By Ayman Munaf

Suhel Rais Khan, the son of the legendary sitar maestro Ustad Rais Khan, carries a rich musical heritage. Born into a family of extraordinary artists, he has carved out his own unique path in the world of music. Currently visiting Pakistan from India to see his ailing aunt, Suhel was invited to perform—an opportunity that has allowed fans to witness his musical prowess firsthand. During our conversation, he talked about his journey, inspirations, and the evolution of his craft.

Q1. Can you share some of your earliest memories of music and how they influenced your decision to pursue a career in this field?

I grew up in a boarding school called Barnes, one of the top ten British schools in the world. Before that, when I was with my father, I wasn’t interested in classical music at all. Like most people, I was into pop and rock. But when I returned and saw the immense respect my father commanded in the world of Indian classical music, I was drawn to it. It was in my blood, so the transition was natural. The way people revered him inspired me, and once I started exploring classical music. I genuinely fell in love with it.

Q2. Growing up as the son of the legendary sitarist Ustad Rais Khan and the talented dancer Tasneem Khan, how did your parents’ artistic backgrounds shape your musical journey?

My childhood was complex. My parents divorced and my father moved to Pakistan, so I didn’t get a chance to learn directly from him. When I returned from boarding school, I was introduced to my father’s side of the family. My aunt (Bua) was the world’s best Surbahar player. She showed me her work and played my father’s music for me. That’s when I began collecting his tapes.

After nearly 20 years, I finally met my father. Initially, I was reluctant, but after meeting him I felt peace. He heard me sing and encouraged me to play the sitar. My mother, though naturally artistic, didn’t pursue a classical career. But I was fortunate to learn from incredible women like Madhurani Ji, one of the top singers in the world, and Sitara Devi, who taught me dora tukras. In London, I trained under Priya Didi and spent time with senior artists, gathering knowledge from different corners of the classical world.

One thing that needs to be acknowledged is that the song Gungroo Tut Gaye was originally composed and sung by my father, Ustad Rais Khan. Unfortunately, many artists have falsely claimed it as their own composition, which is deeply unfair.

Q3. You completed your formal education at Barnes and were actively involved in music, singing, and drama. How did this academic environment contribute to your artistic development?

Honestly, formal education only provides the basics. The real learning comes from your guru. I initially focused on singing and later realized the importance of playing the sitar. Creating music is expensive—so I opened my own studio, where I learned recording, editing, composing, and arranging. Eventually, I started working on my own albums and recording other artists.

Q4. Can you discuss the significance of your training under your father and how it has influenced your approach to music?

I only had two months of formal training with my father before he passed away. I absorbed whatever I could in that short time. While he profoundly influenced me, I developed my own distinct style. My father trained several successful artists, including Ahmed Jahanzeb.

Q5. Your music blends traditional Indian classical elements with contemporary styles. How do you balance these influences in your compositions and performances?

It all comes down to the sound—what you want to present to the world. My music doesn’t resemble anyone else’s. I usually sing my own compositions, but sometimes when audiences aren’t ready for change, I adapt. There’s nothing wrong with singing another artist’s song, as long as you infuse it with your own style.

Q6. Who are some of the artists, both within and outside the classical genre, that have inspired your work?

Legends like Sonu Nigam, Hariharan, Farida Khanum, Noor Jehan, Salamat Ali Khan, Fateh Ali Khan, Ghulam Ali and Roshan Ara. Music is diverse—everyone has their own preference, and no genre is inherently bad. It’s about what resonates with you.

Q7. Can you walk us through your creative process when composing a new piece?

I can compose very quickly. Give me a line, and I can create a melody in 10 seconds.

Q8. How do you decide when a composition is complete and ready to be shared with the audience?

I know once I hear the lyrics and understand the genre—whether it’s pop, rock or ghazal. I often test compositions by having my students sing them their own way before finalizing the recording. I incorporate elements of ‘80s-style melodies while keeping them accessible to the general audience.

Q9. You’ve performed at various national and international events. Is there a particular performance that stands out in your memory?

My performance in Calcutta is unforgettable. Just as I was about to start, the famous Bengali actress Moon Moon Sen entered in a black saree with a black bindi. I was so mesmerized that I completely forgot my song! I had to stop for five minutes, just looking at her, before she finally said, “Suhel, I’m here. Start your performance.” That moment is etched in my memory.

Q10. How do you prepare for a live performance and connect with your audience?

A successful artist knows how to keep the audience engaged. If I see the crowd isn’t interested in the song, I change the song on the spot. My musicians and I are always ready to improvise.

Q11. What are some significant challenges you’ve faced in your musical career?

