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THE ICON INTERVIEW : THE EVOLUTION OF MEKAAL HASAN
It feels just like we’ve gone 15 or 20 years back in time in Lahore,” says actor, singer and musician Haroon Shahid, as he meets Mekaal Hasan — producer, guitarist and overall frontman of the eponymous Mekaal Hasan Band (MHB).
He says this to me after the end of MHB’s recent final concert in Karachi. The concert was a tribute to the legendary qawwal that put Pakistan on the global map — Nusrat Fateh Ali Khan (NFAK).
Haroon is not wrong. The era of Pakistani music he is referencing was probably among the most exciting in recent times. It was the era of regular concerts by Noori, Aaroh, Entity Paradigm, The Call, Mizraab and Overload, to name just a few. There were frequent collaborations between creative forces in music and newer voices kept emerging now and then, eager to make their mark. It was definitely a very happening time in Pakistani music, indeed.
Incidentally, it was Mekaal himself who first introduced Haroon to yours truly. At that time, Mekaal used to call him Haroon5 because of the latter’s habit of covering Maroon5’s songs during his concerts.
With his progressive rock tribute to Nusrat Fateh Ali Khan’s final album Night Song, the producer-musician is re-entering a conversation that started 30 years ago. But after 25 years of the Mekaal Hasan Band, he is also looking to the future, itching to do something different than what he has done before
There’s one thing about Mekaal that I don’t think most people know — that he has always gone out of his way to promote up-and-coming artists and acts he believes are promising. And he’s usually right on the money.
He told me to watch out for Co-VEN (which has a massive cult following), Symt (Haroon’s band), Sahil (they had a massive one-hit wonder — a single called Dil Chaahay), Zeb and Haniya, and others.
And here we are, all of us together in the same space — along with a few older faces — after more than a decade, experiencing Mekaal bring together another set of extremely talented artists and create magic — absolute magic — on stage.
“Bohat pasand kar rahay hain loag [people are really liking it],” says Mekaal. “You weren’t at the previous performance, but everyone was there — Bilal Maqsood, Tapu Javeri, Frieha Altaf, Ayesha Omar… saaray puranay dost, sab aaye [all the old friends attended it].”
This NFAK tribute didn’t just come out of the blue. Back in 2023, Mekaal was working with the Aga Khan Museum in Toronto on a project that required him to put together a Toronto-based version of his band — a mix of Canadians and artists from South Asia — and they performed works from MHB’s earlier albums, Saptak, Sampooran and Andholan.
It’s unlikely that Pakistan will produce someone with such a unique imprint on world culture as much as Nusrat sahib, honestly,” adds Mekaal. “I wanted to be the one to bring this to life with authentic voices from Pakistan, so we don’t lose that flavour.”
“Since it was an Islamic art museum, I asked the programme director if they had anything from Pakistan,” remembers Mekaal. It turns out they didn’t. Mekaal then suggested a tribute show centring on the impact of Night Song, Nusrat Fateh Ali Khan’s last album. Produced by a Canadian called Michael Brook and released by Peter Gabriel’s Real World Records in 1996, it was the only album NFAK never truly performed live. He passed away just months later, in 1997.
“That link to Canada was already there 30 years ago,” says Mekaal. “We should keep that bond — and that dialogue — going with this generation of musicians and artists. I just had to come back to Pakistan and develop that record.”
After touring overseas, Mekaal brought the show to Pakistan. And what an amazing experience it was. The best way to describe it is: a perfect blend of qawwali and progressive rock that highlights each artist’s mastery of their instrument or voice and weaves them together in perfect harmony.
Leading the performance at this NFAK tribute was a relatively new face of the MHB — Shehzad Ali Khan — who mirrored Nusrat’s tenor and tone powerfully and effortlessly. He brought NFAK’s compositions to life in a way that not only did them justice, but elevated them, adding a touch of freshness tinged with a lot of nostalgia.
