Arijit Singh to feature on Ed Sheeran's new album
Listen to article
Global pop star Ed Sheeran has revealed that Indian singer Arijit Singh will feature on a track in his upcoming album, sending fans worldwide into a frenzy of excitement.
In an interview with Heart Radio, the British singer-songwriter confirmed the collaboration, which had remained a closely guarded secret until now.
'I worked a lot with this Indian singer Arijit Singh, who is really good and really wonderful,' Sheeran said. 'He basically lives in the middle of nowhere in India. It's like a three-hour flight and a five-and-a-half-hour drive. I was in India with my dad. He was like, 'If you want the vocals, you'll have to come to me.''
The revelation follows Ed Sheeran's visit to India earlier this year as part of his Mathematics Tour. During the trip, he made a detour to Jiaganj, Arijit Singh's hometown in West Bengal, where the two artists reportedly recorded the track.
'It was like a pilgrimage with my dad,' Ed Sheeran said, reflecting on the journey. 'We travelled for almost an entire day to his village, and then he drove us around on mopeds. It was really a fun day.'
The collaboration has been widely celebrated on social media, with fans describing it as 'epic', 'historic', and 'Cant wait.'
Photo: ScreenGrab
The project marks Ed Sheeran's first time working with Singh, one of India's most beloved vocalists, known for his soulful and emotional delivery.
While the title and release date of the track remain under wraps, fans are already calling it one of the most anticipated cross-cultural collaborations in recent memory.
In February, Ed Sheeran was seen riding a scooter with Arijit Singh in his hometown. The video of the duo, with Ed Sheeran seated behind Arijit , quickly circulated on social media, gaining attention for its simplicity and casual nature.
The duo, along with a few friends, spent nearly five hours in Jiyanganj, followed by an hour-long boat ride on the Bhagirathi River.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Express Tribune
6 hours ago
- Express Tribune
Dept Q review: Scandi-noir with British flair
After a long wait, we have a cop thriller that will sweep you up in its twists and turns and keep you guessing about the suspect and criminal motive until the end. British crime TV is at its best in this new Netflix show starring Mathew Goode. You will be reminded that it has indeed been a long time since Line of Duty popped the reeling reveal of the identity of H, the elusive suspect of the series. Some are likening Dept Q to Broadchurch, a classic crime TV where two British detectives investigated the dramatic case of a missing boy in a coastal town. Basically, the new show created by Scott Frank (The Queen's Gambit) and Chandni Lakhani will not disappoint. Based on a Danish novel by Jussi Adler-Olsen, the creator has set the show in Scotland instead of the original location but the feel of the series keeps true to Scandi noir. The eponymous department is a cold-case division, newly thrown together in the dank basement of the Edinburgh police station. Detective Carl Morck has returned from Q hiatus after being shot at a crime scene he was investigating along with his partner James Hardy. Carl cares for no one and nothing now, it seems, but is nearly devoted to checking up on his friend James who is paralysed as result of the shooting. A motley crew is thrown together for Carl to reluctantly work with, it includes a Syrian ex-cop immigrant Akram, Detective Constable Rose Dickson who has worked with Carl before, and lastly James who dives into the case files in his hospital bed. Akram digs up a file on a missing woman who was a successful prosecutor before she vanished from a boat four years ago. Her case is assumed a suicide but Akram notices it is riddled with inconsistencies. Soon you are strapped in for a ride as the ingredients that make up the case of Merrit Lingard fall open and the detectives start following its scent. Dept Q throws many surprises along the way and is punctuated with several scenes that check the boxes of skilful acting, thoughtful camera work and deft directing. Mathew Goode has shed the debonair looks of his notable roles to play Carl Morck. In Dept Q, his hair is not slicked back and he is not gliding in coat tails to woo a princess (Margaret in The Crown) or an aristocrat (Mary Crawley in Downton Abbey). As Carl Morck, he is gaunt, scruffy and searching for redemption. This is just what Goode and detective thriller addicts needed. Yes, he caught your eye being a suave and exciting eligible bachelor but as a bitter and alienated detective haunted by guilt