khwabon Key Rishtey’ by Najam Sheraz

FASHION

Model of the Year (Female)
Nadia Hussain

Model of the Year (Male)
Ameer Zeb Khan

Best Emerging Talent
(0-3 years)
Aaminah Sheikh

Best Fashion Photographer
Khawar Riaz

Best Hair and Make up Artist
Akef Ilyas

Achievement in Fashion
Design – Couture
Sana Safinaz

Achievement in Fashion
Design – Pret
Iman Ahmed at Body Focus

Best Menswear Designer
Ismail Farid

Best Retail Brand
Generations

TELEVISION

Best TV Serial (Terrestrial)
Thora Saa Aasmaan

Best TV Director (Terrestrial)
Shah Bilal for Nautanki

Best TV Actor (Terrestrial)
Talat Hussain in Kabhi Aye Naa Judai

Best TV Actress (Terrestrial)
Saima in Nautanki

Best TV Serial (Satellite)
Khamoshian

Best TV Director (Satellite)
Babar Javed for Jhumka Jan

Best TV Actor (Satellite)
Noman Ijaz in Khamoshian

Best TV Actress (Satellite)
Sania Saeed in Jhumka Jan

Coming of age and into their own

The musical journey of Ali Zafar and Atif Aslam
Looking back and to the future of the brightest stars in Pakistani pop…

By Maheen Sabeeh
With every generation comes a change.

If music is a barometer, then this generation will be defined by two men. Both are young, daring, different, vulnerable and ultimately icons. Their names are splattered across blogs, forums, magazines and billboards. Songs they sang years ago still live on in memory even as they are incessantly repeated on television. They’ve charmed us collectively with their respective voices that stay in our heads long after the strains of their melodies fade. They have conquered hearts and minds of Pakistan in way that Uncle Sam never can. Those men are Ali Zafar and Atif Aslam.

Pakistan loves them because we have witnessed their journey from boys to men. We woke up to their talent with Ali Zafar’s cheeky ‘Channo’ and Atif’s intense ‘Aadat’. One set our feet tapping, the other resonated deep within us. Both melodies worked their way into our heads and we new that a new kind of music had arrived.

If Alamgir, Nazia and Zoheb Hassan defined the eighties, Vital Signs and Junoon were the voices of the nineties, than in the same vein, Ali Zafar and Atif Aslam who surfaced in 2003 and 2004 respectively are the stars of the new millennium.
Instep looks back…

Then and now: Atif Aslam
The story of Atif Aslam is an inspiring one. Atif was middle-class boy who came out of nowhere, blew onto the scene with one song (‘Aadat’) credited to a band called Jal which no one had really heard of and miraculously never looked back.

As the ‘Aadat’ phenomenon grew (it was the era where Junoon was on the rocks and Noori and Strings were really the only ones making cutting edge music Atif parted ways with Jal (namely Gohar Mumtaz). There was one consequence: his debut album was shrouded in controversy. There were beautiful songs…’Jalpari’, ‘Dil Haarey’ and ‘Aadat’ but we listened to these songs in wonder. And because of their popularity, the controversy grew.

Who wrote it, really? Jal’s debut consisted of exactly the same songs. We, the press, kept grilling the issue because it was interesting. A certain level of cynicism is allowed in Pakistan… and could anyone be certain? No, the real truth lies with Atif Aslam and former band mate Gohar Mumtaz. But that was a long time ago. And since then, Atif has proved his credentials time and again as a star and a talent to be reckoned with.

And he did it on gut instinct alone. Atif ventured into India where doing songs for B-grade films didn’t bother him. It was his way of reaching out to another audience, one that could choose to not welcome him. But Atif was always confident… he would do it or die trying. Whether it was Kalyug or Zeher, bad club mixes of Atif’s haunting tracks or Emraan Hashmi killing the visuals, Atif didn’t stop.

He went one step further with Doorie, his second album. The album was a super hit although it was painfully commercial stuff that sold on the shoulders of Atif’s unmistakable voice. It wasn’t coming from him, though. There was no ‘Kinara’ there. In an interview after the record, Atif had said, “It’s more difficult to do commercial music like Doorie because it is more challenging in a sense.” He was right. And at that point in his career Atif wanted to sell records.

He believed that getting a fan base would allow him to do what he really wanted to do later and he admitted that Doorie was music to sell and not necessarily good music. Indeed, in his pursuit of fame and fortune, Atif was as unabashed as the Indian superstar Shah Rukh Khan who was the first star to openly claim that he would dance at weddings for money. We may have criticized Atif for selling out, but we could never call him a liar. Even back then, his honesty was endearing.

Then came Meri Kahani on which Atif teamed up with the Overload guys Farhad Humayun, Mahmood Rehman and others. It didn’t have the magic of Jalpari. And Atif’s vocal experiments in the studio didn’t have the same effect. The record was, at least honest. And that was Atif returning to his roots. Under heavy firing for his weird sense of style (which has gotten better with time), unapologetic for his not-so-inspiring tunes in his early days, the star of Atif Aslam continued to rise.

In the music industry, Atif’s reputation even took a hit because of his brother and manager Shabaz Aslam. Initial fashion disasters (Shabaz is behind Atif’s wardrobe) weren’t the only reason. The brothers developed a reputation of playing good cop and bad cop. There were umpteen complaints about how pushy and demanding a manager Shabaz was, but he obviously did a good job.

Now, this reputation has slowed down as Atif is coming in to his own. One example: Coke Studio.

As Atif Aslam joined the ranks of Coke Studio this year, the haze around him disappeared altogether. Shahbaz didn’t even go on the sets and Atif for once gave in completely to the joy of making music for music’s sake. The musician in him danced and charmed, inspired and experimented with some of the finest musicians this country has produced and the rest is history.

Then and now: Ali Zafar
Ali Zafar’s story is equally interesting and intriguing.

He came and leaped at us as the blue-eyed boy in the entertaining ‘Channo’. It took Ali three years to work on that record. He modeled on the side and worked his way up and worked with names like Tariq Amin, Nabila and Khawar Riaz in his early years. To see him in his element, you have to see Ali Zafar at a concert live. He changes sentiment from song to song, singing both with his heart and his head. But before we saw Ali Zafar mesmerize Pakistan with ‘Allah Hoo’, he was the boy who made us dance and clap along with the spring in his step and the twinkle in his eye and a voice that reminded us of Kishore Kumar.
The record Ali Zafar debuted with was called Huqa Pani and it took influences from the Arabian nights, Western beats as well as Eastern roots. It was a fun album to be taken with a pinch of salt, yet masterfully executed. And there was no doubt that Ali’s voice was eastern and beautiful and its purity would be reflected throughout his music in the coming years.

In 2006, Ali Zafar released the playful and soulful Masty, his follow-up to Huqa Pani. 2006 is (ironically) also the year when Atif Aslam returned with his third record, Meri Kahani. Doorie had elevated his star power tremendously and Atif was arriving on its trailing coat tails. It was an exciting year. For the first time, Ali and Atif were going head to head. But Atif took the glory often because of his self-confidence and the fact that he had three albums in a span of three years to his credit and Bollywood was now calling out with more than B-grade offers.

Ali Zafar, on the other hand, was always a little more torn and vulnerable. His career may have started like wild fire but he had seen the firing of critics just the same. His career moves were also not as gutsy as Atif’s. He was always concerned about his image and what people would think – refusing a role in Shoaib Mansoor’s Khuda Kay Liye because it was too controversial.

Ali (along with his then-girlfriend, now-wife Ayesha Fazli) was abducted last year in Lahore and was released after paying a hefty sum of 2.5 million rupees. It was a fearful situation that compounded his fears of being a superstar. Ali’s refusal to talk about the incident led to further conspiracy theories. These events did effect Ali but he is held his head high.

The very fact that Ali Zafar walked the line between fashion and music was intriguing and often questioned. Ali Zafar has always been measured and careful. While Atif just did it and justified it, Ali Zafar always wanted to do it right so he did hold back.

Self-doubt in an artist is not all that uncommon. The front man of one of the biggest bands in the world (Chris Martin of Coldplay) came to doubt himself in the wake of international criticism over their 2005 record X and Y. Indian actor Shah Rukh Khan is another example. The man never thinks he’s done a good job. He always passes the credit to the filmmakers. Aamir Khan wears the coat of method acting and avoids publicity unless his film is comes out. He walks a thin line.

Ali Zafar is walking the same thin line. One conversation with Coke Studio co-producer Umber Hyatt comes to mind.

