Latest news with #LahootiMelo
Express Tribune
07-05-2025
- Entertainment
- Express Tribune
From folktales to frontlines
Arts and music have always had a close relationship with resistance and revolution. One can see it in popular anthems which wake people up to resist authoritarian governments, societal injustices or merely understand their rights. For Sindhi lyricist and vocalist Amjad Mirani, music serves the same purpose. "Music is such an art form that if we don't use it for resistance and revolution, it's useless," he says. Abri to Karachi Born in a small village Abri, nearly 20 kilometres from Larkana, Amjad moved to Larkana in 2017 and then to Karachi in 2023. While the 21-year-old started making music in 2021, he spent his childhood listening to Sindhi folk tales and traditional music. These stories became deeply embedded into his core. "I was surrounded by the stories of Sassui, Marvi and everyone, all the folk tales, in my village. Sindhi poetry inspired me a lot. And as I grew up, I started reading more and then eventually pursued it." Even though Amjad had been releasing songs for a few years with Kaashi Haider serving as his first music producer (they continue to work together till this day), he realised he should take music seriously once he moved to Karachi. And his collaborations with Sindhi rapper and music producer Babar Mangi were the perfect way of doing so. Together, the duo has released many songs together – from Enda Enda, Lapata, and Musafir to Busin ja Dhika, Hayati and Sada Marhon. "We work well together," says Amjad. "He has his own ideas and melodies. I have my own. So, when we sit together, interesting combinations come out." The two have several more tracks they intend to release in the future. Amjad shares that his goal is to spread Sindhi music, arts and folklore globally and even collaborate with artists of other cultures, especially in South Asia. But right now, he is happy that Sindhi arts and music are slowly getting a bit of recognition in the Pakistani mainstream. He himself has performed in Lahooti Melo and Nescafe Basement, and his music has won hearts among the Indian audience online as well. "The interest is there and people appreciate it. If people keep demanding it, it will spread even further and people will know what our music is." Reality and Resistance For Amjad, music is a "powerful tool for political activism." Through music, he believes he can talk about people's issues and resistance, create awareness, and express himself. "As a Sindhi musician, it's our duty to use our music to talk about what we want as a people, as well as what the river needs and how the river feels. We have to talk about the pain of the Indus River. It is important to me that I use my voice for these purposes." Be it through sombre or mellow melodies or in a fun, quirky satirical way, Amjad's music and poetry definitely presents the ground realities of Sindh. "Satire works well because people enjoy the humorous touch and find it relatable." Most often, when artists born with a silver spoon talk about such ideas, it seems disingenuous since it becomes obvious they have no connection to the issues. The audience understands, whether we admit or not, that it's being done for clout. But with artists such as Amjad, one can tell they have lived through the experiences they talk about in their art. His music becomes a diary of the times he's lived in. But while Amjad is a proponent of celebrating Sindhi culture and values, he also sees a need for balance. Inevitably, a diary of an era cannot be full of blind optimism and collective delusion of grandeur but rather chapters of present realities combined with hope and positivity. "In our songs, we sing about how we are a peaceful people, Sindh is the land of peace and there is only love, no hate among us; be it Hindu, Muslim or anyone, we all live together here," he says. "But when we look at Sindh closely, we see cases of forced conversions and religious extremism. We should also show that in our arts. Why do we only need to celebrate ourselves and say we are peaceful and there's religious harmony in Sindh?" Amjad cites an example of his work. On one hand, he wrote a song called Sada Marhon where he spoke about how Sindh is peaceful and Sindhis celebrate both Eid and Holi together. On the other hand, he wrote Pachaar, where he spoke about the ground realities of Sindh – forced conversions, censorship, wadera system, and the violence conducted due to the caste system. "In Pachaar, I spoke about how Sindh is being strangled with these issues. So I feel we need to celebrate the values but also not ignore the reality of our society." While Amjad can write and sing, he primarily considers himself a writer and enjoys losing himself in the world of poetry. He says he enjoys when he can express himself sincerely. Of course, Shah Abdul Latif Bhitai remains a big influence on him. He sings praises of the Sindhi icon who "spoke about women's freedom and rights before the word 'feminism' even existed." In fact, Amjad's latest offering is called Soormi, and is inspired by the lives of three of the seven queens of Sindh: Sassui, Suhni and Marvi. Amjad says the song is for the women who resist, walk against the world for their rights and love their land." When asked what music is to him, Amjad says, "To me, music is life. It is a way of expressing myself, all my emotions, and the stories of my land, my people, my language and my river." And based on the extensive body of work he has built over the last few years, anyone can testify what he says rings true.