and PTSD, he is magnetic. Carl and partner James Hardy investigate a crime scene and its fallout is something Carl cannot reckon with. A terribly unpleasant person to begin with, cocky and disdainful, Carl is also grappling with guilt and failure. Like all stock detective characters, he resists going for his mandatory psychiatric sessions to work through his PTSD. But viewers, and later Carl himself, will want to see more interaction with Dr Rachel Irving (Kelly Macdonald). Their verbal sparring is on point and she doesn't miss a chance to call him out as he deflects and scoffs at her and what she represents. The other woman in Carl's work life is perhaps even more direct and brutal in her verbal expression. Chief supervisor Moira (Kate Dickie) creates Dept Q to kill two birds with one stone. She needs more funds to run the station and she wants Carl to keep working but out of her hair. The scenes of her exchanges with Carl are a treat each and every time. In fact, the seasoned acting, which is scarce to behold – on Netflix shows at least – enable the viewer to keep refocusing on the show just as she means to whip Carl into refocusing on his case. There are a host of characters and suspects to consider in the case of Merrit's disappearance. As the investigating team traces the steps of Merrit, they uncover insidious people around her that could be the unusual suspects behind her kidnapping or even murder. Merrit's background, from her youth to the peak of her career, is painted as a story within a story. The execution is a triumph for the directors of the show. The numerous flashbacks do not erase your interest and the two story arcs are tightly interwoven. The kidnappers had devised a shocking plan for Merrit and a diabolical torture chamber. The series boasts a strong Scottish cast with the likes of Dickie and Mark Bonner who plays Merrit's dodgy boss as senior legal officer of the Scottish government. However, Alexej Manvelov who plays the role of Akram Salim holds as much onscreen presence with his gravitas. One looks forward to his scenes with Carl, who begrudgingly respects him as Akram's credibility speaks for itself. While Rose sort of brings heart to the team, being young and keen, she notices the good in her colleagues. She also is dealing with PTSD and simultaneously finding her ground as a detective. It's possible, if the series continues, that we will be familiarised with her backstory. The only 'sweet' relationship is hers and James Hardy's as she looks up to him as a mentor. Discreetly, James helps and encourages her. Played by Jamie Sives (you might recall him from GoT), although James is off the premises of the police station and bed bound, he is not at all forgotten in the nine part series. Although he works on the periphery for the team, in the closing scene, he has recovered enough to reach the office and join the department physically. The look on Carl's face as he slowly turns to see his friend arriving is as satisfying as the show is from the get go. It indicates that much is yet left to be explored by these brilliant detectives. The team may well be banished in the old shower quarters of the police building, but their real work is to discover the world out there. The gritty realism of Dept Q is matched by its aesthetic choices that elevate the show beyond the usual crime fare. The camera lingers deliberately on objects, on eyes, on small gestures that might otherwise be missed. Each visual clue feels loaded with meaning, even when the plot doesn't rush to explain it. These details reward patient viewing, especially as the narrative slowly unfurls its deeper preoccupations: justice, guilt, and the unknowability of others. The psychological depth of the show is perhaps most evident in the way it handles trauma. Everyone in Dept Q is carrying something. Carl's PTSD is front and centre, but Rose's anxiety and Akram's cultural displacement are also subtly woven in. None of this is over-explained. Instead, the show allows these tensions to manifest in offhand remarks, in silence, in the ways the team members do or do not show up for each other. Even Merrit herself, in the flashbacks, is revealed to have been haunted by earlier events. A past case she prosecuted, involving a serial offender who was released on appeal, emerges as a possible motive for revenge. As her timeline catches up to the moment of her disappearance, the tension is unbearable. The final two episodes, a crescendo of confrontation and resolution, are masterfully executed without leaning on melodrama. The reveal is chilling not just for who did it—but for how many knew and did nothing.