“He changed on that floor… it began last year with ‘Allah Hoo’… Ali is searching for something,” Umber had said. And she hit the nail on the head.

The floor Umber referred to was of Coke Studio where Ali stunned last year with his vocal dexterity and soul on ‘Allah Hoo’. He belted out some of his most popular numbers like ‘Rangeen’, ‘Chal Dil Meray’, ‘Janay Na Koi’ but ‘Allah Hoo’ was Ali Zafar’s arrival on a radically different and welcoming note all over again. This year, like Atif, Ali joined Coke Studio and like Atif, he shone for entirely different reasons.

Two is better than one
Atif and Ali are not two peas in a pod. They are similar but not the same. They are both musicians but they both are still finding themselves. They are just in their twenties. Neither of them released an album this year. They are both working on their next offerings with more effort, zeal and passion than ever. They refuse to divulge information and they don’t play games either.

The situation in India can’t stop them either. In the wake of Mumbai attacks, neither Atif nor Ali Zafar were going the Bollywood way. And strangely enough, the timing was perfect in a sense. Coke Studio season two was beginning and the two joined in. The collective goodwill behind the show translated to our pop stars.

“They were reserved but the guard came off, slowly. Atif and Ali are like my young brothers. They are superstars. They can throw their weight around but they didn’t,” remembers Rohail Hyatt fondly.

Come to India and as the situation is getting better, Atif and Ali are going back again.
Atif recorded a new tune for the Ranbir Kapoor-Katrina Kaif starrer Ajab Prem Ki Ghazab Kahani and Ali is traveling to India frequently but refuses to give out information. He did however mention that he dropped the lead role in Mahesh Bhatt’s Jashnn and we’re really glad he did… but the real point is not Bollywood. It is the ability to recognize their own potential and they are both doing just that.

We have seen them the entire summer right up till Independence Day with Coke Studio. Atif paid homage to Michael Jackson in the experimental ‘Wasta Pyar Da’ and went forward with Ustaad Riyaz Ali Khan on ‘Kinara’. He released the thought provoking and rocking ‘Humein Kya Huwa Hai’ and it was an honest piece of Atif’s music. It is coming together for him, it seems.

Ali Zafar did just the same. Taking the ‘Allah Hoo’ step forward, Ali wrote ‘Dastaan-e-Ishq’ with Baqir Hussain and flew sky high. His folk tribute to the original creator of ‘Yaar Dhadee’ – Ustad M Jumman – didn’t go unnoticed either. These were honest moments of music and it was the Coke Studio environment that helped.

In later conversations, both Ali and Atif maintain that it is important to realize the worth of our own music and treasure it. It’s this frame of mind that didn’t stop them from working with the likes of Saeen Tufail Ahmed (Ali Zafar) and Ustad Riyaz Ali Khan (Atif Aslam) without any musical hangover of the West. Discovery, intrigue and self-realisation struck inevitably and we saw some incredible music from both of them.

And that is not all they are doing this year.

Atif and Ali are both trying to understand the economics behind the business of music and they are both trying to figure it out, as individuals and as artists who are hoping to create a united front. Amidst the stories of a Union for Pop (in the pipeline), Ali and Atif are researching how the business of music works internationally. It is a necessary effort, one that hasn’t fully blown into effect but one that just might change the stakes.

The business of music is changing rapidly. The medium of releasing music is changing. It’s the digital age and we just can’t deny its reach. Spending one day on the web googling Atif and Ali is a daunting task. From fans to foes, they are all there… writing, commenting, reading and downloading Atif and Ali Zafar.

Irrespective of what the world assumes about them, they are both actually friends, even though the cynic in most of us, refuses to believe that. Atif jammed with Ali Zafar and many other musicians at Ali’s house earlier this year without hesitation. He was invited to Ali’s wedding and he showed up. These guys are genuinely friends, perhaps because they have risen together to be in the same position which no one else can really understand as well.

And despite being two of the biggest stars, neither carries a diva-like attitude. Ali has come to let his self-created guard down with time. He is more open and receptive to the media now more than ever. Atif is learning to take criticism with a pinch of salt and that is as valuable as understanding the importance of media. They are more comfortable in their own skin and that reflects in their brilliant songs at Coke Studio.

From Gumby to Zeeshan Parwez, Assad Ahmed to Rohail Hyatt – all describe Ali and Atif as decent, down-to-earth guys. The many conversations that led to this final draft don’t need too much recap. Atif and Ali Zafar are who they are. They have made some mistakes, they have suffered through criticism but they are still here. They shine through their songs and performances, shows and their own individual path that is as much a mystery to us as it is to them. And that is how it should be.

Ultimately they’re etched in memory because of their talent. Their music entertains, delights and sometimes enlightens us and if any artist manages that and has his feet rooted firmly in the ground; it is an admirable way of being.

So here’s to a new chapter in Pakistani pop… thanks to these two, the future’s looking bright.

American television’s biggest season finales

It’s that time of the year when the spate of American TV shows end their season runs. And while hit shows have been dogged by low TV ratings in the US, the finales have helped redeem them. Instep presents the top five finale episodes that have made this a season to remember!

Caution: spoilers ahead

By Maheen Sabeeh
and Saba Imtiaz

Gossip Girl
It may only be a year old, but Gossip Girl has caught on like wildfire in Pakistan, with phrases like ‘Spotted!’ and ‘You know you love me…XOXO’ becoming commonplace with its fans here. The show just finished its second season and until the finale episode it was a complete disappointment. The plotlines seemed to all have been rehashed from the first season. And with the re-appearance of old characters, a potential spin-off that got cancelled, and all of the characters on the show linking up with each other again, one wondered if the teenage-text message drama had lost the plot so soon. Watching the show had become quite a drag – some great episodes like the Bart Bass funeral and Chuck Bass’ subsequent spiral of grief, drugs and denial notwithstanding – but the finale was definitely the show’s redeeming point. It not only attempted to discover who Gossip Girl actually is, but also brought forth a couple of new mysteries (Lily and Rufus’ lost child and the whereabouts of Serena’s father) as well as finally saw a conclusion to the never-ending Chuck-Blair drama. The finale episode also saw the much-hated characters of Carter Baizen and Georgina Sparks coming back into the show, and slated to remain for the next few episodes of the fourth season in a big way, considering they still have their own personal vendettas to avenge.

And while even the finale episode had its shortcomings, it was a very gripping and well-scripted episode on the whole. The best line had to be from a conversation between Lily Bass and Rufus Humphrey, about Lily being in a mood to do something young and reckless.

Lily: “I found this in Chuck’s room” (Holding up a brown paper bag)
Rufus: “Oh, then I bet its good!”
The finale episode also marks the last we’ll see of Gossip Girl bunch at Constance Billard since Serena, Blair, Chuck, Nate, Dane and Vanessa are all heading off to college in the fall and the show will now centre on their lives and scandals at college – where Gossip Girl has vowed to follow them as well. Considering the characters are going to different schools, one will have to wait till September to find out how they manage to keep the camaraderie alive with the characters based in different cities. Till then, XOXO!

Grey’s Anatomy
Grey’s Anatomy has generally been a stellar show. In the US, hospital dramas have always been a hit, whether it was ER (which was George Clooney’s claim to fame) or House MD and Scrubs. But alike Gossip Girl, the fifth season had become fairly painful to watch, particularly because of the re-appearance of the very dead Denny Dukette, a character who had been killed off the show in a heart rending episode a season before. But Denny’s re-appearance was explained via the fact that Izzie was actually hallucinating, a symptom of the cancer she was unaware was ravaging her body. It is only when the cancer story broke that the show became gripping, with each episode invoking buckets of tears as Izzie leaves her job as a resident and is admitted to Seattle Grace as a terminally sick patient. And there was plenty of drama on the Derek aka McDreamy-Grey front, as Derek suffers a complete breakdown.

The finale episode was perhaps one of the best episodes of any television show made yet. The episode contained so many parallel dramas that it was enough to keep one gripped, but it was the episode’s final ten minutes that truly took the cake, and could see two of the show’s most loved characters being killed off. The show’s writers deserve a standing ovation for leaving one so shocked at what had just happened as well as showcasing the emotional development that every character of Grey’s Anatomy had gone through in an episode that clocked in at a little over an hour. This was television at its best and it was worth enduring episode after episode of Denny without being able to understand why the show had seemingly spiralled down into the supernatural. If Izzie (played by Katherine Heigl) doesn’t win an Emmy for her performance in this season, it will be a downright shame.