Express Tribune
17-02-2025
- Entertainment
- Express Tribune
Lahooti lights up Larkana
LARKANA: Lahooti Melo's 2025 edition made its Larkana debut this past Saturday on February 15. The first day brought out a record number in attendance and included a number of informative panel discussions as well as entertaining music performances. Spending more than 10 hours at the event is certainly exhausting, but it gives you an experience of what Lahooti Melo is attempting to do. In recent years, the festival hasn't limited itself to one city or district but rather travelled across the province. The intention is to rebuild a culture of arts, dialogue and music in Sindh, a region known for its rich cultural history. From Karachi to Hyderabad to Mithi and Larkana, Saif Samejo and Sana A Khoja have gone all out in developing this brand which brings the literati, mainstream stars, artists, musicians, academics, filmmakers and everyone together under one platform. The resulting amalgam offers something for everyone. This has been the flavour of Lahooti Melo and the first-ever Larkana edition's day one was no different. It paid respect and celebrated the historical and vibrant city. Held at the Police Training Centre, one sees a massive empty ground with one smaller stage for panels. But then another huge one catches your eye. That is for the music performances in the evening. Social narratives In the afternoon, the first half of the event mainly consisted of panel discussions. A few dozen people gather around and listen attentively to the speakers expand on various topics. In the session titled 'The Fate of River Indus', moderated by Nisar Khokhar, an interesting exchange of ideas took place between the speakers Afia Salam, Mohammad Ehsan Leghari and Naseer Memon. The four unravelled the politics behind the control of the mighty river, its unstable present and building of the canals, and its future. Another session titled 'The Influence Effect: How Digital Creators Shape Social and Cultural Narratives', moderated by Dr. Sorath Sindhu, involved Romasa Jami, Bilal Hasan (Mysta Paki), Daniya Kanwal and Syed Kazim. Perhaps the most relevant and interesting part of the session was Romasa talking about how the social and cultural narratives are shaped, who shapes them, and the effects on society. A lawyer, human rights activist and writer, Romasa may have sounded like she was giving a lecture in a sociology class, discussing everyone under the sun, from Michel Foucault to Karl Marx's theories and everyone in between. However, for those willing to pay attention, her speech offered a lot of important points to ponder. It added to the appeal of her piece that she spoke about all these complex topics and explained them in Sindhi with ease. She talked about how the said narratives are formed, manipulated and used to control society by the powers that be, and cited the example of Dr. Shahnawaz Kumbhar's murder and its aftermath. Her concluding point was the main takeaway from the session, and perhaps the Melo itself. 'There will always be someone controlling the narrative,' said Romasa. 'But are we ready to present our counter-narrative?' As these words echo in your mind and you reflect on their impact, the sun is about to set and the party is ready to get started. You realise the crowd has grown exponentially by this time. Music attracts fireflies A number of performers, local and international, get the audience grooving. Sajan Sindhi, DJ Ice, and many more set the mood. Suhaee Abro offers a powerful dance routine as she always does whereas DJ Amara Lovegna makes you want to dance like you're in Ibiza. Shae Gill makes you sway with her mellow, melodic, voice. The fireflies - phone torches - come out in droves in the audience as people express their admiration for the Pasoori vocalist. Once you see the lineup and find out that Rajab Faqeer is going to close the show, for a moment, you question the decision. However, that changes instantly as soon as he goes on stage. It happens before he even begins the performance. You see the air in the festival change. Rajab brings an unparalleled and unexpected aura. He performs numerous ghazals and with each note, he has the crowd in the palm of his hand. You quite literally feel his connection with the people. He is the ultimate main event. Sometime during the night, as the music thumps hard, you understand that there are two Lahooti Melos happening simultaneously. One is in front of the stage with thousands in attendance, and another one backstage. While the crowd engages in shopping handicrafts, exploring a lineup of stalls, and consuming a variety of food, people backstage engage in interesting conversations, network, discuss potential collaborations, and well, eat a variety of food. You find out that while the city is full of posters and billboards promoting Lahooti Melo, the first day has exceeded all expectations in terms of attendance and engagement. You are told the festival sold over 9,000 tickets. However, the estimated number of people in attendance is over 15,000. Someone in the management is surprised at the large number of women who have shown up at such a festival and even stayed until the last performance around midnight, a not-so-common sight in Larkana, according to some. In fact, a local shares how, outside of political rallies, Larkana hasn't seen such a huge festival before. You see the steady shift in Sindh lately. People, be it through peaceful protests, social and cultural activities or dialogue, are getting their voices heard. And Lahooti Melo in Larkana definitely contributed to that. Perhaps that is part of the beginning of the counter-narrative that Romasa was talking about. Have something to add to the story? Share it in the comments below.
