Asian man's death: Attacker acted in self-defence, says court
The altercation began when Thomas Coleman accidentally bumped into Amarpal Atkar outside the smoking area of bar in Birmingham on July 31, 2021
By Shajil KumarJul 02, 2024
AN ASIAN-ORIGIN man Amarpal Atkar (33) died after being punched twice in the head by a stranger after an altercation outside a Birmingham bar.
Nearly three years after the incident, the attacker, Thomas Coleman, was found not guilty of any offence as the court ruled he had acted in self-defence, according to media reports.
A 'doting son and loving brother' Atkar died from the second punch to the head which caused a fatal brain injury, an inquest heard.
Atkar worked as a financial services officer in Oldbury and was treated 'like a celebrity' at the bar as 'everybody knew him'.
The altercation began when Coleman, on his first night out in the city, accidentally bumped into Atkar outside the smoking area of Be At One bar on July 31, 2021.
Atkar was heard calling Coleman 'ginger t***' and 'Ed Sheeran' and then said 'hit me, hit me'.
Coleman responded by punching him in the face, and Atkar fell to the ground.
Atkar got back to his feet as bouncers restrained Coleman. They took his wallet and hotel key and let him go.
As Coleman walked away, Atkar "pursued" him. He punched Coleman near Birmingham New Street station, the court heard.
Coleman punched back at Atkar in the face for the second time and it proved fatal. He became unresponsive and was rushed to hospital, where he was confirmed dead the same day.
Coleman fled the scene and was later nabbed by the police at the Grand Hotel. He was arrested initially on suspicion of murder with a case later made for manslaughter.
On two occasions the Crown Prosecution Service (CPS) decided not to charge Coleman with any offence, the court was told.
After the initial decision, Atkar's family lodges a victim's right to review. However, Birmingham Coroner's Court heard no charges would be brought, with family feeling "let down by the justice system."
Ruling out unlawful killing, Senior Coroner Louise Hunt told the court: "I accept Coleman's evidence when he said he was trying to protect himself."
She added: "It is regrettable that Coleman decided to use such force to respond to the verbal altercation as this did result in the death of Atkar."
Coleman and his girlfriend - now wife - had come to Birmingham for the first time to celebrate after she passed her driving test.
After spending time at Be At One, the couple decided to go back to their room at the Grand Hotel.
They were outside the club speaking to a taxi driver when the incident began.
Coleman told the court that he walked away after he accidentally stepped onto Atkar. "At that moment, I heard a comment about the colour of someone's skin. After hearing 'Ed Sheeran' being shouted louder and louder, I realised it was addressed to me."
He walked over to Atkar and asked: "if everything was alright". Atkar responded 'if you're going to do something, then do it now', but increasingly getting louder as he was saying it.
Coleman felt 'intimidated' as this was his first visit to the city and he had never faced such a situation.
"I remember vividly taking a step back and at that moment, I was thinking 'Do I run away or do I try and defend myself?'" CCTV then shows him punching Atkar in the face, with him falling to the floor.
Coleman told the court he wanted to run away, but was 'restrained by bouncers'. They let him go after confiscating his hotel key and wallet.
While walking towards New Street Station, he saw Atkar following him and speaking on the phone, 'He is here now, come quick.'
Atkar then punched Coleman, and when he retaliated he died.
Concluding the inquest Hunt told the court: "Coleman says he was on the phone saying 'he is here, come quick'. He thought he was going to be injured."
After the inquest, Atkar's devastated family paid tribute to him as the 'life and soul of any room he walked into'.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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