Music comes from my heart: Komal Rizvi

Sher Khan
November 23, 2012
LAHORE:

Following her performance in Coke Studio season four, singer Komal Rizvi left the audiences in the subcontinent mesmerised with her edgy vocals and ultimately landed her a record deal in India.

In a recent interview with The Express Tribune, she reveals that her next album, Komal, will be releasing November 28 in India. She also plans to return to Pakistan in the near future and release a single called “Jhulay Lal” for her devoted fans.

“We wanted the album to have a certain direction,” says Rizvi, commenting on her latest project. “The sound falls more in the Sufi-folk genre but it also has a bit of a filmy touch to it.” The album contains eight songs and three singles, which will further accompany the album. Following her Coke Studio fame, she instantly received an offer from Saregama HMV, one of the biggest record labels in India, to record an album.

With her new album, Rizvi says she has focused on making music she likes. “At the end of the day, music is something which is very personal and I feel everyone has their own preferences,” she says. “This will actually reflect in every song of my album and all I can say is that, it’s from the heart.” Through her music, she wants to show her fans the different sides to her personality. “It’s not necessarily serious music. Some of the songs are and some aren’t — they show different shades of me.”

Commenting on the non-film music scene in India, she says it’s rather unexplored and small in size. However on a more positive note, there are a lot of musicians and singers experimenting in that field regardless. “The film industry is huge, so musicians can afford to experiment with non-Bollywood music and they won’t end up dying of hunger,” she says. While she admits Bollywood is extremely competitive when it comes to playback singers, people are still quite welcoming and as a result, she has signed some projects. “It’s still premature to go into the details of these projects — at least till the films’ release dates are announced,” she reveals.

Rizvi feels India has a more welcoming and positive environment as compared to Pakistan on several levels. “The circumstances in Pakistan’s music industry are quite unstable and therefore even the inexperienced and rather new artists, are not cooperative or friendly,” she admits, adding that this is a result of the insecurity amongst artists in the industry. However, there is a bright side to this as well as she says, “The advantage of being an independent singer here [in Pakistan] is that you can experiment a lot — you don’t have to be stuck with one specific sound.” She enjoys all kinds of genres whether it’s R&B, folk, soul or rock.

As far as exploring other options in her career are concerned, Rizvi says she is interested in acting as well as she has tried her luck at it in the past. “I have thought about it. I was offered a couple of films and a horror TV show as well, but for now I have decided not to do it,” she says. “The reason is, I want to wait till I get a good script — a film with substance. I don’t want to do the family-drama sort of films.”

Published in The Express Tribune, November 24th, 2012.

A plea to save indie cinema in India

Sher Khan
Published: November 21, 2012

As Bollywood continues to dominate the Indian film industry, independent filmmakers are calling for urgent government support to help them survive and compete. In a bid to save parallel cinema, 39 independent filmmakers, including 29 National Award winners, have come together under the campaign Save Indie Cinema.

The petition outlines over 11 recommendations for the Indian government to enact policies that support indie filmmakers and preserve cinematic diversity.

“It’s a big question mark for most indie filmmakers as they are not given their due — it’s becoming difficult for us to function,” says Anirban Dhar, popularly known as Onir.

Best known for My Brother Nikhil and the award-winning series I Am, Onir is recognized for tackling taboo subjects like same-sex relationships and child abuse. His last film was crowd-funded, but he questioned the sustainability of that model.

“How are you going to survive in the long term?”

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The Culture Clash: Indie vs Bollywood

Onir has long been one of the most vocal critics of Bollywood’s consumerist culture.

“The whole mall culture, which is a result of globalisation, has made film-viewing seem like shopping. Film-goers now go to cinemas with a completely different frame of mind.”

He argues that most mainstream films promote regressive lifestyles and attitudes.

Following the Ministry of Information and Broadcasting’s pledge to invest INR 6 billion in heritage preservation, indie filmmakers launched their campaign, urging that at least a third of that amount be allocated to independent cinema. Onir emphasized the need for dedicated cinemas for alternative films, as seen in the US and UK.