Express Tribune
13-02-2025
- Entertainment
- Express Tribune
Beyond borders and gatekeepers
If you take the road to Larkana this weekend, you may cross paths with a van packed with musicians and a humming anticipation. Perhaps, you will encounter an old alghozo player tapping his fingers on his knee. Or an aspiring rapper from Lyari adjusting his headphones. That is if you are not too caught up watching the fields slip past. Lahooti Melo's 12th edition arrives with a reminder to observe your surroundings. Founded by Sketches frontman Saif Samejo and his wife Sana Khoja, the festival is just as much about space as it is about music. But Lahooti Melo is not only about soundit is also about space. "It's a whole structure that gets a boost," Sana tells The Express Tribune. "When you leave Karachi to attend Lahooti in Sukkur or Larkana, you want to shop certain things, try certain foods. The journey matters as much as the destination." More than a stage When the festival moved to Hyderabad, it nudged open the doors for a city with scarce avenues for cultural expression. This year, as it moves to Larkana, a city of rivers and poets, political legacies and simmering discontent, a similar transformation is hoped for. The guesthouses are already filling up, the local markets preparing for an influx of visitors. "When we had our festival in Mithi, all the guesthouses were sold out," says Sana. "It's the same everywhere we go." The festival does not just bring audiencesit pulls in local businesses, vendors, craftspeople. People come not only for the music but for the journey: the roadside dhabas, the generous simplicity of kiosks, the quiet pull of an unfamiliar city made momentarily familiar through sound and shared experience. In a country where the public commons is constantly shrinking, where art feels increasingly privatised, Lahooti insists that space can be reclaimed. The agenda repeats itself this year, insisting that music, conversation, and cultural ferment cannot be contained within the borders of metropolis and market. What happens when you shift the stage? A lineup that blurs boundaries "This year's Lahooti Melo lineup is a reflection of what we have always stood for - bridging cultures, breaking barriers, amplifying voices that deserve to be heard," says Saif. "We are bringing together legends, emerging artists, and global sounds in a way that blurs the lines between the traditional and the contemporary." There is Hadiqa Kiani, whose voice has carried across decades, sharing the stage with Shae Gill and Umair Jaswal who rose from the digital ether into global prominence. Sindhi folk legends Sajan Sindhi and Dilbar Jalal Chandio perform alongside Ittehad Band, a Lahooti discovery that has since found its way to mainstream platforms. From the electronic pulse of German DJ Sabrina to the ancient strains of Nathan Torrence's alghozo, the festival's soundscape is deliberately porous. "The music landscape has undoubtedly expanded, with artists from the peripheries regions gaining more visibility," Saif nods before sketching the long path that lies ahead. "But the barriers remain - record labels still exploit folk musicians, limiting their autonomy and preventing these traditions from flourishing. Corporations engage in tokenisation, offering short-lived visibility without sustainable support. This is why independent platforms like Lahooti are essential." At its core, Lahooti Melo remains committed to emerging artists. Arslan Shykh, a rising voice from Larkana, and Ittehad Band, who recently made waves in Nescafé Basement, represent the new wave of artists breaking through. Young performers like Sachal Jiskani, Azad Qalam, Asif Balli, AK Sky, and Urooj Fatima are carrying forward rap and storytelling traditions, channelling resistance and identity through their words. "We're not just giving artists a stage; we're nurturing long-term opportunities," Saif explains. "The industry has gatekeepers, and for musicians outside the mainstream, the barriers remain Lahooti is about creating a space where these artists don't just perform but thrive on their own terms." Expanding the conversation The 12th edition promises to turn its ear toward younger voices - not just in music, but in setting up narratives of identity and people. One panel will