Mekaal discovered him when he first launched Rivayat, a music series in which he features and produces relatively unknown classical, folk and qawwal artists.
“Shehzad is, like, really super-talented,” says Mekaal. “He’s really nice to work with. Humble and jolly, he is a pleasant guy to work with. He was the first person to record for us, and he brought in a song called Tauba, which he had composed. So, we did that, and I arranged a collaboration for him with a couple of my friends from the UK and France.”
He adds: “We’ve toured together since then. I’ve been working with him for close to six to seven years, knowing him and developing music with him. He’s from a qawwal family. His father and son also perform it. Locally, people know his father, but he himself is relatively not that well-known.
“It’s unlikely that Pakistan will produce someone with such a unique imprint on world culture as much as Nusrat sahib, honestly,” adds Mekaal. “I wanted to be the one to bring this to life with authentic voices from Pakistan, so we don’t lose that flavour.”
How old was Mekaal when Night Song came out? “I’m 53 right now,” he replies with a chuckle. “This was exactly 30 years ago, so I was 23. I had just returned [from the Berklee College of Music in the United States] and was figuring out what to do with my life.”
Has he had a chance to speak with the original producer of the album, Michael Brook? “I wrote to him earlier when I was putting the music together,” says Mekaal. “I just cold-called him and sent him some stuff I had done.” Brook wrote back, expressing interest meeting with him. He later flew to Toronto to record a three-hour interview with Mekaal for a documentary that he’s putting together about the making of this project.
Did he share any interesting stories about Nusrat? “No!” exclaims Mekaal. “I asked him, but he didn’t have the time. Nusrat didn’t speak English, and they didn’t speak Punjabi or Urdu, so communication was extremely limited. They would just be recording in the studio. [Brook] mentioned that he spent about two entire days with him without any real conversation.”
Does Brook grasp the impact of NFAK or this album worldwide, especially for South Asians?
“No,” chuckles Mekaal. “He knows it was a huge record in our part of the world. I asked him if he had done similar ones with other artists, and he said, ‘No, that’s the only time I did that kind of work with someone like Nusrat.’ After that, Real World Records shifted focus to West African sound and picked up artists from Mali, Ghana, Senegal, etc.”
The Night Song album opens with a West African legend, Baaba Maal from Senegal, playing a traditional stringed instrument called the kora. “He was recording in another studio at Real World,” says Mekaal. “As he was practising in the hallway, Brook and Gabriel heard him and essentially said, ‘Idhar aa jao zara dou minute ke liye [Come here and join us for a couple of minutes]’. Baaba Maal recorded the intro and went back to do his own recording.”
Clearing Nusrat’s Name
One of the most interesting stories that Mekaal related came from his conversation with Brook about the erroneous edit of Mast Mast.
“They recorded the whole track with Nusrat,” says Mekaal. “They then chopped it up, keeping only the parts that they liked and then added the music. But the way they cut up the vocals didn’t make any sense.”
He continues, “Nusrat ended up taking a lot of flak for it, even though it wasn’t his fault. They [the producers] thought it was all the same and they would put the record out.”
Dama Dam Mast Qalandar, or NFAK’s version Dam Mast Mast, is widely believed to have been originally written by the 13th-century poet and musician Amir Khusrau. It was composed in honour of the Sufi saint Lal Shahbaz Qalandar and is believed to have been later modified by the Punjabi poet Baba Bulleh Shah.
“Only when the album came out did Nusrat find out that they had chopped up the kalaam the wrong way. Brook admitted it wasn’t Nusrat’s fault — it was his,” reveals Mekaal. This is huge. Thirty years after the album was released, Nusrat’s name is now being cleared. I even saw a small clip from the interview in which Brook admits they kept what sounded good to them.