Brothers and Sisters
The Walkers head to Mexico City and when the Walkers are together, can anything go right? Family secrets are spilled and the mystery behind Tommy Walker’s disappearance finally comes to a draw. Meanwhile Senator Robert and Kitty have their share of marital conflict. Their relationship is in fact fascinating as Kitty draws a line between her, Robert and her park “friend” Alex. Rebecca and Justin take the next step forward and more good news for Justin comes with acceptance to college. Mom Norah Walker learns to let Tommy go. And the way this season has ended, it seems the character of Tommy Walker isn’t coming back at all. But here was a happy season finale amidst the deaths in Grey’s Anatomy, Heroes and House. Ryan’s secret gets out and this time, the unlikely team of Holly and Sarah – who is now back at the good old family company – take him down albeit gently. He is still family.
There are still some questions. But from the way the show ended, it seems Senator Robert is here to stay and Kitty will not make her father’s mistake. A happy ending… for the time being.

Heroes
Is this the beginning of a new volume or an invisible thread to the old chapter? It might be. In a characteristic twisted manner, Heroes went off with a big bang! The Petrelli family finally came together after a nightmare of good versus evil battles throughout the third season.

The biggest loss is Zachary Quinto who takes on the form of Nathan after slashing Nathan to death. This was the big battle. The flying Senator versus the all-powerful and now it seems invincible Sylar. Yes, by the end of the season Sylar becomes invincible and Nathan, who has been in near-death experiences through the last three seasons, finally bleeds away into oblivion. This means two things: (a) the writers will stick to their promise of a final death, in which case there will be little face time for Zachary’s obsessive, psychotic Sylar. Matt Parkman, through his ability of mind control makes Sylar believe he is Nathan. Sylar is alive but as Nathan… or (b) But than again, Sylar remains one of the show’s biggest draws and we might see creator Tim Kring take another swing at the age-old and relevant human issue known as identity crisis and they might even bring him back. For now, Nathan is dead and technically so is Sylar. At least, his former self is.

Meanwhile ‘The Company’ is back and this time, Peter and Claire seem onboard alongside good ol’ company man Noah Bennet. Another cliff-hanger is Hiro Nakamura’s inability to take control of the space-time continuum. He can freeze time but there is now a consequence: his life. Does Hiro have a destiny left without his powers?

If you were hoping for a face-off between Sylar and Peter, it doesn’t happen. And rightly so. We’ve seen it in the previous volumes. The season ends with many questions. The evolution of mankind, the experiments and the coming together of the new generation behind the company… will it change the heroes and villains once and for all?

House
Kal Penn left the show and creator David Shore finally caught a break. After a spectacular finale for season four, one wondered what stunt David would pull next. If House’s season four finale was massive physiologically, this finale is emotionally draining. This is American television on its finest.

Gregory House (Hugh Laurie) is a miserable Vicodin addict who can neither keep people close nor build relationships. Everything and everyone is a mystery, a puzzle that needs to be solved. But with a staff member, Kutner (Kal Penn) committing suicide unexpectedly, House couldn’t decipher the mystery. His only hope for salvation: his brilliant mind. His ability to rationalise and observe. But the king of games is now in a crunch. His own brain is playing tricks on him. House is hallucinating and all causes are checked off the list except severe mental illness (read: schizophrenia). This is the finale where the controlling, brilliant and the puzzle solver gets entangled with ghosts of the past as he hallucinated his best friend’s dead girlfriend. It shatters him and as the show comes to a close, we see House do the one thing he vowed not to do: get professional help by entering a psychiatric hospital.

The falling apart of House is heartbreaking and textured. Reality and delusions are one and the same for him and House can’t rationalise. Drugs don’t help him. Nothing helps him. Will House survive this?

United for Pop

A deal between Fire Records and music channels is not only the event that transpired within the music industry…

While the MTV Awards were round the corner, Instep held a series of conversations with musicians ranging from Bilal Maqsood (Strings) and Ali Azmat to Atif Aslam and Ali Zafar and found out that musicians are now uniting on a single platform for their rights. Not that they were at loggerheads before, but this time it is simply a more professional direction that will give the music industry a chance to take charge. At least, that’s the plan.

As Bilal Maqsood explained: “We are in initial stages. The name isn’t final yet. But the idea is to be on a singular platform.” Bilal was tight-lipped but promised that details will be released soon.
Atif explained a little more candidly why he sees this union a crucial one for the music industry.
“In Pakistan, foreign content, whether it is Bollywood songs or international songs dominate the airwaves. According to PEMRA, only a certain percentage can be foreign content even if it is obtained legally.
“With foreign content, the local music content gets sidelined. Our artists, music videos and content is overshadowed. We need to build our own stars. It is one thing to run a Bollywood song sung by Rahat Fateh Ali Khan and another to run every other Indian song.

“But this doesn’t mean a deadlock. These are issues that can be negotiated and all of us are in this together, all the artists. We will jump together and we will stand by each other.”
Ali Zafar is also optimistic about the creation of United for Pop (tentative name).
“The industry will finish if we keep this up. Content on channels should be Pakistani. The focus cannot be on India alone or Western artists. We need legitimacy and a balance.”
“Legal notifications don’t do anything. You have to realise that in Pakistan personal relationships also play their part. The content on channels should be predominantly local but it is the other way around. But talks are on and they have been successful,” said Ali Azmat.

It remains unclear what the goal will be of United for Pop, its structure and its immediate cause. But what is striking is that there is a sense of unity that exists and is getting stronger within the industry.
That said, there remains some confusion. A few years ago, the Association of Music Professionals of Pakistan (AMPP) was formed. Now one wonders how United for Pop will be different from AMPP. While Ali Azmat maintains that AMPP is still alive and kicking, it is still a mystery as to what AMPP has achieved in its two year course. Can United for Pop pick up from where AMPP left off?
Even with skepticism, one thing remains clear. For the industry, this is a step in the right direction. The music industry, if aligned, cannot be dictated to by anyone and that is how it should be… if and when United for Pop takes off.

– Maheen Sabeeh

The ice is getting thinner

While a music awards show turned out to be a disaster, it proved to be a catalyst in the licensing of music. This is what the music industry needs for a business model to kick into place…

By Maheen Sabeeh

Pure and simple as a shepherd’s song

Music award shows don’t always validate talent but they remain a pop culture phenomenon and a necessary platform where excellence is recognized. Awards shows aren’t just about nominees and winners but also about the public getting an overview of what the music industry has accomplished in a given year. They also bring younger acts into focus along with the hip and in-season pop superstars. They show the mark musicians and entertainers have left on audiences, industry insiders and the media in a given year. Ultimately awards shows celebrate history that has been made.

The recently held MTV Brrr Awards fumbled on almost every count. From a bad case of mismanagement to a dead red carpet, the secret music jury, last minute additions to nominations, some bizarre wins, the lack of a media shebang, awful hosting, shoddy DAT performances, few live but badly sounding performances and an unusually high focus on international ’stars’ (read: has-been British-Asian acts), it was a disappointment of epic proportions.

There was one silver lining to the show, though. The deal that was struck between Pakistan’s giant record label, Fire Records and a bunch of music channels that currently includes Aag, MTV Pakistan, Oxygen and Play. Talks with Oye are ongoing as this article goes into print.

The deal is the licensing of music. In simpler terms, it refers to the royalties that music channels will pay to the biggest record label, Fire Records, in Pakistan for playing its music content. It is an alliance of sorts and a necessary one, which may finally bring some form of legal laws into our slip shod music release mix.

If MTV Brrrr Awards did one thing right, it was the timing. They became the catalyst in an ongoing process – royalties for music – that finally took a leap to the next level.

When the nominations were released, MTV had sent letters (to indemnify them) to various musicians who were nominated and many of whom are tied to Fire Records. Musicians like Ali Zafar, Atif Aslam and Strings who were approached, while speaking with Instep, revealed that they did not sign these letters. Meanwhile Fire Records maintained that MTV needed permission to use their content in the awards show. At the eleventh hour, a deal was finally struck, thereby making the use of all content from Fire Records legal.

The show may be unforgettable for its sheer scale of disastrous mistakes but it propelled the issue of licensing into the forefront. Copyrights remain in shadows while everyone pickpockets. Music videos run on local airwaves for free while musicians and record labels remain in a crunch.

Music videos are content and the bill cannot be footed by (a) the musician alone without remuneration from channels as well as other media outlets such as radio channels (b) record labels who are investing in any artist by producing their video and (c) both. Investment is necessary for the music industry to create some form of a business model.