Express Tribune
6 hours ago
- Express Tribune
The fall of Bollywood's conscience
In the great theatre of the subcontinent, many roles are played. The diplomat with his pocket square, ever so cautious, so vary of his words; the journalist with his war drum baritone and breaking news ticker; the general adorned in ranks, with his maps, military insights and strategically placed metaphors. But perhaps the most watched performers, the ones that garner the most eyeballs, are the stars, the celebrities, the legends of celluloid — those silken, sculpted, social-media-verified wonders of Indian cinema, who, in times of tension, often hold more sway over the hearts of their fans than even actual heads of state. So, when the most recent diplomatic domino between Pakistan and India began to fall, sparked by a tragic incident in Kashmir and snowballing into a full-blown chest-thumping war mongering chaos, eyes obviously turned to the borders. For the latest updates and bulletins, eyes turned to the news. And for everything in between, they turned to mobile screens. While the news cycle monopolised missile updates and water cooler conversations stoked further trepidation, it was on social media, Facebook and Instagram pages, and Threads of the world that we witnessed, some with a shrug and others with resignation, a curtain fall. The fanfare of nationalist fervour is nothing new. We have seen it before — during surgical strikes, border standoffs, even high-stake cricket matches. But this time, it felt different. The air itself had a simmering quality to it. This time, it was the power corridors of Bollywood that stood in a staunch and ignoble salute. Fan favourite stars from the lauded Bollywood pantheon, like Akshay Kumar, whose recent filmography reads like a defence ministry-sponsored resume, wasted no time. His message was swift: unwavering support for the Indian response, patriotic hashtags, and a pixel-perfect picture of the tri-coloured flag. Quick on his heels was the ever-so-predictable Kangana Ranaut, Bollywood's resident Rottweiler of righteousness. Never known for subtlety, Ms Ranaut deemed it appropriate to post that Pakistan was a 'terrorist nation' and called for the 'cleansing' of traitors. 'These [insert PC term for insects known for their signature infestations and filth] should be nuked' she said. And in doing so India will actually be doing the entire world a huge favour. Even the usually discreet monoliths — Hrithik Roshan, Ajay Devgan, and Shahid Kapoor chimed in with near-identical messages support for the armed forces, for the government, for decisive action. A methodical barrage of copy-paste nationalism. Who would have thought that the modern face of digital diplomacy could be achieved in 280 characters or less? Citizens of a proud nation simply supporting their sovereign nation? That wasn't jarring really. Why would anyone assume otherwise? Why wouldn't the slumbering nationalism be kindled by the horns of war? But what truly unsettled fans, particularly across this side of the border, was how quickly this nuance petered out. And in that silence, there seemed to be no room for peace, no space for reflection. The world's biggest democracy was suddenly rendered to be nothing more than an echo chamber. Perhaps the most painful silence was from those who once told stories that made these very borders blur. Alia Bhatt, beloved on both sides of the Wagah gate, posted a vaguely-worded graphic: 'Strength. Solidarity. Resilience.' It was the PR version of nodding solemnly and exiting stage left. And then there was the illustrious Karan Johar whose popularity spikes are the bread and butter of the expat South Asian demographic (in its gargantuan entirety) posted an Indian flag. No caption, no context. Just 'vibes'. A hard one to reconcile was the bard of Bollywood, Javed Akhtar, also known as the poet of peace and author of anthems. The same man whose verses once melted hostility into harmony, proclaimed 'I'd rather go to jahannum (hell) than go to Pakistan'. Not a great commendation for his own nation in which he currently was, observed one keen eyed netizen. For Pakistani fans, this was nothing short of watching your favourite uncle suddenly flip the dining table during Eid lunch. Praise be, all was not lost. Amidst this morbid uniformity, a few voices of dissent also joined in on the chorus; one such unexpectedly (but most welcomingly) from Sonakshi Sinha. While others laced up their patriotic boots, she dared to 'run amok' on Instagram. 