Hopefully, this ‘mistake’ will be fixed in the tribute record that MHB will be releasing, featuring tracks from NFAK’s Night Song. “I feel like a lot of songs in Night Song were still in draft form — the melody was there, but the structure was very loose,” says Mekaal. “I just took songs from Night Song and arranged them.”
They have also added their own verses and sections. “In Ni Sayyon [Naina De Aa Ke], for example, there are fresh verses that are not Nusrat’s. Shehzad wrote those because Ni Sayyon Akhan, Naina De Aa Ke Lagay, is the only line that was ever originally released. There are no NFAK verses beyond that. Shahzad then composed the rest. The antra is new, but you won’t notice — it will feel like Nusrat wrote it.”
Both the album and the documentary film covering the making of the tribute album, the tour and, most importantly, that interview with Brook, will hopefully be released after Eidul Fitr. The Aga Khan Museum in Toronto will also release its own version.
25 YEARS OF THE MEKAAL HASAN BAND
This year, other than being the 30th year of Night Song’s release, also marks the 25th year of MHB.
“Twenty-five years of somehow surviving,” laughs Mekaal. “Yehi achievement honi chahiye! Baqi sab, [expletive]iss ne gana banaya ke nahin chhorro… woh survive kar gaye yahi barri baat hai! [That is what the achievement should be counted as! Forget whether they made a song or not, that they survived is what really matters]!”
In the 25 years that MHB has been active, they’ve gone through different standalone eras, leaving a defining mark on Pakistan’s musical landscape in each. The lead singers have changed — from Javed Bashir to Sharmista Chatterjee to the late Asad Abbas, and now Shehzad Ali Khan — but one constant has always been Mekaal.
“Producer-led projects are accepted more now,” says Mekaal, adding that the concept would have gone over people’s heads earlier. “I’m doing more in terms of flexing my music taste. You guys have only heard me do this classical thing. Now, I’m working in qawwali, and then I’m going to go into more pop and folk pop. I have all these other influences people don’t know about. They think I only know about jazz.”
What I noticed at the concert was that people still remember, enjoy, and want to listen to some of the older music that MHB has done, but Mekaal seems so ‘over it’.
“I don’t think we’re going to top ourselves with that material, not with the people that I am hearing now,” says Mekaal firmly. “I’m not hearing the skill level those songs require. Rather than massacring them, I’d rather work with someone new with a different skill set.
“Shehzad sings amazing qawwali, but he’s not a classical singer,” he points out. “He’s easy to work with, and I can create different kinds of music with him.”
I protest: Mekaal might be over it, but audiences still want to listen to the classics! “They’ve got tonnes of that s*** out there,” he retorts. “All of the recordings, sara kuchh parra hai, uss ko sunn lain. Ab kuchh aur hoga [all of it is out there, just go and listen to that. Now it’s going to be different]. I don’t want to be that kind of guy who plays his one [expletive] hit song for 30 years. I didn’t go to music school for that.”
He adds, resolutely, “I want to play different things now. I’ve done that s*** for 20 or 25 years. I don’t want to do that anymore.”
Mekaal isn’t looking back. He’s tuning into the future. As for his progressive rock Nusrat Fateh Ali Khan tribute — somewhere between reverence and rebellion, a new sound is being born.
The writer is a journalist, an award-winning documentary filmmaker and radio correspondent.
*Instagram: *@madeeha.syed**
Published in Dawn, ICON, February 1st, 2026
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SMOKERS’ CORNER: MIRACLES AND MATERIALITY
A recent video showing a Quran that survived the devastating fire at Karachi’s Gul Plaza has reignited a centuries-old conversation. Throughout history, accounts of Bibles, Qurans or Buddhist sutras emerging unscathed from catastrophic floods and fires have been celebrated as Divine interventions. While these events offer profound spiritual solace, a closer look reveals a fascinating intersection of material physics and psychological bias.