I don’t focus on challenges—I focus on my work. I’m Ustad Rais Khan’s son, and my music speaks for itself. I’ve worked with the biggest artists worldwide and have over 40 albums. I don’t compare myself with others; I do what I love. I’m the only sitarist, singer and composer with 600 videos on air, and I’ve even made it to the Guinness Book of Records.

Q12. Receiving the Mitr Pradhan award at 25 was a notable achievement. How did it impact your career?

It was my first award, but it wasn’t heavily promoted. Whatever recognition I’ve earned has been through my own hard work.

Q13. Are there any upcoming projects or collaborations you’re excited about?

I continuously collaborate with artists across genres. Recently, I worked on Fusion for Roland. I believe in supporting talent, even if an artist isn’t famous or wealthy—if they’re good, I’ll work with them. I learn something new every day.

Q14. What are your aspirations for the future, both personally and professionally?

I am content with what I do. I’ll continue making music and exploring new sounds.

Q15. How do you see the role of classical music evolving in the digital age?

Music is evolving, and the key is packaging it correctly. To stay relevant, artists must adapt and present their music in a way that resonates with today’s audience.

Q16. Your younger brother, Farhan Rais Khan, is also a talented sitar player. Do you guide him as an elder brother now that your father is no more?

Farhan has learned from our father and plays better than me. I have my own style and draw inspiration from legends like Ravi Shankar and Vilayat Khan. I’m very close to my brother in ways beyond just music.

By Sarah Rehman

Within the realm of music, there exists a breed of artists who possess an extraordinary gift of creating melodies, that linger in our minds long after the final note has faded away. Possessing a voice that resonates with our souls they have the ability to compose compositions of beauty that transport the listeners to another world. One such talent is Wajhi Farooki, a singer and musician renowned for his mesmerizing vocals and his ability to craft soul-stirring original soundtracks for a diverse range of dramas.

Wajhi’s musical odyssey began under the tutelage of Saffia Beyg, the mother of designer Rizwan Beyg, who excels in classical music. This initial spark set the stage for his entry into the industry as a member of Raeth music band, marking the beginning of a remarkable musical voyage. The band’s composition led to the creation of an album, catching the attention of a well-known musical company and culminating in a release in 2007.

For Wajhi, the joy of performing music is rooted in the deep connection he feels with rock and classical genres. He strongly believes in connecting with the audience where the shared experience of music creates a fulfilling atmosphere for both the performer and the people. “It’s a whole lot different feeling altogether, and energy is multiplied 300 times once you are in sync with the audience.”

Even the singer’s inspiration comes from people, their stories and diverse experiences, enabling him to craft pieces that resonate with the listeners. Moreover, Wajhi’s enduring success can be attributed to his unwavering work ethic and adaptability. He emphasizes the importance of staying up-to-date and experimenting with music, driven by a fervent desire to remain progressive and innovative in the ever-evolving music industry.

Reflecting on his career, Wajhi takes pride in achieving several noteworthy milestones such as being signed by Universal Records at a remarkably young age, winning a Lux Style award, and achieving 100 million views for his song “Rupoosh” on YouTube. Responding to a question about his favourite musical masterpieces, Wajhi mentions two songs that have changed his entire world. The first one was his debut song, ‘Bhula Do’ and the second being ‘Rupoosh’ that brought him fame as one of the leading OST singers in the drama industry.

Wajhi dreams of performing at iconic venues such as Wembley Stadium, drawn to the diverse audience and grand energy that such venues offer

As Wajhi’s music evolved over time, he credits influential figures like Mahesh Bhatt who have shaped his musical journey. Learning from industry veterans has instilled humility and professionalism in him, reflecting a significant transformation in his approach to music creation and collaboration.

When asked about how he deals with criticism and negative feedback, the singer responds, “I always maintain a positive outlook, embracing constructive criticism as a catalyst for growth. I believe music should be made the way the audience wants to hear it, and therefore it’s necessary to be open to public feedback. Simultaneously, one should be adaptive to evolving trends while staying true to the artistic vision, acknowledging the balance between artistic expression and audience appeal.”

Wajhi dreams of performing at iconic venues such as Wembley Stadium, drawn to the diverse audience and grand energy that such venues offer. And if given the chance to change one aspect of the music industry, he highlights the need for greater prominence of music channels on TV. He emphasizes the importance of providing musicians with enhanced opportunities for promotion and public exposure, ensuring that artists receive their due recognition and visibility. He advocates for a system where musicians are not only able to create and produce music but also have the means to share it with the world. By ensuring that artists receive the visibility they deserve, Wajhi hopes to create a more inclusive and supportive music industry that values and celebrates the diverse talents and continues to grow in times to come.