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Systemic Barriers and Discrimination

Aside from a lack of funding, independent filmmakers face a range of challenges:

• Limited screening slots: “Indie films are usually given afternoon hours, while peak-time slots are dominated by big-budget Bollywood films like Chakravyuh and Son of Sardaar,” Onir noted.
• Satellite neglect: Indie films are undervalued or ignored by satellite channels unless backed by celebrities.
• Censorship disparities: Onir claims that Bollywood filmmakers enjoy greater leniency in censorship, while indie films face more cuts and restrictions.

“The money we are offered [for TV rights] is as good as not screening the film,” he said.

“We are given National Awards, but our films don’t get TV airtime. Bureaucrats are star-struck by Bollywood celebrities, and that influences decisions.”

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Looking Ahead: A Fight for Survival

Onir is now organizing a delegation of filmmakers to meet with Indian ministers to discuss budget allocations and reforms for the industry.

“If this parallel cinema is to survive, it needs patronage and government support.”

He remains hopeful that the Save Indie Cinema campaign will revitalize a diverse, multilingual film culture in India.

Currently, Onir is working on an Indo-French co-production titled Shab, which he described briefly as a love story between a call girl and a male escort.

Originally published in The Express Tribune, November 22, 2012.

Hamza Ali Abbasi gears up for Kambakht

By Sher Khan
Published: November 11, 2012

After several screenings of Mudhouse and the Golden Doll, filmmaker and actor Hamza Ali Abbasi has announced his next venture — a comedy film titled Kambakht, starring Ahsan Khan and Shafqat Cheema.

In an exclusive interview with The Express Tribune, Abbasi reflected on balancing the roles of actor and director and emphasized the need for more entertainment-based films in Pakistan’s cinema landscape.

“I was primarily interested in working behind the camera when I entered the industry,” said Abbasi. “Even when I went to meet the team of Waar as an assistant director, they offered me a role and made me act.”

Abbasi has a prominent role in Bilal Lashari’s directorial debut Waar and is eagerly awaiting its release. Though he’s built a profile through theatre and screen performances, he admits that his first love is filmmaking.

“I started to get commercials and other offers… then I realised, I am not catering to the first love of my life.”

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Behind the Camera: Kambakht

Abbasi shared that his next film, Kambakht, will be a medium-budget project written by himself. He stressed that while social issue-based cinema has its place, Pakistan’s industry needs films that are entertaining and widely accessible.

“With time, you tend to know what you’re good at, and I realised my forte is comedy films. I wouldn’t mind something intense and dramatic, but what filmmakers need to do is make it entertaining. It should be for the masses.”

Kambakht centers around two unlikely friends — one from a socially regressive area (played by Shafqat Cheema) and the other, an Islamabad city boy (played by Ahsan Khan). Abbasi described it as a collision of two worlds.

“It’s sad that brilliant actors like Shafqat Cheema, Shaan, or even Mustafa Qureshi are used so poorly in Lollywood,” he said. “It’s time they are given an opportunity to act to their utmost potential.”

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Budget, Storytelling & Audience

Abbasi said the film’s budget is significantly larger than that of Mudhouse and the Golden Doll, which was made for just Rs25,000 — one of the lowest budgets for a Pakistani film.

“This film has a market. Not only do I want you and I to enjoy the movie, but taxi or rickshaw-walas should watch the film and enjoy it as well.”

Writing Kambakht posed its own challenges. Abbasi said the key was to maintain a desi sensibility while balancing mass appeal and niche elements.

“While writing the script, you have to keep duration in mind. It’s a pretty tricky job. There is something for everyone — we have Lollywood-style characters, desi humor, but also elements for more niche audiences.”

As for Mudhouse and the Golden Doll, Abbasi said the film would soon be released online, likely through a platform such as Vimeo.

Originally published in The Express Tribune, November 12, 2012.

Ainak Wala Jinn returns with part two

By Sher Khan
Published: November 8, 2012

Amidst a low-key turnout, the famed mid-’90s TV series “Ainak Wala Jinn” launched the promo of its long-awaited sequel, “Return of Nastoor,” at a late-night press event on Wednesday.

