Pakistani popular music or shortly Pak-pop music refers to popular music forms in Pakistan. Pakistani pop is a mixture of traditional Pakistani classical music and western influences of jazz, rock and roll, hip hop and disco sung in various languages of Pakistan, including Urdu. The popularity of music is based on the individual sales of a single, viewership of its music video or the singer's album chart positions. Apart from within Pakistan, Pakistani pop music has also achieved an influential following and popularity in neighboring countries and is listened by members of the Pakistani diaspora, especially in the Middle East, Europe and North America.
Pakistani pop music is attributed to have given birth to the genre in the South Asian region with Ahmed Rushdi's song "Ko Ko Korina" in 1966. Pakistani pop is thus closely related to Indian pop music, as well as Bollywood music and Bangladeshi rock. Subgenres of Pakistani pop music include Qawwali (a form of Sufi music), Pakistani rock (including Sufi rock), Pakistani hip hop, and disco (related to Bollywood disco).
Veterans like Runa Laila and Alamgir started the pop industry in Pakistan while the fifteen-years old pop sensation Nazia with her brother Zohaib Hassan ushered the birth of pop music all over South Asia tailing on the success of her British endeavours. The Qawwali singer Nusrat Fateh Ali Khan was also a prominent influence on Pakistani pop music.
From Rushdi's pop hits to songs sung by the Hassan siblings, to bands including Junoon, Vital Signs, Jal and Strings, the Pakistani pop industry has steadily spread throughout South Asia and today is the most popular genre in Pakistan and the neighbouring South Asian countries. Songs sung by Pakistani pop artists are a regular feature on soundtracks of most of the Bollywood movies.
The genre has always been accepted in the mainstream youth culture but hindrances came in the form of changing governments, cultural conservatism, foreign influences and a stiff competition from neighbouring countries. Still, pop music thrived and survived with a steady growth. It was not until recent times that Pakistani pop music was to be admired throughout South Asia and the rest of the world.
History
1960–1980: Rise and fall of playback singing
After the independence of Pakistan in 1947, the most popular form of entertainment in the newly created Pakistan was the medium of film. Cinemas sprouted up in various corners of the nation, especially in Lahore, Karachi and Dacca in East Pakistan and playback singing became popular. People that tended to move into the genre had to be trained in classical music, usually trained by ustads who mastered its various forms and styles. In 1966, a talented young playback singer Ahmed Rushdi (now considered as one of the greatest singers of South Asia) sang the first South Asian pop song "Ko-Ko-Korina" for the film Armaan. Composed by Sohail Rana, the song was a blend of 60s bubblegum pop, rock and roll twist music and Pakistani film music. This genre would later be termed as ‘filmi pop’. Paired with Runa Laila, the singer is considered the pioneering father of pop music, mostly hip hop and disco, in South Asia.
Following Rushdi's success, Christian bands specialising in jazz started performing at various night clubs and hotel lobbies in Karachi, Hyderabad and Lahore. They would usually sing either famous American jazz hits or cover Rushdi's songs. Rushdi sang playback hits along with Laila until the Bangladesh Liberation War when East Pakistan was declared an independent state. Laila, being a Bengali, decided to leave for the new-found Bangladesh.
The 1980s saw a nose-dive in the progress of cinema in Pakistan as the nation was left in a state of turmoil over the changes in the government administration. The number of cinemas decreased rapidly and people preferred watching television over going to a cinema.
New era and revival: (1972–1978)
While the cinema in Pakistan was declining, neighboring India was gaining in strength in film content and quality. People began admiring the Indian playback counterparts. And when it seemed that music in Pakistan had no hopes of surviving this foreign influence, Anwar Maqsood and Shoaib Mansoor launched the career of Nerissa, Beena and Shabana Benjamin (collectively known as the Benjamin Sisters) in 1985. The sisters became popular on television shows, and they became known by tabloids as the Benjamin Sisters Phenomenon., Retrieved 9 March 2019
A few years later came Bengali singer Alamgir. Alamgir sang Albela Rahi, an Urdu song literally translated from a famous Cuban hit originally in Spanish. Alamgir brought a new form of music to Pakistan, one that blended the classical forms with a tint of modern Western music. Alongside Alamgir, Muhammad Ali Shehki also rose to fame with his renditions of the Hindustani classical forms with mediums like jazz and rock.
Hassan Jahangir gained fame in the '80s with hit singles such as "Hawa Hawa", "Hato Bacho", and "Shadi Na Karna Yaron". He released his first single "Imran Khan is a Superman" in 1982 and went on to release his one and only internationally famous album Hawa Hawa. It sold approximately 15 million copies in India.
