Coke Studio is as much a part of Pakistan’smillennial pop culture as Charlies’ Angels were of the ’70s’ America – musically flirtatious and an icon in the absence of better. After Rohail Hyatt called it quits, many were wary of Coke Studio’s development in the realm of music, for over years – minus season 5 and 6 that were deemed as lackluster and forgettable – it had been a life jacket for the country’s struggling music industry.
Season 7 was a mixed bag of sorts with Strings testing waters whilst trying to retain the show’s signature beat. Criticism was both welcome and unwelcome; Rohail’s loyalists seemed to find solace in nitpicking on quality and substance over sound. However, cashing in on the Independence fervour with a refreshing take on ‘Sohni Dharti’ and an invigorating first episode, Season 8 took off, this
weekend, with incredible fanfare.
As the curtains roll out, Instep sets on to form a new tradition in line with social media’s love for all things viral and handpicks the star of each episode. This week it’s none other than Atif Aslam.
Striking in his ease with a qawwali as evocative as ‘Tajdaar-e- Haram’ and disarming in the simplicity of his vocal prowess, Atif pulls out a rare gem from his musical wealth. As he breezes through the encomium, it is incredible to witness the string section merge so beautifully with the subtle rawness of Atif’s voice.
Babar Ali Khanna’s tabla and Arsalan Rabbani’s harmonium move in perfect harmony with the vocals to give listeners a melodious spell that is enriching for the soul and evokes a sense of self-
entitlement.
No wonder the song has attracted over 1.6 million views in three days on Facebook alone. Of course, it is only natural for one to draw comparisons with the original and naysayers have been in full swing but to compare Atif with the maestro Ghulam Farid Sabri will be nothing but foolish and unreasonable.
There are moments when the music overpowers the vocals but despite minor fluctuations in arrangement, everything seems to be working in tandem. Yes, the original is a work of art but the cover is a welcome reminder of history. If one cannot forget the serenity and divinity of Ghulam Farid Sabri, one will perhaps also not forget Atif’s soul-stirring contemporary version.
