Sweet Dreams (Are Made of This)

Guts and glory

Expectations for the third season of Velo Sound Station were sky-high. We expected this show to be different, primarily because it launched as the antithesis to Coke Studio—and every other branded or indie music platform.

If the past two seasons promised anything, it was simply the potential Velo Sound Station had.

When it became clear that Bilal Lashari would helm the series as its director, our expectations soared.

Lashari knows what it means to reinvent. He took our long-held disdain for films featuring gandasa-wielding heroes and redefined it through his reinterpretation of iconic character like Maula Jatt—delivering a film that was not only a box office success but also a symbol of hope. It proved that Pakistani cinema, at its best, can be larger than life and live up to expectations—and even surpass them.

With Velo Sound Station, Bilal Lashari has once again proven that he is an auteur who can tell stories across formats—even music videos that feature a diverse array of artists.

‘Shayar’ – Faris Shafi and Zain & Zohaib

To match the power of a rapper who refuses to tone down his lyrical ingenuity, Velo Sound Station doubled down on Faris Shafi’s talent. They paired him with the unassuming but deeply soulful qawwals, Zain and Zohaib. The sonic result is not one where artists are trying to outdo each other, trampling on their distinct styles of music. Rather it’s a masterful interplay of distinct sonic traditions. The ferocious power of Faris Shafi is beautifully balanced by the grace of the qawwals.

The video and audio are seamlessly linked, as if the song was written for the video—and vice versa. Faris begins the song slowly—unlike his other songs—walking through a crowd that looks at him as though he’s a messiah. This moment is the music video’s nod to his growing star power. Zain and Zohaib don’t overdo their part. But make no mistake, their performance is essential, never overbearing. They are graceful with each word, and they lend the song a different authority. It shows that when artists are doing what they are comfortable with, they can forge new alliances and tap into each other’s respective audiences.

This isn’t a dance video, but there is choreography employed. With it, Faris Shafi moves before taking the stage and asking listeners to abandon their worries. One cinematic moment that elevates this video is when Faris raps with blazing speed and intent. In doing so, he vanquishes (not kidding) a figure in black. Who that figure is—well, you’ll have to watch the music video and find out.

At a time when rap music is being dismissed by seasoned veterans with some saying music in Pakistan is slipping and losing its edge—‘Shayar’ is the perfect reminder that rap isn’t going anywhere—and its favourite son is leading it forward.

‘Dil Ruba’ – Hasan Raheem and Annural Khalid

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‘Dil Ruba’ is both a sonic and visual love story. It is sweet but it never goes over the top. As a composition, ‘Dil Ruba’ isn’t overtly experimental—and that is exactly why it works. It has lasting value because the artists have written the lyrics and understand the intricacy of the song. Both performers immerse themselves fully in Lashari’s imaginative vision.

A flying rickshaw. A public space where girls and women feel unsafe. An inventor’s dream gone awry. A lot can be said about the music video, but you have to watch it for the experience.

Sweet Dreams (Are Made of This)

‘Dil Ruba’ is an important song for Velo Sound Station’s third season (and yes, it’s a lovely song). For one thing, even with all of its ideas, it remains grounded in the real world. For another, it is not engineered to provoke a flash mob. It’s a slow, melodic story, so everything that happens has a purpose. A heartache is embedded within the lyrics, and while the tone does shift, it takes its time. ‘Dil Ruba’ is a young person’s emotional story told from that perspective. Younger musicians are important for an industry’s growth and future prospects. In this sense, both Annural Khalid and Hasan Raheem serve this space.

For Annural, this is a major moment in her career after ‘Jhol’. For Hasan—the boy who rose to the spotlight while singing in a pink hoodie on the street—this is a homecoming. It’s a departure from his earlier work, and he has a strong discography. It’s also a 360-degree turn when compared to his past appearance in the mammoth show that is Coke Studio. He remains relatable. A music video is at its best when it serves as a vehicle to highlight an artist. It should also reflect what they want to say. ‘Dil Ruba’ does just that while employing a narrative that is sweet, original and impactful. More than that, it gives Annural and Hasan a platform to show their strengths. While they may belong to a different generation, they shouldn’t be underestimated.

The song is branded—but there’s a harmony and intimacy to it that can’t be taken away.

‘Gila’– Shae Gill and

Abdul Hannan

Shae Gill made a splash with ‘Pasoori’—her collaboration with Ali Sethi on Coke Studio 14—that was heard around the world. But because ‘Pasoori’ was such a success, every song she’s released since has been inevitably measured against that breakout hit.

As an artist, to break away from such a narrative is not easy. Perhaps, it is for this reason that, as a visual tale, ‘Gila’ is so far removed from ‘Pasoori’. It allows listeners to reframe Shae Gill as an artist capable of singing all kinds of songs and confounding expectations.

Pairing her with Abdul Hannan was a good idea. He is his own artist and has released enough songs to chart a musical trajectory worth following. Together, they have created a song that feels anti-‘Pasoori’.

This is also where Bilal Lashari surprises us—injecting fun into the equation. The video is playful and modern: the choreography is contemporary, as is the wardrobe and cinematography. As a song, ‘Gila’ is enjoyable, even though they are singing about an emotional push and pull. It may not be groundbreaking, but it isn’t a glaring misstep either.

Think of it as the song you play while stuck in traffic—it reminds you that we need to be carefree. Not every moment needs to be carefully planned, and life doesn’t have to be so serious.

‘Gila’ is sung not by two melancholy artists under a storm. Instead, it’s delivered by two performers whose chemistry and playful rapport are the highlight of the video.

The choreography is not as strict as a dance number. There’s no jaded moment. And when Shae Gill dances on top of a table, it’s a moment that lingers.

Abdul Hannan has not done something like this before. A thoughtful artist, he’s the yin to her yang, yielding to Lashari’s vision with grace. And the result is an eye-popping music video with a head-bopping song. This song in no way compromises either artist’s identity—it builds them up. They can do a lot more than what we expect from them. And that, in itself, is a success.