Chand Ali Khan: ‘Qawwalis are spiritual conversations’
The Midlands-based group is set to embark on another UK tour in February
By Asjad NazirJan 27, 2024
DESPITE being centuries old, qawwali music remains massively popular with live audiences around the world.
One of its top British exponents, Chand Ali Khan Qawwal and Party, is set to embark on another UK tour in February.
The Midlands-based group has already sold out some shows, and their Dillagi tour promises a blend of authentic original compositions and contemporary interpretations, including Bollywood-inspired songs.
Lead singer Chand Ali Khan is looking forward to reconnecting with audiences on the action-packed tour and discussed his love of live performances.
How much does performing live mean to you?
Some fans recently described to me the unspoken connection they feel during our live shows. How it gives them this warmth and makes them feel peaceful. To be honest, I echo these sentiments. Live performances are the heartbeat of this rhythmic tapestry of qawwali. It’s not just about singing; it’s about weaving an emotional journey with the audience. The shared energy and unspoken connection create a spiritual conversation through melodies.
What can audiences expect from your UK tour?
This year, we are bringing a revitalised flavour of sufiana kalaam to both famous and rare qawwalis, along with Bollywood tracks rooted in qawwali music theory, resonating with our contemporary touch – all under the banner of Dillagi. Brace yourselves for an auditory odyssey and some delightful surprises. You’ll have to join us if you want to know more.
How do you feel about your growth as a live performer?
The artistic process is an evolution, really. With every concert, I try to delve deeper into the nuances of expression. The stage is our canvas and our interpretations of qawwali are there to paint emotions. Over time, with the grace of Allah, my palette has grown richer.
Why do you think live qawwali music is enjoying such a resurgence?
There has definitely been a change in recent years. While anyone can access music editing software, not everyone can be a true artist, particularly a live singer. People are starting to realise the value of creating live music. They are getting fed up of lip sync performers and karaoke effects. In our digital age, we now crave authenticity and having a good time; in this realm, qawwali stands as a beacon.
Tell us more about that.
People recognise the rawness and emotion of qawwali when performed live. It offers a poignant escape and fosters empathy in the midst of the mundane. People yearn for connection and qawwali offers an intimate and communal experience unlike any other genre.
Which qawwalis do you enjoy performing the most?
It has to be my all-time favourite, Yeh Jo Halka Halka Suroor Hai. Ustad Nusrat Fateh Ali Khan saab crafted so many melodies and variations in this track that are entrancing and the poetry resonates deep within the soul. Personally, I love the build-up of the raag, which just captivates you.
Do you ever get nervous before going on stage?
I think it used to affect me more when I was younger. All artists get a little jittery on stage. But now, nervousness has become part of the prelude – it gives me that mix of excitement, reverence and opportunity to deliver qawwali perfectly on stage. Nowadays, it’s a positive driving force, and a reminder of the responsibility to create an atmosphere that transcends one’s connection with god and touches the sublime.
In your opinion, what is the secret of a great performance?
I approach each performance as if it were my last concert. That way, I give it my all and hope the audience gets to experience the immersive magic of qawwali. I don’t like to complicate or spoil the recipe. When you surrender to the music, it enters your heart and reflects in your expression.
What are your future plans?
We are currently working on original compositions, which will hopefully be released soon. Exciting discussions are underway for venturing into the western arena and also collaborating with prominent names in the original qawwali sphere. Ultimately, the goal is to preserve the richness of our musical heritage.
Today, what inspires you as a singer?
The biggest inspiration towards this line of work is the music and impact of the late great shahenshah-e-qawwali, Ustad Nusrat Fateh Ali Khan saab. Despite the turmoil and challenges in the world, my aim is that the message of my work helps unite our community with commonality and instills love, peace, and kindness that mankind deeply holds. Although it's difficult with so much conflict and disagreements in the world, there are many good stories of journeys, struggles and triumphs. I hope our music transforms into a catalyst for spreading this message.
Why should we come to the concerts?
The London concerts have already sold out a month before the tour starts. But there’s still time for the UK to join us in Glasgow, Birmingham and Manchester. I cannot wait to see you all there.
Tickets are available to book at www. qawwaliworld.com. Instagram: @chandalikhanqawwal
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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