From a celebrated child star on PTV to an accomplished classical vocalist, Afshan Ahmed has spent decades balancing music with work and family. Her journey reflects artistic growth, deep classical training, and a lifelong dedication to meaningful music and human connection.

1. You began your journey as a child artist on PTV—what are your earliest memories of performing on Hamari Shaam?

Actually, my journey began before Hamari Shaam, on radio in a children’s programme called Bachon Ki Duniya where I used to sing regularly. Hamari Shaam was my first television appearance, and interestingly, it was hosted by my mother. I only appeared once because she didn’t want anyone to think she was promoting me unfairly. At that time, I was balancing both radio and television, but eventually I had to choose because both recordings happened on Sundays. For a child, television naturally felt more exciting because it was visual and glamorous, so I moved towards TV. Those early years were full of innocence and curiosity, and I think that environment shaped my comfort with performing from a very young age.

• Growing up with a mother like Asma Ahmed, how did her musical background shape your own artistic path?

My mother was my very first mentor, teacher and ustad. She is a naturally gifted artist who never formally learned music, yet she guided me from childhood with immense dedication. She would make me repeat lines over and over until every note and pronunciation felt right. That discipline stayed with me throughout my life.

Later, I formally studied classical music under Ustad Hameed Ali Khan of the Gwalior Gharana and trained with him for nearly twenty years. That was where I truly learned the technical side of music — understanding ragas, notes, structure and expression. But the foundation, the instinct and the sincerity towards music, all came from my mother.

• Your work with Sohail Rana on shows like Kaliyon Ki Mala made you a household name—what did that phase teach you about connecting with young audiences?

I was only six or seven years old when I sang “Dosti Aisa Naata” and suddenly became widely recognised. At that age, I didn’t fully understand fame. I only knew that everywhere I went, people recognised me, pulled my cheeks lovingly and spoke about the song.  Sometimes I would get irritated hearing the same thing repeatedly, but my mother always reminded me that these people loved me and were the reason for my recognition. Over time, I learned patience and gratitude. I think the reason people still remember me is because there was only one television channel and very few children’s programmes then. Audiences formed genuine emotional connections with artists.

• From children’s programming to mainstream television in the ’80s and ’90s, how did your music evolve as you grew as an artist?

Education was always prioritised in our home. We were taught that if studies suffered, everything else — music, sports, television — would suffer too. Later, after marriage and children, life became about balancing responsibilities. I never chose music over my family. I avoided late-night shows and public performances because my children and home came first. At the same time, music gave me incredible opportunities. I represented Pakistan in 14 countries and performed in several languages including Korean, Japanese, Turkish, Bangla and Russian. Whenever I travelled, I would carefully study the language and meaning of the songs with help from embassies and interpreters. Singing in people’s native languages created beautiful connections. As my children grew older and I found more time, I immersed myself in classical music. My voice matured, my listening deepened, and I gradually moved towards more meaningful and poetic forms of expression.

• You’ve worked alongside artists like Akhlaq Ahmed and Alamgir—what collaborations stand out most in your career?

I actually haven’t done many duets in my career, but one collaboration that became especially memorable was the song Babula Ve Le Jayen Na Log Mujh Ko from Heer Ranjha. It brought me tremendous recognition and is still sung at weddings today. I’ve shared stages and performances with many renowned artists over the years, but my career was never heavily centred around collaborations or commercial duets. My journey remained more personal and performance-driven. ‘Ai Khuda Meray Abu Salamat Rahein’ was a very popular solo ad song still remembered by people.

• You’ve continued performing at cultural events and festivals—what keeps you motivated to stay connected with audiences after four decades?

I genuinely love people and I love performing live because of the immediate emotional connection with audiences. But over time, my music has become more intimate and serious. I now enjoy singing ghazals, classical poetry and compositions inspired by poets like Mirza Ghalib and Faiz Ahmed Faiz. These genres attract smaller audiences, but they are deeply attentive and emotionally invested. That atmosphere suits me more than massive crowds. My style has never been loud or flashy. I prefer music where poetry, thought and emotion are central, where listeners truly absorb what is being sung.

• As someone who has been part of both radio and television eras, how do you view the shift toward digital platforms and streaming?