From a physical standpoint, Dougal Drysdale, Professor Emeritus at the University of Edinburgh, suggests that a hardbound book’s survival is often due to the ‘Closed Book Effect.’ When shut, a book functions as a dense, oxygen-starved block of cellulose. Because fire requires a steady flow of oxygen to consume fuel, the tightly packed pages resist ignition by preventing airflow from reaching the interior.
In the event of a flood, the surface tension of water against tightly pressed pages creates a natural barrier. This prevents deep seepage for a significant period, often leaving the heart of the book perfectly dry.
American psychologist Thomas Gilovich explains that when a sacred text survives a disaster, it often becomes more than just a book. It is elevated to a sacred relic. This transformation, according to Gilovich, can significantly redefine a community’s cultural path. In the aftermath of the 2011 Joplin tornado in Missouri, US, survivors and news outlets frequently highlighted the ‘miraculous’ discovery of intact Bibles among the rubble of flattened homes.
The survival of holy texts in the aftermath of natural catastrophes is often termed ‘Divine protection’, revealing the cultural and spiritual narratives people love to attach to such instances
While hardbound dictionaries and cookbooks likely survived in the same ruins due to their similar physical construction, these secular items were ignored by the media as mere debris. The surviving Bibles were immediately elevated from functional reading material to sacred relics, often being framed and displayed as symbols of Divine protection.
By focusing on these specific books, the media triggered a cognitive bias that led people to view the event through a supernatural lens rather than recognising the simple physical durability of bound paper.
British scholar Susan Whitfield, in her 2004 work The Silk Road: Trade, Travel, War and Faith, details the discovery of the Mogao Caves in China. In that instance, the sealing of the Buddhist text the Diamond Sutra (868 CE) within a dry, walled-up chamber created a “natural vault” that protected the world’s oldest-dated printed book from the degrading effects of humidity and oxygen for nearly a millennium. The perception of such objects often shifts from the literary to the ‘miraculous’.
During World War I, pocket Bibles carried by soldiers occasionally stopped shrapnel due to the high density of their compressed paper. This led many soldiers to treat the Bibles as protective talismans.
The Codex Amiatinus, frequently referred to as the ‘Grandfather’ of Latin Bibles, has survived for over 1,300 years due to its immense physical durability. According to Drysdale, this enormous volume, created around 700 CE in Northumbria, England, weighs over 34 kilogrammes and was crafted from the skins of more than 500 calves.
The use of high-quality parchment makes the Bible significantly more resistant to fire and decay, as organic animal skins lack the highly flammable, oxygen-trapping fibres found in wood-pulp paper. This Bible remained virtually untouched for a millennium, preserved by the stable environment of an Italian abbey that served as a ‘natural vault.’
In West Africa, the Desert Manuscripts of Timbuktu offer a compelling example of texts surviving environmental factors, a story often framed as miraculous. When Islamist militants set fire to the Ahmed Baba Institute in 2013, there was widespread global concern over the potential loss of thousands of ancient Islamic manuscripts. However, according to the researcher Mauro Nobili, the extreme aridity of the Sahara desert was critical in aiding their preservation for centuries.
The persistently low humidity prevented mould growth and kept the delicate ink stable, allowing for their long-term survival, which many viewed as a modern miracle. However, the more vulnerable manuscripts were secretly shifted to safer locations before the militants set fire to the Ahmed Baba Institute.
During the Viking raid on Lindisfarne — a tidal island off the northeast coast of England — in 793 CE, a legend emerged concerning a sacred book, Lindisfarne Gospels, which was said to have been dropped into the sea by fleeing priests. Three days later, it washed up perfectly dry. While this specific account is often considered apocryphal, the physical survival of such ancient texts is frequently due to their durable leather and metal bindings, which act as a protective shell for the internal vellum.
Gilovich would point to stories such as this ‘dry’ recovery of a Bible as prime examples of how the media and oral tradition prioritise miraculous narratives over the mundane reality of material science, thereby reinforcing spiritual beliefs.
