kanjar & # 39; and & # 39; mirasi & # 39 ;, in the vernacular & # 39; performer & # 39; and & # 39; singer & # 39; & # 39; are considered the highest level of insults.

It is quite fashionable today to refer to the 90s and the early 2000's as times with a highlight in music and its performances.

Political situations and the inevitable social and cultural shifts that follow have greatly changed the musical landscape. The recent wave of underground gigs and live concerts that covered Pakistan in the early 2000s suddenly disappeared between Pakistan's major turmoil, throughout 2007. Terrorism grew, became more frequent and threatening, and the advocacy movement; a harsh reaction to the undemocratic actions of Musharraf created a political gap on a scale that has not been observed in Pakistan in the previous eight years.

In a country where basic safety and survival were suddenly threatened enormously, everything else became secondary.

& # 39; Ye Hum Nahin & # 39; was resurrected in 2007 as a hymn against terrorism, distancing Pakistani citizens from terrorist actions in a world where such a distinction was often seen as invisible

It featured Haroon, Hadiqa Kiyani, Ali Haider, Shafqat Amanat Ali, Ali Zafar, Strings, Deeyah and Shuja Haider and served as a consolation for Pakistan at a time when it was pariahed at international level

Music channels began to disappear in this age when art naturally had no priority. Those who still prevailed played Indian content in response to the sudden, sudden local music. Record labels were already anachronistic, keeping concerts was inconceivable and internet piracy rose to the limit.

It seemed that the music industry in Pakistan in his & # 39; death throes & # 39; wrong.

Until Coke Studio, directed by Rohail Hyatt in 2008, resurrected Pakistani music. It is factually and ideologically incorrect to attribute this act of resurrection to Coke Studio alone, but it did play an important role in bringing the music industry to life, despite the cold claws of business motive that lagged behind.

It played on polarity and disagreement and used it as a sphere for musical harmony. Coke Studio is known today for its Sufi Rock, Classical Grunge, Pop Folk fusions with Ali Azmat and Attaullah Esakhelvi sharing the same stage, as do Meesha Shafi and Arif Lohar, although they differ greatly in musical genre, tone and rhythm. It challenged Puritan ideas with regard to music and succeeded in bringing together a larger and larger audience than ever before.

After the success of Coke Studio, music shows became the new craze.

Umer Khan of Poor Rich Boy sings more intelligently in a milder tone. You can hardly imagine how you & # 39; understandably & # 39; could sing, but Umer Khan does the unimaginable. Sameer Ahmed plays the bass guitar for the band and during a live performance in 2017 I was totally scared of his intensity. Stealing the show from a forgotten corner on a forgotten bass is an art in itself.

The lyrics for the music of PRB are almost always a treat.

Umer Khan believes that his & # 39; songwriting ability is not quite where my ideas are. So much is lost in the translation & # 39; which perhaps gives his music a strange unique authenticity.

Ali Suhail, Janoobi Khargosh, Khumariyan, Shajie, Red Blood Cat, Keeray Makorray, Lyari Underground, Slowspin and Sounds of Kolachi are alone a few names in an emerging music scene that is huge, infinitely diverse and evolving.

The problem lies not in the existence of music, but in its dissemination.

In his entry. In his audience. With a total shortage of record companies and record companies, artists are challenged more and more. Independent musicians face different challenges than their commercial counterparts, with solo acts of handling their own promotions, financing and distribution at a time when credit is rarely given to artists and the internet does not allow the trend to pay for art . Moreover, with a lengthy YouTube ban, accessibility and promotion became even more difficult.

Music festivals like the Lahore Music Meet and Storm in a teacup are therefore absolutely essential.

Bands and artists then realize that they do not have to depend on corporate sponsors for their continuity. When viewers are inclined to pay for shows and performances, they are no longer used by gigs. Instead, musicians are authorized; to perform strictly as the point of music should be, and not to be consumed by distribution and production. According to Mekal Hassan music festivals can do what nothing else can do with the institutionalization of a music industry in Pakistan & # 39;

The music industry has undeniably changed. It is hardly consistent with what it was decades ago. But another music scene should not be translated to a lesser one. The cynicism here is synonymous with ignorance. Perhaps more acceptance and attention is all that is needed to bridge the gap between music and recognition.

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cover image via SoundCloud