The gathering featured glimpses of the new technology incorporated into the sequel and gave fans an update on how the beloved series has evolved.

“‘Ainak Wala Jinn’ was very popular [among children and adults],” said veteran scriptwriter Muhammed Tariq, also known as Tariq Sahili. “Kids today are very sharp. They enjoy television shows but criticise them as well.”

Sahili shared that the new series integrates animation, graphics, and a futuristic storyline involving aliens who arrive on Earth to conduct research.

“But the element of travel and adventure still remains,” he added.

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Good vs Evil: A Timeless Allegory

A central theme of the series is religious allegory, with the classic narrative of good versus evil taking center stage. Sahili gave the example of a character named Tasbee Baba, who represents the conscience of good.

“There is a lot of negativity, so the need for goodness is always present.”

Writing the sequel was a special experience for Sahili, who followed in the footsteps of A Hameed, the renowned Urdu author who penned the original series.

“It was a great privilege for me to write the second part. I had to take this forward in the same manner but also keep contemporary teachings in mind.”

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What’s New This Time

Although the promo was visually uneven and somewhat under-produced in parts, it hinted at characters placed against a backdrop of innovative graphics and 3D effects. While an official release date for the first episode has yet to be announced, anticipation is already building.

The sequel promises to balance nostalgia with modern visuals and themes, aiming to reconnect a new generation with a childhood classic.

Here’s to childhood memories — and to what lies ahead for Ainak Wala Jinn.

Originally published in The Express Tribune, November 9, 2012.

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Xulfi announces Junaid Khan’s exit from Call

By Sher Khan
Published: November 6, 2012

Call, one of Pakistan’s most beloved pop-rock bands, has amassed a dedicated following over the years. Known for tracks like “Laree Chooti” and “Yeh Pal”, the band’s sound captivated listeners in both Pakistan and India.

But in a recent interview regarding his latest project Nescafe Basement, Call’s guitarist Zulfiqar Jabbar Khan, better known as Xulfi, shared surprising news: Junaid Khan, the band’s lead singer and guitarist, is no longer a part of the group. He has been replaced — at least temporarily — by Mustafa Zahid of Roxen.

“He [Junaid Khan] is very busy with his acting and personal commitments,” said Xulfi. “He is busy doing his solo stuff. This was news to us.”

Xulfi admitted the band had lost its “common ground.”

“When that happens, the band cannot survive. I have done other projects too, but they have always been under the name of Call. You have to pick one identity.”

Despite Junaid’s exit, Xulfi emphasized that the essence of Call would remain as long as he was part of it. He acknowledged the economic challenges Pakistani bands face, saying that Call, like bands such as EP, Overload, and Jal, would endure through change.

“Junaid was recording his album and we didn’t know — it was the way he wanted to go and we didn’t want to stop him just so we could continue to perform as a band.”

Junaid’s manager Hadi Imran confirmed the split:

“This had been decided a while back; it is being released to the media only now.”

When contacted, Junaid Khan declined to comment.

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Nescafe Basement and Mentoring New Talent

Speaking about his latest project Nescafe Basement, Xulfi explained it’s an effort to bring together young musicians from underrepresented backgrounds and give them a platform.

“For me, promoting young blood is not about pleasure but about intent — if we don’t promote music amongst the youth, we won’t be able to create a positive future for the Pakistani music scene.”

Xulfi emphasized the creative energy that emerges from jamming:

“The best music comes out of a jam… I was not a mentor forcing them — I was a mentor guiding them.”

Nescafe Basement has featured 15 musicians who recorded 24 tracks, showing the project’s ambition and scale.

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Industry Support and Looking Forward

Xulfi also reflected on the broader challenges faced by the Pakistani music scene.

“Every entertainment medium — from TV dramas to cafes — must support Pakistani music if the industry is to grow.”

He appreciated shows like Humsafar for promoting local music and emphasized that industry synergy is crucial.

Despite the departure of Junaid Khan, Xulfi remains optimistic about Call’s future. He hinted at a surprise video release, and possibly scoring music for an Indian film slated for release next year.