The biggest difference is that earlier music involved patience, preparation and real connection. Today, everything has become instant and digital. Songs are uploaded quickly, remixed quickly and consumed quickly. I feel audiences have also become distracted because of phones and social media. Even at gatherings or music events, people struggle to stay fully present. In our time, recording even a three-minute song required days of rehearsal, practice, recording and filming. That process created depth and understanding. Today, overnight fame is possible, but often temporary. I believe organic artistic growth takes time, discipline and sincerity. Another thing I miss is simplicity in performance. Nowadays, many artists rely heavily on loud arrangements and large ensembles. For me, true confidence is when an artist can sit with minimal accompaniment and still move an audience purely through voice and expression.

• Music often preserves memories—are there any songs of yours that feel especially personal or close to your heart?

My childhood songs remain deeply special to me because they carry memories of innocence and early recognition. Babula Ve Le Jayen Na Log Mujh Ko is particularly close to my heart because of its emotional depth and the way people still connect with it today. But with age, my relationship with music has changed. I’ve gradually moved away from lighter songs and towards serious poetry and classical expression. Life experiences, struggles and maturity naturally change your emotional landscape. As you grow older, you begin to connect more with music that reflects real emotions and deeper truths.

• When did your classical music journey begin?

My formal classical training began in the early 1990s after my son was born. That journey completely transformed my understanding of music. Classical music is an ocean — even after nearly twenty years of training, I feel like a student. I learned only a handful of ragas properly because true classical training requires immense patience, discipline and surrender. Sadly, my teacher passed away a few years ago, but I continue revising and practising everything he taught me. Classical music taught me humility more than anything else. At the same time, music was never my sole source of income. I studied Montessori education, ran my own school and later began working with an organisation associated with Hameed Haroon that supports women through vocational training. Helping women learn skills and regain confidence has been deeply fulfilling. Music and social work have always gone hand in hand for me.

1. Your sing-along music gathering is very popular. Can you elaborate on it?

The sing-along sessions actually began with my mother after her retirement from the Pakistan American Cultural Center, where she used to teach music. When she retired, I offered my school space for these gatherings, and slowly it grew from a few people to over a hundred participants. What we do is not formal teaching — it is more like music therapy. People come together to sing in chorus form, relax, laugh and emotionally unwind. Some participants don’t even sing; they simply sit, listen and enjoy the atmosphere. For those two hours, people forget stress and loneliness. I’ve seen how healing music can be. Across the world, music is used therapeutically because it brings calm, joy and emotional release. That is exactly what these gatherings aim to create — a safe, warm and happy space.

1. You have such an extraordinary relationship with your mother. Can you tell us about that?

I truly believe I was blessed with extraordinary parents. They encouraged us in every aspect of life — academics, sports, music, swimming, athletics — everything. My father was extremely broad-minded and supportive, while my mother balanced that with and discipline.

My relationship with my mother is built on deep understanding and companionship. We can communicate without words, simply through expressions sometimes. We can sit together for hours in complete comfort even when silent. We share many of the same interests and genuinely enjoy each other’s company. She protected and guided me throughout my career. Even when I was young and performing, she accompanied me everywhere. Because of that upbringing, I never allowed fame to overpower my sense of self. My parents constantly reminded me to stay humble and grounded. Whatever I am today, I owe greatly to them — especially to my mother.

1. After such a rich and enduring career, what does music mean to you today—and what legacy do you hope to leave behind?

Music has been a deeply enriching and heartwarming segment of my life, but I still consider myself a student rather than someone leaving behind a grand legacy. If I have contributed anything, perhaps it is through working with children, sharing little songs with meaningful messages and helping people emotionally through music. Despite not chasing stardom aggressively, Allah gave me immense love and recognition, and for that I am grateful. I feel content knowing I stayed true to my responsibilities, my values and my music.

The post Spanning Forty Years of Music – Afshan Ahmed appeared first on Glam Magazine.

From a household steeped in music to the bright lights of Coke Studio and Pakistan Idol, Simal Nafees is carving her own identity in Pakistan’s music scene. Born into a renowned musical family, she has navigated expectations, creative challenges, and the pressures of public performance to emerge as a singer with a distinctive voice and artistic integrity. In this interview, Simal reflects on her journey, her inspirations, and the milestones that have shaped her growth as a performer and as an artist.

Q1. How did music become your calling and which people, sounds or cultural influences shaped your desire to become a singer?

I come from a strong musical lineage. My grandfather, Ustaad Fateh Ali Khan, was a highly respected sitar maestro of the subcontinent who devoted his life to music, and my father continued that legacy. Music was innate for me, a part of my upbringing. I grew up seeing my father practise the sitar in the drawing room, and we would listen and absorb it as children.