According to the prominent professor of psychological sciences J. Park, communities frequently transform these survival stories into powerful symbols of “Divine protection” as a means of processing the profound trauma of disasters. This phenomenon ultimately highlights a dynamic intersection, where material science meets deep human sentiment.
While the inherent fire-resistant properties of vellum offer logical, scientific explanations for the physical survival of many books, the human psychological element remains paramount. The inherent human need to find order, meaning and hope within chaos is what elevates these surviving sacred objects from mere material items to vital spiritual anchors for a community’s recovery and continuity.
The endurance of these texts represents a profound intersection between material science and human psychology. It is not merely the density of vellum, the chemical stability of ancient inks or the aridity of a desert that ensures survival. Rather, it is the way these physical realities interact with our inherent drive to find order in the wake of destruction.
Gilovich’s research posits that when a community witnesses the survival of a sacred text, they are not simply observing a quirk of physics. They are engaging in what Park describes as “meaning-making”, using the survived sacred object to process trauma and reclaim a sense of ‘Divine protection.’ Whether through the preservation of the Diamond Sutra in caves, or a Bible or a Quran found amidst the ruins of a modern disaster, these serve as a bridge between the tangible and the transcendent. Their survival is a testament to the fact that, while fire and time may consume the material, the cultural and spiritual narratives we attach to them remain indestructible.
Yet, it is equally important that we recognise the physical realities of their endurance, acknowledging that the science of material durability does not diminish the ‘miracle’, but rather provides a rational foundation for understanding how the written word survives the very elements meant to destroy it.
Published in Dawn, EOS, February 1st, 2026
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GARDENING: SWISS ONLY IN NAME
Different varieties of leafy green vegetables (locally known as saag) are commonly grown in the Subcontinent due to the favourable growing conditions here. These green vegetables are prepared in traditional meals that contain the signature South Asian touch. However, Swiss chard remains relatively unknown to many.
Swiss chard is one of the easiest-to-grow leafy green vegetables. Unlike other leafy green vegetables, Swiss chard has beautiful bright green-coloured leaves with white, yellow or maroon midribs and stem. No wonder that a few sub-varieties of the Swiss chard are referred to as rainbow chard!
It is also known as spinach beet and leaf beet, while other names reflect the colour of its stems. For instance, the ones with white midribs are referred to as silver beet and those with red or maroon stems are known as rhubarb chard. Its striking colour combinations make it attractive enough as an ornamental plant.
Scientifically known as Beta vulgaris L. var. cicla, Swiss chard belongs to the Amaranthaceae family, which was formerly known as the Chenopodiaceae family. While it is also considered a beet, its root is inedible. Due to its close resemblance to spinach and beet root, it is not recommended to grow Swiss chard near either of them. Pests and diseases affecting beet root and spinach will likely attack Swiss chard as well.
While many other types of saag dominate South Asian kitchens, Swiss chard — of Mediterranean origin — remains largely unknown here…
Contrary to its name, Swiss chard does not originate from Switzerland. The origin of the ‘Swiss’ prefix remains contentious. One theory is that it is widely grown in Switzerland. In fact, Swiss chard primarily originates from the Mediterranean region. However, it is extensively used in Swiss cuisine.
Another theory is that the botanist who first classified this vegetable was Swiss and used the prefix to create a distinction from other leafy vegetables. The most common theory is that the European seed merchants added Swiss to distinguish it from the closely related French chard. If that were not enough to confuse you all, the word ‘chard’ is of Latin origin, meaning thistle — a common gardening term referring to a flowering plant which has prickly bracts.
Swiss chard seeds are easily confused with those of spinach, due to their stark resemblance. The seeds of Swiss chard are faded brown to dark brown in colour. They have a dry, rough texture and are irregular in shape. The seeds are hard and are surprisingly light for their size. Like spinach, one seed of Swiss chard can result in three to four seedlings. For this reason, it is known as a seed ball, containing potentially three to four seeds.