When did your heart go missing?

Is there skepticism? Absolutely. What about the musicians? The musicians will benefit from this deal too and it will propel the industry towards some semblance of structure. Artists often opt for upfront, lump sum deals with record labels because they are aware that copyright laws are neglected. A free ride is no longer an option. If channels pay, whatever the sum, it will eventually enable artists with more options. It will also give record labels an incentive to continue investing in not just established artists but upcoming talent too.

Ali Azmat is a man who must be mentioned. He remains the only artist with Fire Records who did not sell off his rights to the record label. As a result, he owns his songs. Ali opted for a royalty based deal and only gave distribution rights. He maintains it and so does Fire Records CEO Doctor Akbar Yezdani.
But a chuck of artists have, as Doctor Akbar Yezdani puts it, “We’ve purchased their rights and in exchange paid a lump sum.” Now the sum may vary from artist to artist, their market worth, star power, public demand among other factors but the gist remains the same.

Ergo, the long-term effect of licensing of music is one that is unique and historic in this day and age of piracy, lack of enforcement of copyright laws and the increasing need of a business model.

The music business is changing and artists and record labels around the world are looking at alternative mediums. A song can digitally be bought on i-Tunes for 99 cents. By 2010, the price will increase to 1.99 dollars per digital download. And yet, despite such high-tech digital age mediums, record labels haven’t become obsolete. Global economic recession means lesser investment in music throughout the world. Record labels still have a role to play.

In Pakistan, the level of digital music dependency and demand has not reached a level that is being witnessed in the American and British music markets. For Pakistan, these deals of royalties are even more important. Internet piracy of Pakistani music is rampant and accessible to all and sundry. Not only does it affect physical sales of CDs but it also makes it impossible for a record label to even enter the playing field.

The view remains that Fire Records has a monopoly. And right now, it does. Their artist list is massive which includes Ali Azmat, Ali Zafar, Atif Aslam, Strings, Shehzad Roy, Shafqat Amanat Ali Khan, Rahat Fateh Ali Khan, Zeb and Haniya and Laal. This is just from the top of my head.

Upcoming artists include Hadiqa Kiyani, Kaavish, Call, Mauj and Maryam Kizalbash among many others.
The bigger question is this: Will a monopoly work in the long run? No. After all, how many albums with full promotion can be released by a lone label in a given year? And that too in a country like Pakistan where political tension are always escalating. The stressful environment will reflect itself not just on the creative aspect of music but also on the economic front.

“We don’t want to be the only label in Pakistan. I hope that after this deal more record labels will enter the market,” says Dr Akbar Yezdani.

Currently there are a few other record labels operating in here, but they remain in the shadows. The clout belongs to Fire Records and the company is using it. When record labels realize that royalties are a possibility in Pakistan, they will invest in artistes and actively seek out new talent.

With channels and record labels forging a willing alliance, musicians can hold on to their rights and opt for royalty-based deals. It will also give room to other record labels to enter the game because the investment will not be one-sided. For the music industry, the licensing of music is very good news. It shows that a fool proof structure can come into place.

One step too far… down:MTV Brrrr Awards make you go “Grrrr!”

Maheen Sabeeh
Karachi

When stars go dull blue

There are moments in time when it’s hard to decide what an event actually stands for. You keep wondering if it really is an award show or one of those variety show-like affairs which by their very nature are directionless, boring and more tack-orama than glamourama. One such moment came to life as we witnessed the first ever MTV Brrrrr Awards which were held in Karachi last week.

There were just too many mishaps for one to chalk it up to rookie mistakes. This was a show where the good parts could be counted on fingertips (of one hand) while the bad overshadowed everything.

The countdown to the award show was amidst some serious controversies. A deal was being put together on the issue of licensing of music with Pakistan’s giant record label, Fire Records. MTV Awards propelled the issue to new heights because the majority of nominations were artists who were signed up with Fire Records. Another story was the rumours that nominations were being changed at the last minute.

Amidst all this, the show finally took off. And it all went downhill from there.

Zoo station

All eyes were on the red carpet. It heralds the arrival of stars, the hype and the hoopla, glamour and the drama. Its part of the show and its part of the fun. Sadly, the red carpet was a dead affair. Big names like Atif Aslam, Ali Zafar, Ali Azmat, Shafqat Amanat Ali Khan among a few others were missing. But Strings, Sajjad Ali and Shehzad Roy showed up as did Noori, Zeb and Haniya, Call, Josh, Jal, Fuzon men Rameez Mukhtar, Shallum Xavier and Emmu, Aunty Disco Project (ADP), Mauj, Mekaal Hasan Band, Sajid Ghafoor of Sajid and Zeeshan fame and Adeel Chaudhry to name a few.

This wasn’t a show where musicians were missing (most of the music industry was there) but the spotlight just didn’t shine on them. There were not enough cameras or enough media to give the “music” stars the spotlight that they deserved. If this was a night where music was being celebrated, where was the celebration? Even as the stars kept pouring in, there was no buzz in the air. It was so boring that the red carpet pushed one to take seats, which is unusual at award shows. The red carpet is where all the stars are seen mingling and are simultaneously being followed around by journalists and cameras. That elevates the mood of the night. It creates a starry night where the industry comes together. It makes it stand out. Here there was no such scene even as the industry showed up.

MTV Pakistan is a part of the MTV International franchise. Look at how they play their stars. The fact that some of the big names such as Atif, Ali Zafar and Ali Azmat were not present should have made the organisers elevate the young guns. That is what they did internationally.

Turn 180 degree and watch the Twilight phenomenon at the other end of the globe as an example. Who was Robert Pattinson? A good-looking, struggling British actor who has now taken on the mantle of new heartthrob to millions around the world after playing an immortal vampire in Twilight. He is slated to be the highlight of the MTV Movie Awards this year. Twilight created enough buzz so the organizers even before the ceremony, have placed Robert and his team of vampires in the top slot. That is how young talent enters the industry. The two big films at the MTV Movie Awards include Slumdog Millionaire (which introduced Dev Patel and Freida Pinto to the world) and Twilight which has taken the world market by storm. No one is thinking about Brad Pitt and George Clooney because Rob and Dev are the new poster boys of the changing cinema and public demand.

The connection between MTV Brrrr Awards and the upcoming MTV Movie Awards is simple. One is consciously using young stars to not only fill the vacuum of star power but also elevating them to star status in the process. The latter missed the whole point. How about putting the spotlight on Kamran 82 Rocker – the guy whose song ‘Judai’ captured the nation by storm or Mauj, ADP or Fuzon?

Instead at the MTV Awards more face time went to “international” stars like Juggy D, Veronica, the girls of Serese and H Dhami. To add more fuel to fire, the show went to the extent of awarding them ridiculous awards like Best Bhangra Act Female, Male and Best Breakthrough International Bhangra Phenomenon!

No wonder the vibe within the show was not positive. When Bilal Maqsood came onstage with Faisal Kapadia to pick up the award for Best Music Album for Koi Aanay Wala Hai, he said, “We all know about the situation in Swat and the need for clothes. But after watching some of the performances, it seems we should send some clothes to the UK.”

Was this a reaction to the kind of performance that Serese and Veronica had put up?

Perhaps. After all, the sound wasn’t live. The Serese girls came onstage and moved in a way that seemed highly inappropriate and perplexing. This wasn’t a Bollywood dance show. On Veronica and Juggy D’s performance, a show reel was provided as they both lip-synced to their songs. These songs can only work at (a) wedding affairs, (b) dance floor and (c) LIVE! Even more disconcerting was the fact that their performances where kept for the very end whereas Noori or Zeb and Haniya should’ve been given that slot. For one thing, they were live and secondly, they were the nominees and they are OUR stars.

Smells like teen spirit

There were some good moments. Noori performing ‘Kedar’, a new single from brothers Ali Noor and Ali Hamza and Zeb and Haniya performing two tunes, ‘Kabhi Na Kabhi’ and ‘Rona Chor Diya’ live. The sound was in shambles. Despite technical flaws, Zeb and Haniya and Noori held their own through their vocals and stage presence and it wasn’t easy.

Another high point was Pappu Saeein with his mighty dhol and that resonating, hypnotic sound. He is an impeccable performer who is as powerful on shrines as he is onstage.

Josh dedicating their tune to the musicians of Pakistan like Strings, Jal as well as Ali Azmat whose absence was visible. It was a gesture of camaraderie.

But these few good moments couldn’t be the saving grace for the show.

Here we come, right back where we started from…

Now for the severe, unforgivable blunders.

