Music of Pakistan

The Persian Empire, Turko-Persian dynasties, the Afghan Empire, Arab Caliphates, Indian dynasties, and British colonial rule, each era left defining imprints on the country's musical traditions, leading to classical forms like qawwali and ghazal, as well as vibrant folk music reflecting the country’s ethnic diversity—Punjabis, Pashtuns, Balti, Baloch, Hazaras, Sindhis, Wakhi, Shina and more.

[10] Pakistan boasts a rich and ancient history of music, with some of the earliest evidence traced back to the Indus Valley civilisation (c. 3300–1300 BCE), one of the world's oldest urban cultures.

The sculpture, depicting a young female figure poised mid-motion, is widely believed by scholars to symbolize ritualistic or celebratory dance, likely performed to the accompaniment of music.

These folk traditions are passed down through generations and often form the core of community events, rituals, and festivals, typically celebrating themes of village life, nature, bravery, spirituality, love, longing and separation.

Some of the famous folk singers/bands of Pakistan include Zarsanga, Sanam Marvi, Nazia Iqbal, Gul Panra, Raheem Shah, Saieen Zahoor, Abida Parveen, Ghazala Javed, Tina Sani, Musarrat Nazir, Tahira Syed, Laila Khan, Naheed Akhtar, Zeb Bangash, Suraiya Multanikar, Allan Fakir, Alam Lohar, Hadiqa Kiani, Ali Zafar, Haroon Bacha, and Khumarian.

In Pakistan's rural areas and ethnic communities, bards continue to perform traditional folk music, preserving ancient songs and cultural customs.

In Balochistan, Ghazaks (Balochi bards) perform songs about historical figures, social struggles, and regional issues, often accompanied by the dambura, a stringed instrument.

Similarly, in Sindh, bards continue to preserve and perform the poetry of Shah Abdul Latif Bhitai and other Sufi mystics, traveling between shrines and festivals.

Neemkai is a type of folk song usually composed by Pashto women, expressing themes drawn from daily life and personal experiences.

The arrival of many refugees from the adjacent Nuristan province of Afghanistan and the subsequent increase in commercial activity in Chitrali bazaars allowed this local form of music to furthernflourish in the past few decades.

Famous folklores, such as that of Sassi Punnu set in the historic city of Bhanbhore (Sindh) and the coastal regions of Makran (Balochistan), are often the poetic content of Punjabi folk music.

A key characteristic of Qawwali is its emphasis on improvisation and lyrics derived from Sufi poetry, often expressing themes of divine love, longing, and spiritual devotion.

[15] Amir Khusrau, a prominent figure of the Chisti order of Sufis, is credited with creating Qawwali by blending Turkish, Persian, Arabic, and North Indian musical traditions in the late 13th century.

Qawwali gained international acclaim through the legendary artist Nusrat Fateh Ali Khan, often hailed as "Shahenshah-e-Qawwali" (Urdu: شهنشاهِ قوالی, lit.

This transformation began in the early 20th century when the recording industry played a key role in popularizing the musical adaptation of Urdu and Persian ghazals, making the works of renowned poets like Rumi, Hafez, Mirza Ghalib, Allama Muhammad Iqbal, Faiz Ahmed Faiz, Ahmed Faraz, and Parveen Shakir accessible to a wider audience.

Ghazal music originally adhered to the Hindustani (North Indian) classical tradition, employing ragas (melodic modes) and talas (rhythmic cycles), typically at a slow, contemplative tempo.

In modern times, however, ghazals have seen a fusion with genres such as light classical, jazz, rock, or pop music, resulting in a more contemporary sound that retains the lyrical beauty of its origins.

[18] However, the 1980s were also the time of rapid political change in Pakistan, driven by the Islamization policies of President Muhammad Zia Ul Haq, who came to power through a coup d'état in 1977.

[3][2] This period also saw the closure of all bars, nightclubs, and theater halls in the country, depriving aspiring musicians and bands of venues to perform and earn a living.

As part of this operation, Saudi Arabia arranged the transport of thousands of young, indoctrinated volunteers, known as "Afghan Arabs," from across the Middle East to Pakistan.

[6] These madrassahs promoted Wahhabi ideology, seeking to radicalize Afghan refugees and impoverished local populations to join the "jihad" (Arabic: جهاد, lit.

By the early 2000s, a fresh wave of pop acts has emerged, including Ali Zafar, Momina Mustehsan, Zoe Viccaji, Hadiqa Kiani, Aima Baig, Awaz (Haroon, Faakhir Mehmood), and Jal.

Despite the restrictive environment of the Islamization era, which sought to suppress Western cultural influences, underground rock concerts began to flourish across the country.

[29] The military has a long history of overthrowing democratic governments, which has contributed to civilian mistrust, with confidence in the institution remaining among the lowest in the world.

ISPR uses music and other forms of media to shape and whitewash the military’s image, and deflect attention from ongoing allegations of corruption, election rigging, human rights abuses, and oppression.

ISPR productions frequently use emotional imagery and lyrics to frame dissent and criticism of the military as an attack on personnel who are on the frontlines, sacrificing their lives for the nation’s security and well-being.

With limited exposure to other musical traditions, generations of Pakistanis grew up immersed largely in Bollywood’s melodies, leading to a gradual cultural shift.

As a result, many Pakistani artists and studios embraced a process of “Bollywood-ification” to remain relevant, often at the expense of the rich musical heritage that once defined the country’s unique sound.

From Season 7 onward, Coke Studio shifted to a more mainstream style, increasingly incorporating more visual communicating and Lollywood influences to attract a wider audience.

This shift also expanded Coke Studio’s appeal in India, with viewership from Indian audiences surpassing that of Pakistan on platforms like YouTube and streaming services.