“It’s not about the number of songs you are doing there, it’s about what you are doing. If you’re just lending your voice to their music, they are using you. But if you’re giving your own music, then that’s another thing.”

Originally published in The Express Tribune, November 7, 2012.

Ahmed Siddiq’s ‘Sher Khan’ thrives without YouTube

By Sher Khan

Published: November 3, 2012

In the aftermath of the government ban on YouTube following the release of the anti-Islam film Innocence of Muslims, the local music industry — heavily reliant on video virality — was hit hard.

Projects were put on hold, and many feared it signaled the end of Pakistan’s “viral age,” made popular by artists like Ali Gul Pir and Beyghairat Brigade. But Lahore-based musician Ahmed Siddiq challenged that assumption with the release of his single “Sher Khan”.

“YouTube is banned in Pakistan but there are other options, like Vimeo,” says Siddiq. “Facebook is a major platform for content sharing as well. ‘Sher Khan’ was released via Vimeo on Facebook. The response has been amazing! I believe it’s still in the process of reaching out to the masses.”

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Karachi Influence and the Song’s Vibe

Siddiq says the track was shaped by his experiences in Karachi.

“I am from Karachi and almost every street has Quetta walay hotels [tea stalls]. I love the tea they offer and used to visit them regularly, so they’ve partially influenced my song.”

He describes “Sher Khan” as a love song about a simple guy who falls for a beautiful girl. Sung in Urdu with a Pashto flavor, the song quickly gained popularity, reaching around 40,000 views on Vimeo and enjoying regular airplay on local radio stations.

“Songs are not written; they land onto a composer, and that’s what happened with ‘Sher Khan’ — it just sort of landed on me.”

The composition features tempo shifts between fast-paced Pashto-accented verses and slower Urdu portions, creating a catchy, genre-bending sound.

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Breaking Stereotypes with Simplicity

Responding to claims that the video reinforces stereotypes about Pashto speakers, Siddiq pushed back:

“It’s a simple love song written with love and simplicity. There are no stereotypes in the video.”

He also revealed that the lyrics were primarily written by himself, with some help from renowned lyricist Sabir Zafar.

“I have written approximately 90% of Sher Khan’s lyrics. I had to repeat the melody but couldn’t come up with lyrics for one verse, so I approached Sabir Zafar sahib and he wrote the remaining part.”

The video was produced by Fayyaz Ahmed, with Mubashir Amdani handling the audio production.

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Looking Ahead

Siddiq hopes the success of “Sher Khan” will pave the way for the release of his full-length album, To Untalees. The album includes eight tracks — seven original songs and one remixed rock number. But for now, his focus remains on promoting his hit single.

Originally published in The Express Tribune, November 4, 2012.

Zeb and Haniya rock across the US

By Sher Khan

Published: November 2, 2012

After their memorable Coke Studio performances, Zeb and Haniya have built a devoted following both in Pakistan and abroad.

The duo recently returned from a month-long US tour, part of the US State Department’s Center Stage initiative, organized by the New England Foundation for the Arts (NEFA). The tour included 13 major concerts, radio performances, and various outreach activities. The pop-folk artists shared insights about the experience and their upcoming projects.

“Something I really, really like that has come out of this tour are the things people have been saying during our performances: ‘What is this sound? I have never heard anything like this before but I love it’,” said Haniya Aslam, vocalist and guitarist.

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The US Tour

The Cultural Diplomacy Programme by the US State Department has aimed to bring international artists like Arieb Azhar, Noori, and now Zeb and Haniya to American audiences. Rather than sending American artists abroad, the program provides space for cultural dialogue at home.

“We expect Americans to have misconceptions about us and we have misconceptions about them as well,” said Haniya. “But it’s actually quite a varied country. There are all kinds of people and many of them come from different parts of the world. They understood what we were talking about.”

Zebunnisa Bangash (Zeb), the band’s vocalist, said the experience reflected how cultures can connect deeply through music.

“It didn’t matter where we were from. People were receptive — whether it was a college freshman or a diplomat from Washington, DC,” Zeb said. “There was a lot of prior knowledge of South Asian classical music as well — just like we know a lot about American music.”

