PLAYING tabla at the Gurdwara regularly from the age of eight firmly connected Amandip Bahia to music, and this in turn led him towards learning the dhol at 12 from a leading maestro based in Wolverhampton.
He was taught in such an immersive way that it developed a lifelong love for the instrument and helped him to form acclaimed group Dhol Frequency.
The talented musician has balanced incredible live performances with teaching dhol and outreach work with the youth. Dhol Frequency will be one of the headline acts at this year’s Newham Under The Stars event at Central Park in East Ham on August 17.
Eastern Eye caught up with Amandip Bahia to find out more about his connection to the popular instrument, his outreach work and more...
What is it about the dhol you love most?
I love the sound of the dhol and how the high energetic beats make the crowds insane. The instrument is able to create such a wide array of sounds and all have an uplifting effect. The buzz it generates while performing live is amazing.
What have been your most memorable musical moments?
The whole journey has been so memorable with so many highlights. Performing with Gurpreet Ghuggu at a high profile event at the beginning. This was followed by great moments like being part of teams that helped King G Mall break Guinness Book Of World Records.
Other highlights include performing at the first Brit Asia Music Awards alongside Roach Killa, reaching the final of the competition Dholi’s Got Talent, performing for the great Gurdas Maan jee, and at Jimmy Shergill’s UK film press conference.
Who has been the most interesting person you have met on your journey?
I have been blessed to have met many people on this amazing journey, including DJ Bally K, who taught me so much in the 15 years I played dhol with him on stage.
Of course, King Gurcharan Mall, who is so inspirational and always thinking big. I have done some great work with the famous Heera Dancers from Wolverhampton. Then there is the hit-maker PBN, who I’ve been playing dhol with since 2001 and featured in so many of his smash hit music videos.
Tell us about Dhol Frequency...
There are six members who I have taught from day one and given guidance to. Taran, Navin, Sunil, Akash, Parabjot and Aaron are still young and learning, but have a very big part to play in the group in the future and are very talented.
Can you also talk about your teaching and outreach work...
I’ve been teaching since 2005, which includes a main group class and one-to-one private tuitions. I’m developing more Dhol Frequency classes in the future. Teaching has enabled me to do workshops in school and outreach work, which is so rewarding. I think we all have a duty to give back in some way.
What advice would you give to those wanting to play the dhol?
The primary advice would be to find a teacher. There are many great teachers across the UK who will harness your potential and expand your knowledge. They will give you enough skills to then teach others. Knowledge is power and that only comes with a great teacher.
If you could learn another instrument, what would it be?
There are too many I would still love to learn, such as tumbi and keyboards. Music is like the sea in that it never ends; it just gets deeper and deeper.
Do you get told off for practicing the dhol at home because it is so noisy?
(Laughs) Yes, everyday! First it was my mum and now it’s my wife. But having a great passion means you can never stop practicing, which is the most important thing you can do as a musician.
What can we expect from you next?
In 2018 I launched the Dhol Frequency brand, which involves classes, bringing through new talent, outreach work and performances. We are looking forward to performing alongside such a great line-up at Newham Under The Stars at Central Park in East Ham on August 17. We might even release a song in the future.
Why do you love music?
Music is me and I am music. I can never live without it! It’s been a massive part of my life from the age of eight and will continue doing it for as long as possible. The learning and discovery never ends.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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