New wave of music and New genres (1980–2000s)
In 1980, Nazia Hassan, a fifteen-years-old Pakistani girl residing in the United Kingdom was approached by Indian actor and director Feroz Khan along with Biddu Appaiah, an Indian music producer who asked her to sing the song "Aap Jaisa Koi" for the film Qurbani. She was selected for the nasal quality of the song's delivery. The song became an instant hit in the UK and the Indian sub-continent. Influenced primarily by disco beats and hip hop, Nazia along with her brother Zohaib Hassan produced successive hits. Their songs Disco Deewane and Tere Qadmon Ko became the rage all over Asia to the extent that their very first album was declared the best selling album of the time in Asia.
The hype did not last for long as with Muhammad Zia-ul-Haq's regime came drastic decisions to Islamicise the nation. Almost all music videos were banned to air on local television. The religious leaders found the two Hassan siblings dancing together on the stage most un-Islamic. When shown the videos would feature Nazia waist-up to hide her dancing feet. Hence, this came as another blow to the music industry.
Rock music and Zia years (1980–1989)
Despite Zia's tough rhetoric against the Western music, the 1980s era is the widely regarded times of birth and rise of Pakistan's homegrown and ingenious rock music. Immediately following the military installation of Muhammad Zia-ul-Haq as president, measures were taken to put in place to limit the distribution of music and the only source of entertainment was the government-owned television network Pakistan Television Corporation (PTV). A state of the union speech to the public in 1979, President Zia denounced the Western culture and Western music and banned all the music videos in the country.
Despite the hardship and problems faced by the music industry, the siblings, Nazia and her younger brother Zohaib Hassan, teamed up to produce more pop albums, but in the turmoil that Pakistan was headed through, the duo lost viewership and sales in their own country. They managed to reach UK Top 40 with the English version of their song "Disco Deewane" titled "Dreamer Deewane". The album sold over 14 million records, not only in Asia but as far as South America, South Africa and Soviet Union. Nazia Zoheb later produced many other albums in the 1980s e.g., Boom Boom (1982), Young Tarang (1984), Hotline (1987), and Camera Camera (1992) and completely dominated the Pop music scene of Asia during the 1980s.
A new rage of Pop/ rock music, began to rise during the regime of President Zia-ul-Haq. Throughout the 1980s, there was a popular wave of cultural change and the 80's fashion hair styles and clothing was beginning to be noticed by the public. The homegrown rock music bands, out of ordinary to the culture, came to be perceived by many Pakistani fans and country's cultural observers as a "promising new era of cultural revival". Their enormous popularity significantly opened a new wave of music and a modern chapter in the history of Pakistan. The public generally welcomed the new hair styles and fashion wear (popular among university female and male students).
During the peak and end times of Zia's conservative regime, there was a popular wave of cultural change, and the Western fashion style and music stormed the country. In the 1980s, various music arrangers held underground rock music concerts in the five-star hotels and university campuses. Ironically, it was the conservative regime of President Zia-ul-Haq when the rock music exploded and underground rock music concerts were held all over the country, including Islamabad and near the residence of Zia-ul-Haq. In 1986, the pop band, Vital Signs, released its very first singles Dil Dil Pakistan and, Do Pal Ka Jeevan, which became an ultimate success in the country.See the video
The success of Vital Signs helped others to follow their suit, and the rock music in the country skyrocketed for the first time in the history of the country. In a time when there was no hope for the industry to survive, rock/pop music bands notably and much quickly filled the gap that the pop music industry had left. According to the Western observers and cultural critics, the rock music bands in the country brought the significant shift of country's transformation into modernism during the 1990s. With the rise of Vital Signs and later, Junoon and others, the rock music, exploded in the 1980s and 1990s, became a vehicle for expressing patriotic nationalist spirit in Pakistan.
In 1990, the first privately owned television station, the Network Television Marketing (NTM) opened up introducing shows aimed at the younger generation. Prior to that, in 1989, Shoaib Mansoor produced a show for PTV called Music '89 and took the Hassan siblings as the show's host. This show is responsible for single-handedly creating legends out of bands like Vital Signs, Junoon, Ali Haider, Sajjad Ali and Jupiters also including underground alternative rock bands like Final Cut and The Barbarians. According to the editorial written in The Express Tribune in 2011, the "Vital Signs and Pakistan's ingenious rock music was the only "arsenal" the country had against India's encroaching entertainment industry." It was during the midst of Zia times, when Dil Dil Pakistan was released on television and on a short time period, it became a huge success in the country.
The heyday of Pakistan pop music (1990–onwards): emergence of bands and popular singers
With the success of Vital Signs and other bands, pop/rock music significantly helped to list pop music as well. The primetime reception on NTM in Lahore, Karachi and Islamabad as NTM broadcast a show titled Music Channel Charts. The rock music continued to be appreciated by the public and an hour-length show that showcased music videos for various artists in a countdown format. When people started getting acquainted with the show's format, amateur bands and singers taped their own videos and sent them to be aired. With competition rising and only a few minutes dedicated to a single video, pop and rock musicians from all over the country were being recognised for their work.