She emphasized that performing for non-desi audiences was a valuable shift.

“Most Pakistani bands only get to perform in desi settings, but we had the chance of doing so many shows in front of new audiences and the sound was fantastic everywhere.”

Their live band included Amir Azhar, Hamza Jafri, Muhammad Ahsan Pappu, and Kami Paul.

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Upcoming Projects

Beyond their US tour, Zeb and Haniya have been working on their second album, with accompanying music videos nearing completion. They’re also scheduled for a tour in India in November, hosted by a major Indian newspaper.

During their India tour, they plan to wrap up a collaboration with Shantanu Moitra and Swanand Kirkire on the show The Dewarists.

“We sat down in the studio day after day and came up with tunes together,” said Zeb. “It’s been really interesting for us to go through this kind of songwriting process with such great musicians and composers.”

“We all contributed something to most of the songs. The album is almost done. It’s a very musical conversation in that regard, so I am interested to see how it will turn out after we fuse our varying styles.”

Originally published in The Express Tribune, November 3, 2012.

RIP Asad Rehman: ‘Chakar Khan’ buried in Lahore, remembered in Balochistan

By Sher Khan

Published: October 30, 2012

Human rights activist Asad Rehman was buried in his family graveyard at Guru Mangat Road on Tuesday evening.

His nephew Taimur Rehman said that Asad had been hospitalized after a heart attack 12–13 days ago. His lungs became infected when fluid built up, and his kidneys failed to recover after an operation. He passed away on Monday night.

Rehman, the youngest in a group of Marxists, joined the Baloch guerrilla struggle in the 1970s. He was given the name Chakar Khan — after the legendary 15th-century Baloch statesman — during his time in Balochistan.

“Chakar Khan was a name which fit his character,” said Mir Muhammad Ali Talpur, a columnist and activist who worked as a paramedic during Rehman’s stay in the region. “People today are grateful to Asad Rehman… if you visit Facebook today you will see how well he is remembered.”

Rehman was part of a generation affected by the breakup of East Pakistan. The silence over injustices in Bengal and Balochistan deeply impacted him, prompting him to reject his class upbringing and show solidarity with the Baloch during the insurgency.

“The injustices happening in Balochistan today were happening in the 1970s too. Myself, Asad, Rashid [Rehman], and Ahmed Rashid had gone to raise a voice for the Baloch people,” Talpur added.

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A Life of Resistance

Born in Murree on August 11, 1950, Asad Rehman was the son of late Supreme Court Justice SA Rahman, a member of the Boundary Commission who worked closely with MA Jinnah and Lord Radcliffe. In 1969, Rehman left for London to study architecture, where he became part of the London Group, a Marxist study circle of young Pakistani students.

The group began publishing Pakistani Nationalist, a magazine offering an alternative perspective on the war in East Pakistan. Later, five members — Asad Rehman, Rashid Rehman, Ahmed Rashid, Dalip Dass, and Najam Sethi — left their studies to return to Pakistan and join the Baloch resistance.

Asad, Ahmed Rashid, and Dalip Dass immersed themselves in the language and culture of Balochistan. Dass was later killed by security forces; the others were granted amnesty under General Zia.

“Earlier in life, in another avatar, he had been a resistance fighter and guerrilla commander in Balochistan who was popularly known as Chakar,” said his brother Rashid Rehman, editor of Daily Times. “When he returned, he immersed himself in human rights activism.”

“He had been a consistent advocate of Baloch rights. I have been inundated with calls from Baloch friends mourning him as one of their own.”

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Human Rights Legacy

After returning to Pakistan in 1978, Rehman became a prominent human rights activist, working with organizations like Aurat Foundation, the Human Rights Commission of Pakistan, and later as executive director of Sungi.

Veteran journalist and activist I.A. Rehman remembered his lifelong dedication:

“His work will always be remembered. He was part of a group of young people who showed solidarity with the Baloch people. Till the very end, his friendship with the Baloch people remained.”

Originally published in The Express Tribune, October 31, 2012.