probe the role of influencers in shaping cultural narratives; how an algorithm can amplify or erase, how a viral moment can spark dialogue or dilute meaning. Meanwhile a session on rap brings together voices from Lyari and beyond, tracing hip-hop's easy affinity towards the margins and their resistance. "We are exploring how digital archiving can preserve cultural heritage beyond commercial exploitation, dissecting the role of influencers in shaping social consciousness, and amplifying the resistance embedded in rap music," Saif shares a snapshot of the two-day festival. "Sessions like Larkano Saah Sebano highlight the intellectual and literary contributions of the region, while discussions on inclusive storytelling in film and TV push for narratives that reflect our realities." Another talk, on film and television, interrogates the relationship between mainstream entertainment and regional narratives. Director Farooq Rind, whose hit drama Ishq Murshid featured the Sindhi song Sapna Sapna, joins the discussion. "People connected with the song regardless of whether they spoke the language or not. Culture has a way of touching hearts without interlocutors," remarks Sana. Hope as resistance When asked how one sustains hope in an era of exhaustion, the Sketches frontman is clear: "Hope isn't naive - it's an act of defiance." Economic precarity and political disillusionment have shadowed generations, but the entanglement of exploitation, violence, and climate catastrophe has tightened into an unrelenting grip, unprecedented in its scale and severity. But Lahooti Melo refuses to give in. "When a musician from a forgotten village gets to perform on a stage, when a young artist finds a mentor, when a fading instrument is revived - these are radical acts of hope. And they are enough to keep us going." He adds, "When everything is designed to crush us, making music, telling stories, and gathering as a community is itself a form of resistance. Lahooti Melo exists because despair cannot be the final answer." Lahooti Melo 2025 will take place in Larkana on February 15-16.
Express Tribune
13-02-2025
- Entertainment
- Express Tribune
Umair Jaswal, Hadiqa Kiani, and Shae Gill to headline Lahooti 2025
KARACHI: If you take the road to Larkana this weekend, you may cross paths with a van packed with musicians and a humming anticipation. Perhaps, you will encounter an old alghozo player tapping his fingers on his knee. Or an aspiring rapper from Lyari adjusting his headphones. That is if you are not too caught up watching the fields slip past. Lahooti Melo's 12th edition arrives with a reminder to observe your surroundings. Founded by Sketches frontman Saif Samejo and his wife Sana Khoja, the festival is just as much about space as it is about music. But Lahooti Melo is not only about sound—it is also about space. 'It's a whole structure that gets a boost,' Sana tells The Express Tribune . 'When you leave Karachi to attend Lahooti in Sukkur or Larkana, you want to shop certain things, try certain foods. The journey matters as much as the destination.' More than a stage When the festival moved to Hyderabad, it nudged open the doors for a city with scarce avenues for cultural expression. This year, as it moves to Larkana, a city of rivers and poets, political legacies and simmering discontent, a similar transformation is hoped for. The guesthouses are already filling up, the local markets preparing for an influx of visitors. 'When we had our festival in Mithi, all the guesthouses were sold out,' says Sana. 'It's the same everywhere we go.' The festival does not just bring audiences—it pulls in local businesses, vendors, craftspeople. People come not only for the music but for the journey: the roadside dhabas, the generous simplicity of kiosks, the quiet pull of an unfamiliar city made momentarily familiar through sound and shared experience. In a country where the public commons is constantly shrinking, where art feels increasingly privatised, Lahooti insists that space can be reclaimed. The agenda repeats itself this year, insisting that music, conversation, and cultural ferment cannot be contained within the borders of metropolis and market. What happens when you shift the stage? A lineup that blurs boundaries 'This year's Lahooti Melo lineup is a reflection of what we have always stood for — bridging cultures, breaking barriers, amplifying voices that deserve to be heard,' says Saif. 