My mother also played a significant role. At home, she would play legends such as Iqbal Bano, Malika Pukhraj, Farida Khanum and Mehdi Hassan, along with Indian greats like Lata Mangeshkar and Asha Bhosle. Music was always playing in the background; it became inseparable from our lives. At the same time, my father exposed us to Western music — jazz, Whitney Houston, Mariah Carey and ABBA. I vividly remember him playing Dancing Queen and I Have Nothing, completely immersed in the experience. Watching his passion shaped my own connection to music.

Q2. What challenges have you faced in your musical journey so far, creatively, professionally and personally? How do you stay motivated and grounded when navigating them?

Creatively, my main challenge was discovering my own musical identity. I grew up with very strong influences from my parents, so when I began exploring genres such as pop, Western music and even rap in my early teens, it took time to understand what truly resonated with me. I also had to balance music with academics, as my education was always prioritised, which meant there was a period when I stepped away from formal musical training.

Professionally, the greatest challenge has been establishing my own identity while being known as my father’s daughter. I am incredibly proud of him, but that comes with immense responsibility and high expectations. I often felt there was no room for mistakes, whether in my performance or personal conduct. Creating my own space in the industry required resilience and self-belief.

Personally, stepping out of his shadow was important. As the eldest daughter, I was raised in a protective environment. Moving to Islamabad alone for my A-Levels helped me gain independence, confidence and clarity about who I am — both as a person and as an artist.

Q3. How would you describe your artistic identity and are there particular themes or stories that consistently shape your voice and style?

My artistic identity is rooted in sincerity and intention. For me, music is sacred — it is not something I pursue purely to earn money. I am educated, I work full-time, and I hold a Bachelor’s degree in Filmmaking from an institution affiliated with Collège de Paris. My profession provides financial stability, which allows me the freedom to approach music with integrity rather than compulsion. I never want to reach a point where I accept a concert solely for financial reasons and end up performing songs that do not resonate with me.

To me, good music is music that I genuinely enjoy and can share with others in a respectful environment. While I have great respect for those who earn their livelihood through music, I have consciously chosen to keep my relationship with it personal and meaningful. An experience in my teenage years shaped this perspective profoundly. After performing at Coke Studio in 2016 at the age of sixteen, I received several opportunities, including international concerts. At one particular event, I realised that the audience was disengaged, and some individuals behaved inappropriately while I was performing. I was very young, and standing on stage, I felt deeply uncomfortable and disheartened. It made me question whether I wanted to place myself in situations where my craft was not respected.

For a while, I withdrew and became more reserved. However, that experience clarified something important: I never want financial pressure or public validation to dictate my art. Music, for me, is an escape, a source of joy and expression. I want to protect that purity. That philosophy continues to shape my voice, my choices and the kind of spaces in which I choose to perform.

Q4. You’ve released music that resonates emotionally with listeners. Which milestones in your musical journey feel most meaningful to you so far?

I have released several songs and collaborated with artists such as Arshad Mehmood sahib, but for me, milestones are often personal moments of validation rather than grand achievements. One of the most meaningful was performing with the late Zia Mohyeddin sahib, who was known for his high standards. I was only eighteen, and when he expressed his approval of my performance, it meant a great deal to me. Another milestone — one I am still striving towards — is receiving open praise from my father. As my teacher, he is rigorous and rarely offers direct compliments, which perhaps keeps me grounded.

Performing on Coke Studio at sixteen was a major turning point, and more recently, receiving a standing ovation from Rahat Fateh Ali Khan on Pakistan Idol, along with his generous praise after my performance of a Noor Jehan classic, felt like a truly defining moment in my journey.

Q5. What motivated you to audition for Pakistan Idol and how did standing on that stage change your perspective on your music, and growth as a performer?

Auditioning for Pakistan Idol was a turning point in my life. Initially, I didn’t even think I would make it past the first round. At the Arts Council audition I saw so many incredibly talented singers, and I felt nervous — not just about the competition, but also about proving that my opportunities were earned through my own efforts, not just because I am my father’s daughter. I was dealing with imposter syndrome, questioning whether people genuinely appreciated my talent.

The decision to audition actually came the night before. My mother was my biggest motivator; she reminded me that there is no age limit for dreams and encouraged me to just go for it. I was 25 at the time and worried I might be too old or outshone by younger singers, but her support gave me the courage to take that step.

