The Pakistani icon and lead singer of band Junoon helped shape popular music in the 1990s and laid the foundation for a thriving pop industry in South Asia
By Asjad NazirMay 05, 2023
From global fans to artists following in his giant footsteps, Ali Azmat became the voice for an entire generation as the lead singer of legendary band Junoon.
The Pakistani icon helped shape popular music in the 1990s and lay the foundation for a thriving pop industry in South Asia. The trailblazer’s amazing journey went from delivering explosive hits like YarBina, Sayonee, Dosti and Jazba-e-Junoon with Junoon to shaping a successful solo career.
Three decades later, the Sufi rock pioneer is still going strong and returns to the UK for a big solo concert at Indigo at O2 in London on May 14, with a full live band. He is set to deliver his all-time classics, with brand new material at what promises to be a high-energy show powered by his unmistakable vocals.
Eastern Eye caught up with the powerfully voiced pop icon to speak about his path-breaking journey, UK concert, being a musical rebel and the experience of acting in record-breaking movie The Legend Of Maula Jatt.
How do you look back on your journey in music?
I look back at my journey with a sense of pride and experience that cannot be replaced. Although it has been fulfilling and a lot of fun, looking back is not something I tend to do. I am all about looking forward to the next challenge. But overall, it’s been a great journey and I hope it continues, as I’m getting ready for another phase of my musician life.
What has been the most memorable moment of your amazing journey?
I think when we won the Channel V award. I remember we were accompanied by Sting and Def Leppard. You know, these are childhood heroes of mine, and I couldn’t believe that we were on the same stage as them. So, that was obviously a remarkable memory.
Would you have done anything differently on this long musical journey?
Of course, I mean every musician has thoughts about having done things differently, especially when listening back to the songs. I mean, most of the music we listen to, thinking you know, we could have recorded this a certain way or, sung that better. So yeah, things could have been different, if we were different!
What does music mean to you today?
The connection with music remains strong. It means exploring and expressing oneself through an instrument, whether that is your voice, a guitar, violin, saxophone or whatever. You know, everyone has to find their own voice and sound, and then they have to express what can’t be expressed through words or actions. Music always does that.
Which song do you most enjoy performing live?
I am connected to all my songs. But I have always enjoyed performing Dosti until this day because it’s a simple, but meaningful song that remains relevant. Since we started, older songs like Dosti, we still change them around every time we play, which makes it kind of fun. You take that old music, you may obviously be sick of and play differently every time. So, you keep yourself entertained and offer audiences something new.
How much does live performance mean to you today?
Live performances mean everything to me, and most artists would say the same. (Laughs) I love it because it is the only thing, I think, I do well and really enjoy making that connection with audiences, which is hard to describe in words. I am looking to do that again with the UK show in London.
How much are you looking forward to your UK show?
I have always had a special connection with the UK and music fans there. I’m really looking forward to this UK performance because I haven’t played there since the 2019 gig at Wembley Arena. We are looking forward to showcasing classics people love and our set list of new music, which will all be presented in a way not done before. Really excited for this show.
How does a solo performance compare to being onstage with Junoon?
Comparing being on stage with Junoon and my own solo performances, is like comparing oranges with bananas. In terms of Junoon, we don’t meet as much as we would like to, and it can be the same old music. But as a solo performer, I get to play original music with my other band, but also classics from Junoon. We have been rehearsing and working very hard to change around the music, to just keep it fresh, and give audiences a new experience with a bigger set list. So yeah, I enjoy my solo performances more.
Do you think you are still a musical rebel?
(Smiles) I now like to call myself a musical diplomat. Musical rebel? Yes, I’m still a bit of that, but where do we all stand now in this ever-changing musical world. It is hard to pinpoint that. Today, a lot of kids who listen to music almost have like a 30-second attention span. So, I don’t know if me being a musical rebel means anything. But do I like to do things my own way, yes.
Ali Azmat with Junoon band members Salman Ahmad (left) and Brian O’Connell
What would you say is the master plan going forward?
God has a master plan! I don’t have one. (Laughs) I just float through every day, as everyone around me will say - that you don’t do much. That you just sit, procrastinate, and don’t have a master plan. Ultimately, I think I am working on somebody else’s master plan.
You acted in the record-breaking super hit film The Legend Of Maula Jatt.
What was the experience of working on such a path-breaking movie for Pakistani cinema?
The Legend Of Maula Jatt was a great, great experience. First of all because they’re all friends of mine. I enjoy being around my friends. And while you’re hanging out, you make a movie also. But I had almost forgotten about it because I shot that movie in 2017 and it was released in 2022, about four or five years later.
Will you be acting in more projects?
I will do more acting projects because I enjoy working with friends. But you know, I’m generally a very lazy person. So, for me to go on set for let’s say, two months, it would have to be a special project. I did a couple of other movies, and it was a challenge giving those 45 days. I shot one movie, but it never came out. Although I do have some kind of draw towards acting, I’m not really an actor. But if people think I can do something in that field, it’s nice. It’s really
about exploring a part of yourself, which I’m open to.
Why do you think we should all come to your concert?
You should all come to my concert because it’s gonna be a ride. We’re gonna take some musical liberties, we’re going to explore some new styles, and there will be lots of rock and roll. Lots of, you know, great musicianship from the whole band. I mean, you have to check out this band that I play with – they are the masters of the game. You will certainly enjoy and groove.
Ali Azmat is in concert at Indigo at The O2, 205 Peninsula Square, London SE10 0ES next Sunday (14). www.theo2.co.uk and www.rockonmusicuk.com
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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