Pakistani cinema will revive in 10 years: Sajjad Gul

Pakistani cinema will revive in 10 years: Sajjad Gul

By Sher Khan

Published: October 30, 2012

Evernew Studios in Lahore — the first studio to open in Pakistan after independence — holds immense historical and cultural value, serving as the foundation of Lollywood.

Apart from managing the studio, producer, director, and entrepreneur Sajjad Gul has been deeply involved in the evolution of Pakistani cinema. While he’s been relatively quiet as a filmmaker in recent years, he has played a major role in shaping the industry’s direction.

“There are a series of events that can point to the state of affairs we are in today,” said Gul, whose father founded Evernew Studios and Firdous Cinema, Pakistan’s first cinema.

Gul acknowledges the endurance of the studio but also sees it as symbolic of the industry’s stagnation in terms of technology and infrastructure. Despite its status, Evernew remains one of the oldest and largest studios in Pakistan.

He reflects on widespread misconceptions about the viability of the industry in past decades.

“The studio is a commercial unit, like a factory or an outlet,” he explained, adding that he found little return on investment in those years. “Losses had started in the early ’80s during Ziaul Haq’s era. This clearly dispels the popular notion that Punjabi cinema was commercially viable.”

Gul emphasized the difficulty of supporting an industry without the necessary tools — from cameras to labs to proper lighting equipment.

“If we had invested Rs300 to Rs400 million about 20 years ago, we would have definitely gone bust much earlier. We realised that in Zia’s era, cinemas were going down, and globally, the film industry was declining due to the rise of televisions and satellites.”

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Balancing Business and Creativity

Managing a studio, Gul says, is like running a factory, while being a producer is more about creative entrepreneurship. His controversial film International Gorillay — inspired by Salman Rushdie — marked a turning point for both his career and the film industry.

“This film was a clear signal to me and the film industry that people were no longer coming to cinemas anymore,” he said.

Although his more recent No Paisa No Problem failed at the box office, Gul is still exploring the idea of making another film.

“I am being honest that we wrote and produced fiction with International Gorillay. I was in London back then, and the whole Rushdie issue suddenly erupted. So I thought, why not express how we feel?”

He compared audience reactions then and now:

“Back then, people didn’t behave the way they did recently [in response to Innocence of Muslims] — the sensitivities have changed, and how people react has changed as well.”

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Looking Ahead

Gul remains optimistic about the future. He believes that in the next 10 years, cinema culture in Pakistan will see a revival.

“New screens are being constructed in Pakistan, so people who didn’t get the chance of watching films on big screens will now have the opportunity to. Cinema-going was a habit we had, which we lost — especially among average income households.”

“In the next 10 years we can expect more than 300 new screens. Once this happens, box office will revive, and the number of films produced and released will also increase.”

He also credited Bollywood’s success as a catalyst for reigniting interest in cinema locally.

Originally published in The Express Tribune, October 31, 2012.

Forging new ground: Pakistani film shines at Mumbai festival

By Sher Khan

Published: October 23, 2012

In the backdrop of the passing away of Bollywood’s ace filmmaker Yash Chopra, the Pakistani film Josh managed to receive a positive response at its screening during the prestigious Mumbai Film Festival on Monday.

Filmmaker Iram Parveen Bilal, who was in Mumbai with actress Aaminah Sheikh, was visibly excited that the film had managed to get popular attention despite concerns of low attendance due to the death of Chopra.

“Playing my film in Bombay had always been a dream, because it was through Bollywood that I was inspired to become a filmmaker — it’s really a dream come true,” said Bilal, speaking to The Express Tribune by telephone following the film’s screening.

The festival itself suffered a major blow due to the demise of Yash Chopra, who is widely regarded as the godfather of modern-day Bollywood.

Bilal noted there had been concerns that audiences wouldn’t show up, but despite the somber atmosphere, attendance was encouraging.

“A lot of people were there and they all stayed till the end — I was very pleased. I suppose people really embraced what Yash Chopra would always tell us: ‘The show must go on’.”

Originally published in The Express Tribune, October 23, 2012.