'We are bringing together legends, emerging artists, and global sounds in a way that blurs the lines between the traditional and the contemporary.' There is Hadiqa Kiani, whose voice has carried across decades, sharing the stage with Shae Gill and Umair Jaswal who rose from the digital ether into global prominence. Sindhi folk legends Sajan Sindhi and Dilbar Jalal Chandio perform alongside Ittehad Band, a Lahooti discovery that has since found its way to mainstream platforms. From the electronic pulse of German DJ Sabrina to the ancient strains of Nathan Torrence's alghozo, the festival's soundscape is deliberately porous. 'The music landscape has undoubtedly expanded, with artists from the peripheries regions gaining more visibility,' Saif nods before sketching the long path that lies ahead. 'But the barriers remain — record labels still exploit folk musicians, limiting their autonomy and preventing these traditions from flourishing. Corporations engage in tokenisation, offering short-lived visibility without sustainable support. This is why independent platforms like Lahooti are essential.' At its core, Lahooti Melo remains committed to emerging artists. Arslan Shykh, a rising voice from Larkana, and Ittehad Band, who recently made waves in Nescafé Basement, represent the new wave of artists breaking through. Young performers like Sachal Jiskani, Azad Qalam, Asif Balli, AK Sky, and Urooj Fatima are carrying forward rap and storytelling traditions, channelling resistance and identity through their words. 'We're not just giving artists a stage; we're nurturing long-term opportunities,' Saif explains. 'The industry has gatekeepers, and for musicians outside the mainstream, the barriers remain… Lahooti is about creating a space where these artists don't just perform but thrive on their own terms.' Expanding the conversation The 12th edition promises to turn its ear toward younger voices — not just in music, but in setting up narratives of identity and people. One panel will probe the role of influencers in shaping cultural narratives; how an algorithm can amplify or erase, how a viral moment can spark dialogue or dilute meaning. Meanwhile a session on rap brings together voices from Lyari and beyond, tracing hip-hop's easy affinity towards the margins and their resistance. 'We are exploring how digital archiving can preserve cultural heritage beyond commercial exploitation, dissecting the role of influencers in shaping social consciousness, and amplifying the resistance embedded in rap music,' Saif shares a snapshot of the two-day festival. 'Sessions like Larkano Saah Sebano highlight the intellectual and literary contributions of the region, while discussions on inclusive storytelling in film and TV push for narratives that reflect our realities.' Another talk, on film and television, interrogates the relationship between mainstream entertainment and regional narratives. Director Farooq Rind, whose hit drama Ishq Murshid featured the Sindhi song Sapna Sapna , joins the discussion. 'People connected with the song regardless of whether they spoke the language or not. Culture has a way of touching hearts without interlocutors,' remarks Sana. Hope as resistance When asked how one sustains hope in an era of exhaustion, the Sketches frontman is clear: 'Hope isn't naive — it's an act of defiance.' Economic precarity and political disillusionment have shadowed generations, but the entanglement of exploitation, violence, and climate catastrophe has tightened into an unrelenting grip, unprecedented in its scale and severity. But Lahooti Melo refuses to give in. 'When a musician from a forgotten village gets to perform on a stage, when a young artist finds a mentor, when a fading instrument is revived — these are radical acts of hope. And they are enough to keep us going.' He adds, 'When everything is designed to crush us, making music, telling stories, and gathering as a community is itself a form of resistance. Lahooti Melo exists because despair cannot be the final answer.' Lahooti Melo 2025 will take place in Larkana on February 15-16. Have something to add to the story? Share it in the comments below.