'The Indian media has lost the plot. This isn't journalism, it's dangerous fiction.' No flags. No warmongering. Not a battle cry. Just a slice of honesty. A whisper in fact. Of course, Ms Sinha was swiftly trolled, memed, accused of being 'anti-national,' and told to go to Pakistan (a favourite insult, it seems, for anyone who suggested peace in that time). But she reminded us of something crucial: bravery isn't always about standing tall. Sometimes, it can just be about not sitting down when everyone else has. While India's celebrity class was actively engaged in staging their synchronised salute, the world also had the pleasure (read titillation) of tuning into a very different performance, one that took place on Piers Morgan Uncensored. There, sat across from each other, were Barkha Dutt and Hina Rabbani Khar. One Indian. One Pakistani. One a journalist. One a former foreign minister. Both articulate, accomplished women; razor-sharp, and blessedly allergic to nonsense. Khar, with her characteristic calm and poise, spoke of nuance, context, and the inherent dangers of nationalist hysteria. Barkha, no stranger to war reporting, put on a grand show, pushing back at every notch she possibly could. For a brief moment outside the 'theatricality', the screens became a classroom. One where nobody yelled 'Jai ABC' or 'Death to XYZ', and everyone simply listened. What a contrast to Instagram's red carpets of conformity it truly was. For Pakistanis, Indian cinema has been primarily for entertainment, but additionally, it has also been a companion. A cultural mirror that everyone in the south Asian region can glom onto seeking valid representation and actually 'be seen' by the rest of the world. Bollywood to Pakistanis has been a secret rebellion against political bitterness. From DDLJ and Devdas posters adorning every other inner-city salon in major urban locales to Arijit Singh, Shreya Ghoshal and Diljit Dosanjh being played at almost every wedding function and celebration, Bollywood has always held an intimate and fortified place in our hearts. It is reasonable then that this moment in history did not go over too well with the Pakistani audience. It felt much like, to perhaps the uninitiated, being ghosted by someone who you had once loved unconditionally. To see your once revered icons tweet in unison about severe military action against your homeland with such brazen callousness was unmistakably heartbreaking. Especially when you factor in how the majority of it all actually appeared performative — as opposed to genuine patriotism. And what of the audiences who always consumed Indian cinema with rose-tinted nostalgia? Many now found themselves confused, disappointed, and quietly (but profoundly) wounded. It wasn't just that stars didn't advocate for peace, it was that they didn't seem to care really. No acknowledgement of the mutual love they received across the border. No reminder that their music was the soundtrack of Pakistani childhoods, their dialogues recited in college hallways. Instead, silence. And silence, when given a platform, can be very, very loud. Why did this happen? Why didn't more stars speak out for peace? Well, it's not just about courage. It is also about contracts. Since 2014, Indian cinema has become increasingly aligned with the political establishment du jour. Films like The Kashmir Files are tax-exempt. Directors with the 'right' politics get easier approvals, cheaper insurance, state PR. Meanwhile, those with inconvenient opinions get labelled 'urban naxals' or 'tukde tukde gang.' Ask Deepika Padukone, who showed up at a student protest in 2020. She said nothing, just stood there. But that silence cost her millions in brand deals and led to calls for a boycott of her film. The writing on the wall was quite clear: dare to speak against the tide, and you shall be made to disappear. Even the once mighty and untouchable Khans, Shah Rukh, Salman, Aamir, have faced the wrath of their fanatical home-grown audience, and have been left with no choice but to play it safe and stay 'mum'. Not long ago, SRK's son was jailed under suspicious circumstances with King Khan jolting from lawyers' chambers to police stations as an inconsequential and lowly civilian. Aamir was attacked for his wife's comments on rising intolerance and his movie 'Laal Singh Chadda' was massacred in the box office for his alleged (and somewhat imagined) anti-state rhetoric. Even Salman who has always kept his alliances clear has become a prisoner of the gallows, living in anguish under the ever-looming threat of the Bishnoi gang. We know, we understand and feel empathy for these stars. But not all was lost. Anurag Kashyap, never one to bow, tweeted cryptically about how 'conformity is not the same as unity.' Another personality, often chastised for her exceptionally 'woke' stances, Swara Bhasker shared an article on the need for empathy, adding: 'Peace isn't weakness. Hate isn't strength.' These voices were barely audible, drowned out by hashtags and hyperbole. But they mattered. Because resistance doesn't always come with fireworks. Sometimes, it just comes with a spine. This could have been a moment. A cinematic plot twist. Imagine if Shah Rukh had posted a throwback clip from Main Hoon Na. Or if Madhuri had tweeted 'Peace is patriotic.' If Priety Zinta had only quoted a line from her famous Veer Zaara song 'Aisa Des Hai Mera'. If Ranveer Singh had just... danced it out? But no. All we got brand-safe statements, media-managed mentions, and a whole lot of silence. What a story it could have been. What a script we missed. There was a time when Indian films imagined a better world. When screenwriters flirted with forbidden love across borders, when a song could soften suspicion, and when a poem could become protest. Today, those scripts are shelved, their authors quiet, their protagonists, for