Even though I didn’t make the top 16, the response to my audition was overwhelming. I received thousands of messages and comments praising my voice, which completely shifted my perspective. For the first time, I truly believed in my craft and felt validated as an artist. That experience gave me confidence, ended much of my self-consciousness, and marked a significant moment of growth as a performer.

Q6. Reality shows can be high pressure. How did you manage nerves, expectations and the public spotlight while staying true to your voice?

Reality shows are definitely high pressure — from choosing the right song to thinking about what will appeal to the public. For me, though, the focus was never on pleasing everyone; it was about performing what I could do well and what I truly connected with.

For my first performance, I chose Tum Sung Naina Lage by Rubina Badar, a relatively unknown song for today’s generation. I felt a deep connection to it, and that connection allowed me to perform confidently and authentically. The audience responded positively, and the song even gained renewed popularity online after my audition. That experience reinforced my approach: focus on what I do best, stay true to my artistic choices, and enjoy the process. That’s how I managed nerves and stayed grounded in the spotlight.

Q7.  Has audience reaction ever influenced or changed the way you think about a piece you created or performed?

Yes, especially when I was younger. After performing on Coke Studio, my sister and I toured with our girl band, opening for Junoon in North America, Dubai and the UK — including a performance at Wembley Stadium. I was overwhelmed just knowing I would perform there, imagining all the artists who had graced that stage before me. During those tours, we often chose songs that would energise the audience — songs people could dance to, like Jugni — to hype up the crowd before Junoon came on. It was exciting and fun, and I enjoyed sharing the stage with my band and the audience.

Now, however, my perspective has shifted. I prefer to perform music that I genuinely enjoy, rather than trying to please the crowd. If that means the audience is smaller, I am okay with it. My connection to the music comes first.

Q8. Apart from singing and performing, are you involved in any songwriting, collaborations or creative projects that you’re especially excited about?

I’m very excited about my music and collaborations. Working with Arshad Mehmood and my father, for example, is always inspiring because of the technical depth and the legendary experience they bring. I’m also part of an initiative called Voice of World, led by singer Samra Khan, where I have the opportunity to work with incredibly talented young women. I hope to collaborate with many of them in the future. Beyond collaborations, I’m focused on my own original music and developing new material. I’m open to creative projects of all kinds, and I’m excited for what the future holds.

Q9. When you look back from where you began and where you are today, what stands out most to you? 

What stands out most is coming into my own and being recognised for my talent, not just as my father’s daughter. It took a long time to step out of that shadow, and reaching this point — where people believe in me and my work — feels incredibly rewarding. I also feel proud that this journey has paved the way for my sisters, who are musicians as well. Seeing them have opportunities and thinking about how I can collaborate with them excites me for the future.

Another significant shift has been in the perception of our extended family. Initially, there were doubts about women pursuing music, but now I feel respected and supported for the work I do. That acceptance, along with being able to protect my artistic integrity, makes me proud of how far we’ve come.

The post Soaring with the Musical Notes – Simal Nafees appeared first on Glam Magazine.

Now, as digital waves replace cassette decks and TikTok trends redefine hits, Faakhir continues making melodies and staying true to what first pulled him into music. “Honestly, it feels like riding a wild musical roller coaster,” he smiles, reflecting on his journey. From engineering classrooms to global stages, the transformation has been surreal. “I barely recognize the engineer-turned-musician in old pics!”

Faakhir’s musical career first took flight with Awaz, the iconic ’90s pop band that helped shape the sound of a generation. And while the band has long disbanded, the memories remain golden. “What I miss the most is the friendship, the chaos,” he says fondly. “Haroon’s energy, Asad’s stratocaster riffs, my frantic keyboard noodling… and those epic moments when we’d finally agree on a final version of a song. It was electric.”

From those jam-packed, impromptu sessions to today’s meticulous studio marathons, Faakhir’s process has evolved with time but the same heart remains. “Back then, we’d jam until someone had to escape for a date,” he laughs. “Now it’s long hours in the studio, powered by karak chai or a strong Americano.”

While his discography is filled with iconic hits, it’s ‘Kaash Hum Juda na Hotay’ from the album Mantra that holds the deepest place in his heart.“It came from a very personal space,” he shares quietly. “It still gives me goosebumps every time I hear or sing it.” His breakout solo anthem, “Dil na Lagay Pakistan”, still stirs hearts across the country—something he says was born out of youthful hope and a desire to connect with the nation. “I wanted to give people a proud, emotional wake-up call for loving the country. It just came in my heart one day.”