First was the secrecy behind the music jury. MTV Head Ali Fareed did not disclose the names of the jurors. The reasons for not disclosing also remain a mystery. Without knowing whom the jurors are, one has a certain level of doubt on the nominees even if most are deserving. Who is nominating them and more importantly, how does a jury agree to adding nominations at the last minute? Juries have to be revealed for the show to hold some credibility.

The second issue came once the nominations were released. While the awards office maintain no changes were made in the nominations list, it was surprising to find Mekaal Hasan Band in Best Live Act category, on the night of the event though they were not listed in the original list. In Best Breakthrough Act, Aunty Disco Project (ADP) and Abbas Premjee were also added days after the original nominations were announced. The hidden away jury and last minute changes don’t add up. How do Abbas Premjee and ADP have a just chance to win when they are added days after the original list was released? The Awards office further deepened concern by stating to Instep that “we had the wrong list” even though this nomination list has been the same and even got printed in a weekly and has spread like wildfire throughout cyberspace.

Furthermore, the category of Best Bhangra included Bombay Rockers. Why? It is a category for Pakistani acts. Josh won and rightly so. They release their albums legally with local record labels and can be found in the music circuit regularly. They consistently visit Pakistan, do live shows and are by and large a part of the growing music industry of Pakistan. But Bombay Rockers are no Josh. What qualifies their nomination? It isn’t even about musicianship. It is about the criteria.

Other nominations that sprang at the show included Best OST. Adeel Chaudhry was the only nominee for his rendition of ‘Freaky Freaky’ on Kismet Konnection soundtrack, and as such the only winner. But if Indian film soundtracks are a consideration, where was a nomination for Atif Aslam? ‘Pehli Nazar’ from Race and ‘Ba Khuda’ from Kismet Konnection were tunes that should’ve been nominated but again one is lost when it comes to the nominations.

Then the category of Best Bhangra Act International came across as an effort to please “international” names like Veronica, Juggy D, Serese and H Dhami. Indeed, they are stars and to visit Pakistan in this environment is appreciated but their long performances, constant presence on stage as presenters put people off. Why not focus on homegrown icons who we admire far more than has-been British Asian acts? Even more importantly, why the need to award them without any other nominations? Awards are not post-its that can be given without thought and reason. It all seems too illogical. And yet, Veronica, Juggy D and H Dhami were given awards.

It seemed as if one was attending a badly put together “function”. While the show was taking place, chairs were still being put in place. And the crowd was as mixed as it gets. It was a shaadi-type affair whereas it should’ve been about music aficionados.

The show must go on but there is absolutely no need to live in a bubble. All out battle is ongoing in Swat and over 1 million people have been rendered homeless. There is dignity in acknowledging these facts even at an award show but that moment of humility and national spirit never came.

When Ali Noor walked up on stage and talked about the testing times that we are living in today, it seemed dignified. Bilal Maqsood did the same when he mentioned that clothes were needed for the IDPs.

But where was the acknowledgement from the show, the hosts… Wiqar Ali Khan and Nadia Hussain? And one has to ask, why were they hosting the show in the first place? Nadia Hussain and Wiqar Ali Khan may be eye-candy but neither of the two can keep the audience engaged. The constant “Brrrrs” from the two of them combined with a bad script (if indeed there was one) was beyond annoying. Why ask every presenter to repeat the word? Yes, it’s a sponsored show but there are some limitations. At one point, Josh were asked to say “Brrrr” and thankfully, they said “No”.

And for that Josh truly deserve every award they get!

Perfect symmetry

Perfect symmetry
Cover songs are tricky business. One wrong note or riff and the whole song can collapse. This week, Instep presents five best cover songs done by Pakistani artists and why they exemplify true tribute and crafty musicianship
By Maheen Sabeeh
Sajjad Ali versus EP

One of Sajjad Ali’s biggest hits, ‘Bolo Bolo’ remains a classic with fans even today. With poignant vocals and a very retro sound, tinkling bell like sound and a recurring beat, reminiscent of Western pop of the eighties, ‘Bolo Bolo’ is one hell of a song.    Add all that history to the fact that Sajjad Ali is a very tough act to follow. He knows music and covering any song from his catalogue could well be a disaster.  But if one act pulled it off, it was EP. A hardcore rock band, EP used their heavy metal influences on the song and the result: a song that is as eclectic and brooding as it gets. Their cover really is an example of how a song should be covered. Without changing the melody, the band turned the song on its head.  From menacing guitars to Fawad Afzal Khan’s haunting vocals, the song has developed a cult following like the band. Fawad, when he chooses, can be quite the singer onstage. On ‘Bolo Bolo’, his emotions move with the words, slowing down in resignation and anger with natural ease. The ending riff, which EP added to their version, is their own stamp on the song and that makes it all the more edgier.  Even though the version is live and the production is very shoddy, it’s the anger and aggressiveness with which EP played out the song that makes it so memorable.  It is as distinguished a cover as Nirvana’s ‘The Man Who Sold The World’ which was originally done by David Bowie. And that is really saying something.  Zoheb Hassan versus Mauj Zoheb Hassan on his own… not a very good idea anymore. Remember Kismet? But back in his heydays with Nazia, Zoheb was a massive icon. And some of his solo tunes still retain that magic. One of those numbers is ‘Pyar Ka Jadu’. With a booming sound, a throwback to the eclectic eighties, if you may, keyboards wizardry, and a celebratory air of love, it is a favourite with fans.  Not an easy song to take a stab on because Nazia and Zoheb Hassan are considered one of the major artists who opened the floodgates to pop alongside Alamgir and Vital Signs.  Punk-funk outfit Mauj gave ‘Pyar Ka Jadu’ quite the twist and have brought it back to our minds and they have done with a lot of style.

Crazy riffs, meaty drums and Omran Shafique’s unique vocals make this one of the most outstanding covers ever done in Pakistan. Omran “Momo” Shafique sings emphatically and it’s a completely different tone than what Zoheb took years ago.    Even though, Mauj have re-worked this tune as a rock ‘n’ roll tune, they don’t add unnecessary and painfully long riffs to the song. Like classic Mauj, more than halfway through the song, Mauj slow the song down and just flirt with the words and it’s the stuff great songs are made of.  Set to be featured on Mauj’s upcoming self-titled debut and currently running on radio waves, the song is testament to Mauj’s talent as a unit and to the fact that a song can be revamped without killing its soul if done right. In this case, the soul of this pop tune remains intact. And for that, it must be heard. Vital Signs versus Aaroh Vital Signs, the ultimate pop daddies, could do no wrong. Their single, ‘Ajnabee’ is just one tune out of their very extensive and melodic musical catalogue.  With sea waves crashing opening the sound, a slow and melancholic melody and Junaid Jamshed’s tortured albeit beautiful rendition of the words, ‘Ajnabee’ is quite frankly one of their best tunes to date.  While there have been many who have attempted to cover the Vital Signs, Aaroh (original) did a fine job on ‘Ajnabee’.  Taking the melancholic and moody character of the song to another level, Aaroh re-worked the tune as a rock song with explosive verve and their biggest asset, vocalist Farooq Ahmed.  Farooq is a trained singer and the way he sings this tune, moving from complete aggression to a hint of sarcasm and surrender, it is fantastic.  Nabeel’s crafty and slashing riffs never go overboard but stay focused on the melody. This is one hell of a cover and Aaroh proved it when they were just starting out that they are indeed a musical act to watch out for. If you have any doubts, hear their cover of ‘Ajnabee’. It is fabulous.

Aamir Zaki versus Arooj Aftab ‘Mera Pyar’ off Aamir Zaki’s debut solo album, Signature, remains his biggest hit to date. Irrespective of Aamir’s ability to create gorgeous riffs, here he remains a minimalist.    Soft, tragic and heartbreaking, it is an incredibly powerful tune. It is timeless.  Arooj Aftab’s cover of the same works simply because of her often sultry, at times tortured Lene Marlin-like vocals. She doesn’t imitate Aamir’s style but leaves her on mark on the song because of her husky and beautiful voice. Vital Signs versus Kaavish As a band, Kaavish know their strength. They are the new masters of beautiful ballads. And if one speaks of ballads, Vital Signs’ ‘Yeh Shaam’ can’t be far behind. Brooding, touching and spellbinding, it is one of their biggest hits.  Kaavish, who are an upcoming act, have taken the original and re-worked it according to their own strengths.  The result: an honest and bluesy ballad that simply shouldn’t be missed.  Like the original, two things work for this song. The vocals and the soft melody.  Jaffer Zaidi puts his own touch to the song.  Deep and moving vocals with subtle instrumentation with pianos at the forefront, this is a solid one from Kaavish.

