In episode seven, Abida Parveen delivered like always, Abrar ul Haq’s presence felt questionable, Shuja Haider sounded like his usual self and Khumariyaan changed the game.
Coke Studio 11, co-produced for the first time by Ali Hamza and Zohaib Kazi, after Strings (7-10) and Rohail Hyatt (1-6), has gotten a lot of things right, beginning from introducing the Coke Studio Explorer module this year to giving deserving artists a chance to make their debut to bringing back bands to the music series. One of those acts is instrumental-folk music group Khumariyaan who appeared on the show this season for the very first time.
Instrumental they may be but Khumariyaan is one of the best bands to emerge out of Pakistan in recent years. After making their debut with ‘Rasha Mama’ alongside the great Zarsanga and Gul Panrra, the three collectively representing the various traditions of music of KPK, the band returned to the show with a solo performance with a song called ‘Ya Qurban’ with (minimal) traditional folk lyrics and a composition that can be credited to the band.
It’s is a beautiful, transcending performance that builds and looks even more beautiful as Sparlay Rawail and Aamir Shafiq from the band start dancing in traditional folk style. The presence of the house-band and backing vocalists gives the song a gorgeous layer. The sehtar and rubab, alongside modern instruments, by the end creates a fantastic frenzy of sorts. It’s a performance with palpable character, the kind that stays in memory and easily steals the show from others who appear on the same episode.
A case in point: Abrar ul Haq. His very presence feels questionable in a season that has - through the music it has released – created a debate on diversity, gender, minorities, multi-culturism, harmony, unity and empowerment. Therefore, its invitation to a gentleman who has spouted anti-minority views is a bit of a paradox, an oxymoron that brings down the overall achievement of the season. As for Abrar ul Haq’s song, like all seasons, this one too has elements of commercialism. Haq’s track, ‘Ballay Ballay’, a duet with Aima Baig is just that. A mash-up of wedding songs, it’s for Abrar fans or Aima Baig fans because the partially funky music still means listening to the entire song. It is also for people planning mehndis. Beyond that, I don’t see much value for it.
Shuja Haider’s ‘Jind Mahiya’, which he has composed and written the lyrics for, is a toss-up. Musically, it’s certainly an experiment for the experienced musician but his lyrics don’t match the level of the structure of the song. This, to be honest, sounds a little like a song featured in one of our post-revival films.
Abida Parveen, a giant, a living legend who needs no introduction, and who has appeared on the show multiple times, is the rescue element after these two songs. This time around, she returns with ‘Balaghal Ula Be Kamalihi’, a kalaam in Arabic/Persian/Urdu in praise of the Prophet (P.B.U.H.). Her performance brought an element of spiritual grace to the episode. The house-band deserves a round of applause here for having provided her with a great musical layer that included restraint and respect that translated into their playing as well.
Overall, it remained a mixed episode where Abida Parveen and Khumariyaan ultimately emerged as the most memorable performers with the latter taking the top spot, given the fact that it’s their first year on Coke Studio and they know not only know how to make beautiful music but they can do it in a mostly-instrumental track format, which can be an intimidating task to pull off on a platform as high profile and debated upon as Coke Studio.
-Photography by
Insiya Syed