And who could forget ‘Mahi Ve’—the song that became a cultural reset? “Ironically,” he chuckles, “that melody was actually a rejected jingle from an ad I did. Later, I turned it into a full-fledged song. Never thought it would become a classic!”

A man of many hats—composer, singer, director—what role does he enjoy the most? “Composing,” he answers instantly. “It’s like cooking a fusion dish. But performing live? That’s the ultimate high. That energy, that crowd—it’s addictive.” Despite the quieter public presence in recent years, Faakhir’s creativity hasn’t slowed down. “I’m always composing,” he reveals. “I have tons of unreleased material sitting in my vault.”

Still, he admits the changing tides of the music industry have been a lot to keep up with. “Streaming, social media, TikTok—it’s overwhelming,” he says honestly. “I desperately need someone to help me with that part!” He credits Coke Studio for keeping local music alive and ever-evolving. “It’s like a chemistry lab,” he says. “Taking old, new, folk, pop—mixing it all together to create something that resonates with everyone. It’s genius.”

To young musicians trying to find their voice in this fast-paced world, his advice is delightfully simple,“Stay weird. That’s your flavour,” he says. “Learn the tools, sure, but don’t let them erase your creative spark.”

Behind the scenes, Faakhir still surprises fans. Did you know he’s a certified electrical engineer? “Yes, I can probably fix your Wi-Fi router,” he jokes, “but only after I’ve tuned a piano.”

As for what’s next, the composer hints at a few exciting collaborations. “They’re brewing,” he says with a mischievous grin, “but I’m so lazy! Fingers crossed.”

If he could give his younger self any advice? “Pace yourself. Don’t be lazy, don’t get too comfortable.”

And what does success look like to Faakhir Mehmood in 2025? He smiles thoughtfully. “A peaceful home, a cup of karak chai, a melody on the keys… and knowing that someone out there still hums one of my songs and understands the heart behind it.”

In the end, how does he want to be remembered—not just as a musician, but as Faakhir? He answers simply, without pause, “As someone genuine, generous, kind-hearted… and who truly loved his craft.”

The post Faakhir Mehmood – Music Embedded in the Soul appeared first on Glam Magazine.

Under the mentorship of Intezar Hussain at NAPA, Rafay’s talent blossomed. “Sir Intezar was more than a teacher, he was a mentor who pushed me to explore, innovate and perfect my craft,” Rafay shares. This guidance not only honed his classical roots but also introduced him to the nuances of stage performance and vocal versatility.

At just 13, Rafay’s win at the Youth Festival, competing against seasoned vocalists proved his mettle. “That moment was surreal,” he recalls. “It was a validation of my hard work and the first major milestone in my life.” The nation’s interest for Rafay deepened during his stint as a finalist on Pakistan Idol. His soulful performances captivated millions, propelling him onto international stages and into the hearts of fans across continents. “Pakistan Idol was a game-changer,” Rafay says. “It opened doors I hadn’t even dreamed of.”

In 2019, Rafay’s contributions to patriotic music earned him the prestigious Pakistan Peace Award from the Air Force. “It was an honour to be recognized for something that resonates so deeply with me—using my voice to uplift and unite.” Sharing the stage with legends like Abida Parveen, Ali Zafar and Sonu Nigam has been another feather in Rafay’s cap. “Sonu Nigam’s humility left a lasting impression on me. It’s these experiences that fuel my passion to keep growing and learning,” Rafay reflects.

Rafay’s discography is as impressive as his journey. From the heartfelt Na Hone Du Juda for B4U Music in India, to the soulful Woh Pyar Tha for Bol Beats, his voice has resonated across borders. His song Piyaaa with Laal Series showcases his versatility, while the patriotic Khaak Ki Qasam stirs national pride. Rafay has also lent his voice to popular OSTs like Apne Hei Tu Hain for Green Entertainment and Main Hun Kahani for Express Entertainment, cementing his place in the hearts of drama enthusiasts. His musical style is a blend of classical rigour and contemporary flair, drawing inspiration from artists like Arijit Singh. “Classical music is my foundation, but I enjoy experimenting with genres, always staying true to the essence of each.”