How Bollywood made Oscar go round

As the Filmfare Awards celebrate the young guns of Indian cinema, Instep takes a look at how the world’s fastest growing film industry is finally influencing Hollywood and what we can learn from the two giants.

By Maheen Sabeeh
Young guns blazing!

Last year Bollywood had quite a disastrous run. Big budget flicks like Tashan, Chandni Chowk to China, Ghajini and Rab Ne Bana Di Jodi fell flat. They may have charmed Indian audiences – which is pretty easy these days – but as far as quality cinema goes, these were some of the worst films one has seen in recent years. However, even bad films couldn’t obstruct the spirit behind the Filmfare Awards this year.

Even as big stars like Amitabh Bachchan, Shahrukh Khan, Aishwarya Rai, Priyanka Chopra, Abhishek Bachchan and Rekha among many others graced India’s most prestigious award ceremony, Filmfare Awards were about the young generation.

Karan Johar led the ceremony as the MC and was joined by fellow director Farhan Akhtar. The real punch came with the new heartthrobs of Bollywood, Imran Khan and Ranbir Kapoor who replaced Shahrukh and Saif as the hosts of the show. The two uber-cool dudes were also joined by Deepika Padukone and Konkana Sen Sharma. And together, the new brat pack of Bollywood stood out. As most new big banner films boast big ensemble casts, Bollywood’s biggest awards show boasted an ensemble line-up of hosts.

However the main players were Imran and Ranbir. And while Imran and Ranbir are still no competition for the pairing of Shahrukh-Saif, they were fantastic as first-time hosts.

From shameless self-promotion to flirting with the leading actresses of Bollywood and even each other as a nod to Dostana, imitating Aamir and Shahrukh Khan’s diverse looks in the films Ghajini and Rab Ne Bana Di Jodi, Imran and Ranbir kept the evening entertaining throughout.

Referring to the trend of autobiographies in Bollywood, the two actors said stars should write biographies that help the young generation out. The suggestions they gave were hilarious.

“Jawaani ka Noor by Anil Kapoor, Safedi Ki Muskaan by Abbas Mustan, Blog Padhe Hindustan by Aamir Khan, Poore Hue Armaan by AR Rahman, Acting se katti, cricket se batti by Shilpa Shetty, Lucky Hai Indian Soil by Danny Boyle and Haseenaon Pe No Reham by John Abraham”.

At times, the humour seemed slightly forced but it was the presence of Imran and Ranbir – who are not just Bollywood’s next big things but also belong to star families – that kept the ball rolling. The fact that Amitabh Bachchan, Shah Rukh Khan, Aishwarya Rai, Sushmita Sen, Preity Zinta, Priyanka Chopra, John Abraham and Bipasha Basu kept cheering them on was a sight for sore eyes.

Even the performances were about the new guard. There were no performances from Shah Rukh, Salman and Saif Ali Khan, Akshay Kumar and Hrithik Roshan. Instead the stage was set for young stars like Neil Nitin Mukesh with Bipasha Basu, Shahid Kapoor, Farhan Akhtar (with Shankar-Ehsaan-Loy), Katrina Kaif and the finale was given to two-time nominee Abhishek Bachchan. Barring Bipasha Basu, all the performances were dull. They just didn’t have the energy and star power that someone like Akshay or Shahrukh or even Kareena Kapoor bring to the stage. But then, award ceremonies can never be about the old guard. Times are changing and Bollywood is keeping up with the trend. The Filmfare Awards were no match for the spectacular Shahrukh hosted show that was put up last year. But what made the show stand out this year were definitely the youngsters.
Jai Ho! Filmfare influences Oscars

Bollywood has been trying to go global for years and their efforts are finally paying off. Western interest in Bollywood has increased enormously in the last decade. India is a huge market and Hollywood studios are following to lead of other global corporations to cash in on it.

Anil Ambani’s Reliance Big Entertainment has signed a 1.2 billion dollars deal with Steven Spielberg’s DreamWorks for 36 movies over six years, with 50 percent control. Last year, it also signed with the production companies of George Clooney, Nicolas Cage, Jim Carrey, Julia Roberts, Brad Pitt and Tom Hanks. Filmmakers Brett Ratner and Chris Columbus were also signed on to fund the development of their scripts and jointly present proposals to studios. Talks are taking place with Universal, Warner Brothers and Lions Gate to distribute the upcoming Hrithik Roshan film Kites. In the last few months, major studios like Warner Brothers and Walt Disney have produced Hindi films.
Despite these deals, India has struggled to reach out to Western audiences and critics. But then came Slumdog Millionaire, changing the Indian perception altogether. With a crew and cast filled with a majority of Indians, the film went onto win eight Academy Awards including Best Picture. AR Rahman made India proud and truly ‘arrived’ on a spectacular note in the United States. If India made huge noise at the Academy Awards earlier last month, the echoes were felt at the Filmfare Awards a week later.

AR Rahman received a standing ovation while the child stars of Slumdog Millionaire hung out with Shah Rukh Khan onstage and gave their take on going to the Oscars.

Most importantly, with the buzz around Slumdog Millionaire, a growing interest in the world’s largest film industry and unflattering ratings over the last few years, the Oscars took up Indian award shows as an influence.

Hugh Jackman hosted this year’s Oscars and that was just one sign. The fact that Hugh took a swipe at his own film Australia at the show was reminiscent of Shah Rukh Khan whose self-deprecating humour remains unparalleled. Hugh sweeping Anne Hathaway off her feet quite literally and singing with her onstage… it worked. But it was totally filmi and musical, much like Bollywood.
AR Rahman and John Legend singing ‘Jai Ho’ and ‘Down to Earth’ together as the stage was lit up by colourful dancers; Hugh Jackman and Beyonce Knowles with the cast of High School Musical and Mamma Mia! performing a medley of some of the most iconic theme songs – his was all derived tfrom

Filmfare where musical medley, dancing, drama onstage and self-deprecating humour is at its best.

Great films do not make for a great show. Performances, colour, humour make it entertaining. This year, Bollywood’s influence on the otherwise sedate Oscars could be seen clearly and the Academy Awards became all the more glorious, and therefore memorable, for it.

Learnings for the LSAs
Both the Oscars and the Filmfare Awards were highly entertaining this year. The Lux Style Awards can take a few tips from both. Bollywood always goes for high voltage ritz whereas Hollywood can make a show standout with little details.

At the Oscars, the segment where five previous Oscar winners come onstage to announce each nominee for Best Actor et al and add their personal words was touching. It was absolutely brilliant. The joint performance of ‘Jai Ho’ and ‘Down to Earth’ didn’t just look good. It sounded fantastic. Two singers, with such distinct musical sensibilities and songs, came together. It was unison of music in the truest sense. These were moving moments, ones that will be remembered for a long time.

On a vastly different note, watching the Filmfare Awards serve as a platform for the young stars of India was equally thrilling. And this is what one needs to see at the LSAs.

Music at the show has to include newcomers. They will get the ratings if the show is designed in a way that includes the big stars with the newcomers.

Entertainment is changing worldwide. More than Angelina Jolie, it was Anne Hathaway’s heartfelt performance in Rachel Getting Married that made heads turn. The young generation cannot relate with Meryl Streep but it can relate with Anne Hathaway. Her small performance with Hugh onstage was not only enjoyable but it was also a sign of encouragement. In the end, this is what award shows are about – encouraging talent.

And what better way of encouragement than giving the platform to the young actors?

If Hugh Jackman can groove with Anne Hathaway, so can Chicago star Sanam Saeed at the LSAs. The LSAs cannot be about the big stars alone and neither can the show go on without them. But there is life beyond Iman Ali and Shaan and it is up to Pakistan’s biggest awards show to lead the way. As the faces of Lux, we are taking for granted that they will feature prominently at the next Lux Style Awards, but we do hope that they don’t take centre stage all evening. New blood is the lifeline of any industry. This was what the Filmfares and Oscars were about this year. The LSAs should follow their lead.