Being hardy, Swiss chard has minimal requirements. One of the best aspects about sowing Swiss chard seeds is that they can be grown in almost any available space. You can grow it on a strip of land, small pots and even around other plants in the same pot. However, when sowing Swiss chard seeds for a full crop, certain aspects should be taken into account.
In climates similar to Karachi, the seeds can be sown from mid-October onwards or when the temperature falls to 20 degrees Celsius. The potting mix should be pre-moistened and clear of pebbles and stones. Seeds should be placed half an inch below the surface and covered with a layer of compost. The soil should remain moist, not wet.
Depending on the desired yield, any pot size can be used, since the roots are small. Pots should then be placed in a cool shade with indirect sunlight. If the Swiss chard plant is being grown in an open field or in raised beds, it should be shielded from direct sunlight exposure, to minimise evaporation.
Some gardeners prefer to soak the seeds in water for four to six hours to ensure better and quick germination. In favourable conditions, Swiss chard seeds are likely to sprout within one week to 10 days.
Please send your queries and emails to doctree101@hotmail.com. The writer is a physician and a host for the YouTube channel ‘DocTree Gardening’ promoting organic kitchen gardening
Published in Dawn, EOS, February 1st, 2026
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ADVICE: AUNTIE AGNI
Dear Auntie,
Hope you are well. I am seeking your advice regarding a situation that has been bothering me for a long time. I’m a university student and I met this girl. She seemed very interested in me at that time and so was I in her. We had great chemistry, something I’ve never felt in my life. But I never confessed my feelings to her because of certain things I heard about her. Later, I found out she was dating someone. I internalised my love for her for quite a long time, almost a year, until I couldn’t hold it in, and confessed everything to her, even though I knew she was in a relationship.
The nature of my work requires me to face her and, whenever we work together, that chemistry-like muscle memory hits like a truck and I fall head over heels for her all over again. Even though getting her is nothing but a distant dream, I still can’t get over her and long for her all the time. It’s like a stalemate. I would really appreciate your advice on this.
Longing and Yearning
‘I Am Obsessed With a Woman I Can’t Have’
Dear Longing and Yearning,
This is a classic case of excellent chemistry but bad timing. Auntie has seen this film before and the hero always thinks that this one love is ‘different’. Maybe it is different for you. But the situation is very, very old.
Let’s start with the fact that you don’t want to face… that this is not love. This is emotional attachment, mixed with a heavy dose of imagination. And it is a powerful mix, made more powerful because the person in question is unavailable.
Every time you see her, your brain tells you “Ah yes, the unfinished business.” But notice something important… the girl chose someone else. This was not because you are not good enough, but because her life moved in a different direction. That is her choice, and chasing emotionally after someone who has chosen another path slowly kills your self-respect.
The chemistry you talk about is a result of you training your mind for a year to revolve around her. Of course, your brain runs back there. Our minds do what seems familiar and comfortable. Right now, you are feeding the feeling every time you replay moments and analyse your interactions with her. You are emotionally investing in a door that is firmly shut and you are wondering why you feel stuck outside. Of course, you are stuck!
It is time to start acting professionally with her. And it is time to stop any emotional conversations with her and avoid needless eye-contact. When your mind starts romanticising anything about her, interrupt it with reality, by reminding yourself that she is in a relationship and that you deserve someone who is available.
The person who is meant for you will not require this much suffering just to exist in your life. Mutual love is supposed to feel stable.
You are not losing her. You are grieving a life that you imagined. The grief will pass when you stop feeding it. You are simply holding on to an illusion because it once felt beautiful. Just let it be beautiful. And let it go.
Disclaimer: If you or someone you know is in crisis and/or feeling suicidal, please go to your nearest emergency room and seek medical help immediately.
Auntie will not reply privately to any query. Please send concise queries to: auntieagni@gmail.com
Published in Dawn, EOS, February 1st, 2026
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