His journey hasn’t been without challenges. Navigating the music industry without connections has been tough, but Rafay’s resilience remains unshaken. “I focus on improving my craft, believing that opportunities will come when the time is right.” Looking ahead, Rafay is excited about upcoming projects, including original soundtracks and collaborations. “I’m also keen on exploring international collaborations. Music is a universal language, and I want to use it to bridge cultures and connect people.” For young, aspiring singers, Rafay’s advice is: “Stay true to yourself, work hard, be humble, and let your authenticity shine through. Success will follow.”

Reflecting on his journey, Rafay cherishes every moment, especially those with his mother, his unwavering supporter. “Her belief in me is the cornerstone of my success,” he says. As Rafay continues to enchant audiences with his soulful voice and heartfelt performances, his legacy of authenticity, passion and perseverance is one that will inspire generations to come.

The post Abdul Rafay: A Voice with a Soul   appeared first on Glam Magazine.

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.

The post Carving His Own Niche appeared first on Glam Magazine.

In the world of Pakistani music, where each voice brings its own shade of emotion and storytelling, at just age nineteen Ayat has carved a place for herself as a soulful and introspective artist, blending emotion and depth into every note she sings. Her journey began at the tender age of eight, singing in school tableaux and the audience’s applause sparked her love for music. Her family’s unwavering support and their encouragement nurtured her passion and what started as a child’s love for singing transformed over time into a deep-rooted dedication to her talent. Today, Ayat is known for her private gigs, concerts and studio projects each one a testament to her dedication and talent.

Ayat’s first major breakthrough came a year back with her rendition of ‘Mora Saiyaan’ for the film ‘Teri Meri Kahaniyaan.’ “The film had three different stories, and my song was part of the second one, a story about a singer. Watching that scene on the big screen with my family, knowing it was my voice, was surreal. I felt butterflies in my stomach, and I even teared up out of happiness. It was a moment of pride and emotion,” she recalls. One of her most challenging experiences with ‘Mora Saiyaan,’ was singing in Punjabi as it wasn’t her native tongue. With guidance from her father and music director Jawad Hyder, she overcame the language barrier, mastering the song in just two hours. This accomplishment solidified her belief that with passion and determination, no obstacle is insurmountable. Emotion, she believes, is a critical component in music, especially in songs that accompany powerful narratives. Ayat acknowledges that it’s an ongoing journey of learning, committed to improving at every step. She approaches each project with openness, learning to communicate the right emotions with every performance.

For Ayat, succeeding in Pakistan’s music industry requires more than just vocal talent. Quick memorization and the ability to adapt melodies are qualities she views as essential, and she’s diligently working to hone these skills. Her musical identity, however, is rooted in a more soulful, relaxed style, contrasting with the energetic ‘dhoom-dharaka’ music often popular in the industry. “I resonate most with slower, relaxing music,” she says, emphasizing her love for calm and soothing melodies. As a fan of soulful melodies, she finds inspiration in the unique style of her favourite singer, Sunidhi Chauhan, whose voice she deeply admires. One song holds a special place in her heart—Lae Dooba by Sunidhi Chauhan, which she has re-sung. Ayat admits that she doesn’t always enjoy hearing her recorded voice, a common sentiment among artists, but she accepts it as part of her growth journey.

Criticism, especially in the digital age, is something she navigates with grace. Ayat keeps her focus on positivity, avoiding the distractions of hateful comments that could detract from her growth. In this era of digital transformation, platforms like YouTube have opened up new avenues for artists, and the young singer has embraced this change, recently launching her own channel. She views digital platforms as a bridge, connecting artists directly with their audience and offering invaluable exposure.

Looking ahead, Ayat has set her sights on one of Pakistan’s most celebrated platforms: Coke Studio. Performing there is a dream, a goal she hopes to achieve as she continues to develop her artistry. Behind the scenes, she keeps her voice in top condition with a dedicated regimen of vocal exercises—sargams, paltay, and samraags—practiced diligently each morning and night.

Reflecting on the industry she loves, Ayat expresses a desire to see a more merit-based environment. “I’d want to address nepotism,” she says, advocating for equal opportunities for all artists based on talent alone.

In a landscape rich with evolving sounds and stories, Ayat is a breath of fresh air, a singer with a heartfelt commitment to her craft and a vision for the future. Through each note she brings a touch of soul, creating a unique place for herself in the world of Pakistani music.

The post A Passion for Melody: Ayat Sheikh appeared first on Glam Magazine.

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.  

The post Wajhi Farooki: The Melody Maker appeared first on Glam Magazine.