Aaroh reveal why they have been missing in action for so long and what lies ahead…

“We’re not on television channels all the time because we don’t want to overexpose ourselves.” – Farooq Ahmed of Aaroh

By Maheen Sabeeh

The curious case of the missing act
Ever wonder what happened to Aaroh? Sure, they released the video of ‘Jaane Kyun’ recently but beyond that, where has the band been? Their one-off concerts continue to take place but their presence on television has been restricted. Interviews rarely come by. The quintessential ‘buzz’ that is necessary for any band/artist in this increasingly media-driven environment has been missing. The kind of buzz that Strings created in the four years leading up to their last album, Koi Aanay Wala Hai. Or the kind Atif creates by continuously doing something – even if it is in the shape of poor videos or Bollywood tunes, print and television interviews – is just not visible from Aaroh.

Shrouded in mystery, Aaroh’s evasiveness has created the same kind of ambiguity one associated with Noori earlier last year when they fell off the grid a few months after releasing their sophomore record, Peeli Patti Aur Raja Jaani Ki Gol Dunya.

Hallelujah! The band is alive and kicking. As it turns out, they have consciously strayed away from the limelight. Speaking with Instep, Aaroh front man Farooq Ahmed declared, “We’re working on something big so we’re laying low.”

But what about their fragile standing in the music industry?
“In the weeks after Raag Neela released, we did many concerts. We played everywhere,” stated Farooq Ahmed.

Khalid Khan, bass guitarist of Aaroh, voiced a similar opinion.

“We’ve done countless shows and we’re still doing concerts. But in the last few months, in fact it’s been over a year since musical activity has been low. Who is doing any massive shows?”
Aaroh men maintain that their presence on television or lack thereof is pure choice.
“We’re not on television channels all the time because we don’t want to overexpose ourselves. It has happened with bands before and we don’t want to do that. We’ve been approached my many channels to come for interviews. And we’ve done shows that have aired on television. But right now, we’re taking it easy because we need the break. Another factor is the unstable situation in the country. People are not watching music channels, they are clued into the news,” said Farooq Ahmed.

The sun comes up slowly
It’s true that Aaroh may have had a relatively easy beginning but they are still fighting for that much-needed success.

Aaroh, which currently comprises of Farooq Ahmed (vocals), Khalid Khan (bass), Haider Hashimi (guitars) and Jason Anthony (drums) consolidated forces after Nabeel Chishty (lead guitarist) and Kamran Khan (keyboards) departed from the same band soon after they debuted on the scene in 2003 with Sawal. Luck was on their side when this emerging act won Battle of the Bands in 2001. But Aaroh developed differences as a band and separated. It was a nasty and brawling break up with blame game from both sides. There was a tug of war on the name ‘Aaroh’. Critics were convinced that Aaroh was finished. Split any band down its middle and it’s hard to comeback. It isn’t easy. Even someone like Ali Azmat, with so much experience behind him, found it a challenge to be a soloist when he recorded and released Social Circus.

But Aaroh’s trump card was and still is its front man Farooq Ahmed. He remains the integral force in Aaroh along with veterans Khalid Khan and Jason Anthony with Haider Hashimi as the new addition. And the vocalist is where the attention always is. Shafqat Amanat Ali Khan, Atif Aslam, Ali Azmat – all three hail from bands but as soloists, they have left their prior acts behind. Fuzon, Jal and Salman Ahmed’s revamped Junoon are not a patch on their former counterparts.

And that is what happened with Aaroh. Farooq was still heralding the band. While Kamran Khan and Nabeel Chishty disappeared from the limelight, Aaroh continued with their concerts and then an album. Not only did they comeback but they managed to charm fans and critics alike in 2006 with the schizophrenic and highly entertaining Raag Neela. They proved that as a unit they could still cast a musical spell.

Ready to rise?
Aaroh can’t be written off just yet. They are hell bent on making a comeback. Farooq has confirmed that a video is in the works from Raag Neela and the band is planning a third album. “We’ve done some demos. We’re not in a rush to release an album but we have started working on new material.”
Like Karavan and Shiraz Uppal, Aaroh remain underrated, mostly because they haven’t marketed themselves well. Known for highly-energetic performances onstage and a melodic and enjoyable pop-rock sound that is often a throwback to the ’70s, only less psychedelic, Aaroh have still not managed to climb the success ladder even though they are one of the strongest rock acts around.

Raag Neela released in 2006. Since then, things have changed within the industry. Economic recession has led to a decrease in corporate sponsorship. In the wake of Mumbai attacks, India is longer a viable option for musicians. With younger and promising bands on the verge of breaking onto the scene – Kaavish, Mauj, Laal, Siege to name a few – alongside the existing names, Aaroh must up their game. It is crucial that an act like Aaroh starts making a concentrated effort. And videos are the most effective tool for any band at this stage. Their videos have to improve. ‘Raag Neela’ remains their shine-out video but one video isn’t enough. Consistency is important. It is time Aaroh picks up this trick for success in the long haul.

Beyond the long shadow of Fuzon

The original Fuzon and their debut, Saagar, is considered one of the best albums of the decade. But the band didn’t last. Shafqat Amanat Ali went solo with Tabeer while Fuzon recreated themselves with a new vocalist Rameez Mukhtar and a new album Journey.

By Maheen Sabeeh

Butterfly effect
The original Fuzon has the kind of complicated, tortuous story that would send a less dynamic band into oblivion. However, since this former trio is as compelling as it gets; they have all survived on.
Shafqat Amanat Ali Khan is now a solo trooper in the music scene. Meanwhile former band mates Shallum Xavier and Emu resuscitated their claim to fame act Fuzon with a new singer, Rameez Mukhtar.
And fortunately both acts delivered on their promise of a new album ala Shafqat’s Tabeer and Fuzon’s Journey.

Now though with both records out, the question that one
predicted since the band first broke up has been hanging in the air: which is better? Most importantly, does it surpass the genius of Saagar?

Neither of the two can be answered in a simple yes or no. The only thing more complicated than creating an actual record is deciphering the feeling behind it and its timing. There is a trickle down effect to every piece of music created. What Saagar did for the music industry is very different from what Tabeer and Journey are doing. And that is exactly the case here. But first a look at the two records…

Tabeer vs Journey: the similarities
In some ways, Tabeer and Journey are similar. Both boast of incredibly powerful singers. Shafqat Amanat Ali Khan is of course the bigger draw. The son of Ustad Amanat Ali Khan, the seventh son from the prestigious Patiala gharana has deep, untainted vocals that remain unmatchable. Not enough can be said for the sheer power of Shafqat Amanat Ali Khan. It is the kind of voice that is not only inimitable but one that stands tall in front of both pop superstars and rock chameleons.

Rameez Mukhtar, while not exactly another Shafqat in the making, is a decent singer and is capable of hitting just the right notes without being off key, which is just such an underrated feat today in the industry. We often tend to dismiss the ‘baysura’ element in our singers in front of other qualities such as star power, popularity and other factors. And this is where Rameez delivers.

The other similarity is that of ‘fusion’ itself.

Shafqat and Fuzon have stated that their records are a fusion of genres. While the songwriting is driven from Eastern ethos such as raags and kafis from ancient kalaams by Sufi names, the music is made contemporary, making it more relatable for an entire generation unaware of the massive heritage that we call our own.

Fuzon’s (the new one) lead single, ‘Neend Na Aaye’ is driven from Raag Aiman while Shafqat’s Pagalpan off Tabeer is an inspiration from Sindhi folk. Both Shafqat and Fuzon have based their music around basic compositions that have been around for quite some time.

The difference

Tabeer
As always, it isn’t a composition, on its own that makes it a favourite with fans but the treatment that makes the real, long lasting difference. And when it comes to treatment, Shafqat Amanat Ali Khan takes the cake.

From nowhere does Tabeer sound like Saagar. This album swells and expands in directions that Saagar never took.

Unlike Saagar, Tabeer is hardly mournful. Au contraire, it is a concoction of songs that have a kind of universal melancholy that sporadically plays with the sunshine effect.

‘Khairheyan De Naal’ based on a composition by Tufail Niazi, with its languid nature, subtle guitars and rolling drums is astonishing.

The Darbari-based ‘Kartar’ is the high point of Shafqat’s vocal virtuosity and with the grandiose orchestration, it is brilliant.

Meanwhile ‘Rohi’ (originally sung by Zahida Parveen) is an intriguing blend of East-West. The sparse and peaceful introduction just gives it a soothing tone and the beautiful flute gives this tune such a solid character.

On ‘Naina’ tinkling piano notes, smooth guitars, subtle percussion and storytelling-like lyrics make it one of the many powerful songs on this record.

‘Rang Le’ and ‘Bulleh Shah’ are the dark, haunting tunes of the record with calming vocals and atmospheric mood.

Manqabat’ and ‘Dum Ali Ali Dum’ despite the many versions around have the kind of magic that is glorious yet restrained, totally gripping and impeccable.