all intents and purposes, neutered by eagle-eyed publicists and spectres of political correctness. So here we are, popcorn in one hand, a tear stained handkerchief in the other, looking at the silver screen, waiting for someone, anyone, in this great theatre of the subcontinent, to play the role of the artist again. To remind us that before they were influencers, stars were simply storytellers. That their job was not just to reflect power, but to sometimes question it. And perhaps one day, they will. When it's safer. When the script changes. When bravery is back in vogue. Until then, we are left with silence. Polished. PR-approved. Politically correct. But silence nonetheless. Shahzad Abdullah is a PR and communications strategist, cultural curator and director of communications at Media Matters All facts are information are the sole responsibility of the
Business Recorder
2 days ago
- Business Recorder
The ‘Keynote Speaker'
A keynote speaker is typically the main speaker at an event, conference or meeting, and their speech is often the highlight of the program. Therefore, the keynote speaker has to be chosen carefully with the following characteristics in mind: Expertise: Keynote speakers are often experts in their field, with a deep understanding of the topic they are speaking about. Charisma: A good keynote speaker is engaging, charismatic, and able to hold the audience's attention. Inspiration: Keynote speakers often aim to inspire and motivate their audience, leaving a lasting impression. Storytelling: Many keynote speakers use storytelling techniques to make their message more relatable. Unfortunately, Pakistan has a dearth of meaningful keynote speakers. Some great speakers of yore are still around, but slowly losing their relevance. The young generation wants to hear new ideas and concepts. They want verve, vibe and excitement. But the people who know rarely speak and those that speak rarely know. The current restrictions on free expression have become a worldwide trend. But amusing anecdotes abound. At the height of the decolonization era, circa 1956, Lancaster House London was a happening place. One evening, a leader of a large African state, soon to be independent, was the chief guest and keynote speaker at a dinner. He was seated to the right of the British Prime Minister as per tradition. Seated next to him was a London matron, a highly influential politician. In an effort to keep the African leader engaged she quietly asked him 'You like soupee, soupee?' (when the soup was served). He nodded his head yes, yes. So on as the meal progressed. 'You like fishy, fishy?' 'You like sweety, sweety?' (dessert). After dinner it was the African leader's turn to speak. He walked to the rostrum and delivered a 20-minute address in immaculate English. A standing ovation. He returned to his seat, turned to the lady and asked politely 'you like speechee, speechee?' Winston Churchill was an epic orator (much has been written on the subject in this newspaper). One of his lesser-known quips –Churchill absolutely did not like Harold MacMillan. It was mutual. One afternoon Churchill was standing outside Westminster with two party colleagues. A London taxi pulled up. Churchill remarked, 'aah an empty taxi. Soon Harold MacMillian will emerge'. Keynote speakers should hail from a wide spectrum, depending on the host organization: Industry Experts: Specialist in a particular field sharing knowledge and insights. Thought leaders: Visionaries who challenged conventional wisdom and offer new perspectives. Motivational speakers: Speakers who focus on inspiring and motivating their audience. Celebrity speakers: Well-known personalities who share their experiences and insights. As the Executive Director of the Management Association of Pakistan (2000 - 2008) I constantly faced the dilemma of credible keynote speakers. Two instances stand out. In September 2001, MAP (Management Association of Pakistan) had invited Maurice Flanagan, Executive Vice Chairman of Emirates Airlines. I had cultivated Maurice very carefully as a supporter of MAP and Pakistan. After the seminar Maurice Flanagan and myself were to fly to Islamabad. The next morning Maurice was to have a serious meeting with President Pervaiz Musharraf and his team. The agenda: to increase the intake of aviation professionals from Pakistan into Emirates Airlines. A significant step. The Karachi event was planned for 14 September 2001. Unfortunately, the New York event happened on 9/11. Our event in Karachi was cancelled. Much later MAP was planning a major seminar on geopolitics. I had written to Mr. Colin Powell, the then secretary of state of US government, but was not hopeful of a response. Eventually, we (MAP) did receive a letter from Secretary Powell, signed by him, politely declining the event due to prior commitments, but committing to sending a senior official from the State Department. I later learned that Secretary Powell's office made an inquiry from the US Embassy in Islamabad/Karachi about the credentials of the Management Association. They received positive feedback. Secretary Powell passed away a few years ago. RIP. Copyright Business Recorder, 2025