The only flaw on the record comes in the form of ‘Pagalpan’. Driven from Sindhi folk, it is just chaotic due to its electronica-like treatment that just makes the tune more Bollywood-esque than anything else. The music just doesn’t work on this.

Journey
Journey began where Saagar left off. The main distinction came in two forms: the singer that was replaced and the music that is a lot more crunchier. On its own, Journey is a decent debut record. I say debut because it is the first time Shallum, Emu and Rameez have worked together on a full-fledged album and the equation between them has just begun.

Songs like ‘Ab Hum Kahan Hain’, ‘Choo Le’ and ‘Pari’ are made for concert tunes. Shallum’s tryst with guitars is never too outlandish. He pulls everything
between a Salman Ahmed to The Edge (U2) and makes it work while Emu proves his prowess as a keyboardist who can play magically and yet restrain himself.

There are gems of ballads that are equally entertaining as they are beautiful. ‘Suna Suna’ and ‘Neend Na Aaye’ are the two examples and it isn’t just the somber music that does the trick. Rameez Mukhtar emotes as a singer and stretches the songs in the right directions, hitting all the right notes along the way.

‘Joo Dil Ne Kaha’ which is perhaps the moodiest tune on the record with its sharp instrumentation, crisp sound and haunting vocals is beautiful.

But like most albums, the flaws here are glaring. ‘Atish O Aab’ is an extremely weak melody that is downright forgettable while ‘Teri Yaadan’ and ‘Dholna’ are plagued with weak vocals.

The verdict
Comparisons are inevitable. Tabeer and Journey have once again called for them. Between the two albums, it is Tabeer that holds more power, not just because of Shafqat’s vocals but the music that is daring, different and experimental.

Tabeer uses verses from Tufail Niazi, late Zahida Parveen, Amir Khusro, and qawwalis like ‘Dum Ali Ali Dum’ but it keeps the traditional rustic feel alive while creating a juggernaut of sound that not only distances itself from a mighty album like Saagar but takes a step forward.

Tabeer is soulful, yet musically it is challenging. On the first hear, one might inadvertently mistake it as a Bollywood like album. But listen closely. The majestic orchestration is neither as chaotic nor is it too convoluted like most Bollywood music.

In comparison to Saagar, many have said it pales. But that is hardly true. The real truth is that Saagar was a phenomenal debut that made for easy listening with its simple yet beautiful sound. Tabeer dares to experiment. It is more complex and intricate.

And it is here where Journey falters. Not that it isn’t a decent record. But the experimentation on Journey comes in the shape of more loud songs, which might work at shows. But in the long run, it won’t have the kind of hypnotic effect that Tabeer holds.

Journey picks up on the Saagar format of music but doesn’t recreate the sounds on the same scale.
The genius of Saagar and its compounded effect
For the original Fuzon, Saagar was a groundbreaking record that catapulted the three men behind the album to instant fame, recognition, commercial success and even critical acclaim.

It was one of the few records that managed to make every song stand out. Be it the beautiful ‘Khamaj’, the playful ‘Deewanay’ or the subtle ‘Tera Bina’.

‘Ankhon Kay Saagar’, Fuzon’s first video wasn’t exactly one of their finest. It was just a platform for the men to perform and they did just that. And it worked like a charm.

Fuzon became so popular that they managed to make videos with coveted music video directors like Saqib Malik (‘Khamaj’, ‘Deewanay’) and Jami (‘Ankhian’).

Saagar wasn’t just another album. It was a record that created three stars. Shafqat Amanat Ali Khan became one of the most talked about singers. Meanwhile veterans like Shallum Xavier and Emu, who had been around in the music industry for a decade, finally tasted commercial success. For the first time, the spotlight was on all three men and they became a part of the pop juggernaut.

But after just one record, Shafqat Amanat Ali Khan, Shallum Xavier and Emu separated. And that not only sent shockwaves throughout the industry but it changed the stakes for all three men.

A rewind…
With Saagar’s release in India, Shafqat’s vocals became famous. So much so that Shankar Mahadevan (of Shankar-Ehsan-Loy fame) tracked Shafqat down and offered him a playback singing number which turned out to be Karan Johar’s magnum opus, star-studded Kabhie Alvida Naa Kehna that featured among others Shah Rukh Khan. This was in 2006. Soon after, things started taking a sour turn for the band.

A rift of sorts began within the band. When three men start thinking differently, a clash becomes inevitable. And that is what had happened.

Before the band officially called it off, the long delayed second album was in shambles. Each had his reason.

Shallum Xavier attributed the delayed sophomore album to sour record label deals. Without a solid record deal, Fuzon wasn’t going to release its record.

Emu blamed it on bad record label deal and Shafqat. He claimed that Fuzon’s manager Sen Management (Erum, Nazia and Sania Saeed) caused the rift. Sen Management, in Emu’s words, was managing Shafqat more.

Back then, Shafqat didn’t bring up breaking up or any problems within the band. His take was that an album deal was in the pipeline. But with three different opinions, the break up was inevitable.

And when the band broke up, Instep (along with the entire media brigade) received a press release that introduced Rameez Mukhtar as the new vocalist. The press release didn’t even mention Shafqat or his reason for a departure.

It was a bitter break up of an incredible band that together made an album that remains one of the finest ever done in this country.

The new game
After going solo, Shafqat’s career picked up even more. After making it big with ‘Mitwa’ off Kabhie Alvida Naa Kehna (2006), Shafqat’s worth within Pakistan and abroad only increased. After all, the song was featured on Shah Rukh Khan. While working on Tabeer, Shafqat also struck gold in Bollywood. He sang on KANK, then Dor and recently on the Salman Khan starrer Hello. Among other projects is Nagesh Kukunoor’s John Abraham starrer Aashaeyin. He is also in talks with AR Rahman. Shafqat is also planning another album, after the promotion of Tabeer is over, with Rohail Hyatt and that album, he says, will feature songs that he wrote for Fuzon back when he was in the band.

Recently Shafqat also sang on the soundtrack of the Pakistani film Ramchand Pakistani.

Debajyoti Mishra (Raincoat fame), the music director of the film, specially asked for Shafqat for this project to director Mehreen Jabbar. And not surprisingly, the film’s music has won rave reviews universally.

Tabeer has just released but the response has been solid, according to Shafqat. When this article goes in print, Shafqat will be off to India for a series of concerts.

In comparison, the new Fuzon’s career graph is not looking so bright. The band made the blunder of making ‘Neend Na Aaye’ their first lead single off Journey. ‘Neend Na Aaye’ had already been heard as the old Fuzon’s tune and had leaked over the Internet in Shafqat’s voice. As opposed to releasing a brand new tune, the band released ‘Neend Na Aaye’ as their own tune, with Rameez replacing Shafqat. And while it may be their best single, it always reminds one of Shafqat.

The new Fuzon released videos and even toured India. But with other acts like Ali Azmat, Zeb and Haniya, Azal, Rahat Fateh Ali Khan and Strings – all out with fantastic new albums, Fuzon’s worth in the market has diminished. The new Fuzon just hasn’t been able to make a big splash, the kind one first witnessed when Saagar had happened.

In the end
Tabeer may not become the next Saagar but then again, how could it possibly be? Fuzon was three men, with hugely diverse music influences coming together. And Tabeer is just Shafqat. But for Shafqat, it is still a pretty effective record. The sales are up and Shafqat is making all the right moves. He has struck a fabulous deal in India where Tabeer is being promoted all over the place. And for him, it is just the beginning.

On the other hand, Journey hasn’t created the same effect for Fuzon. Rameez Mukhtar has just entered the spotlight and he is trying to fill in the shoes of Shafqat, which is certainly not easy.
This round has been won by Shafqat. It remains to be seen where Fuzon go from here but for them to last, the shadow of old Fuzon has to be replaced. Unfortunately Journey hasn’t done that.

What if?
One can’t help but ask what if original Fuzon hadn’t separated?

Shafqat’s popularity rose while he was with Fuzon. He had solo offers that he pursued and that created resentment within the band. There were obvious problems of miscommunication and misunderstanding between Shallum, Emu and Shafqat.

But what if… they had worked through those differences?

Between the three of them was Saagar and with three schools of music coming together, it was one hell of an album. It was magic just like Talaash and Azadi were for Junoon and Hum Tum was for the Vital Signs. Our bet is that had the original line-up survived together, they could’ve created a melting pot of Tabeer and Journey. Just imagine that! And now we’ll never know…