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
Fragments of Belonging is Nitin Ganatra’s first solo exhibition
Opens Saturday, September 27, at London Art Exchange in Soho Square
Show explores themes of memory, displacement, identity, and reinvention
Runs from 3:30 PM to 9:00 PM, doors open at 3:15 PM
From screen to canvas
Actor Nitin Ganatra, known for his roles in EastEnders, Bride & Prejudice, and Charlie and the Chocolate Factory, is embarking on a new artistic chapter with his debut solo exhibition.
Titled Fragments of Belonging, the show marks his transition from performance to painting, presenting a deeply personal series of works at the London Art Exchange in Soho Square on September 27.
Exploring memory and identity
Through abstract forms, bold colour, and layered compositions, Ganatra’s paintings reflect themes of memory, displacement, and cultural inheritance. The exhibition has been described as a “visual diary,” with each piece representing fragments of lived experience shaped by migration and reinvention.
What visitors can expect
The exhibition will showcase original paintings alongside Ganatra’s personal reflections on identity and belonging. The London Art Exchange promises an intimate setting in the heart of Soho, where visitors can engage with the artist’s work and connect with fellow creatives, collectors, and fans.
The event runs from 3:30 PM to 9:00 PM on September 27, and is open to all ages.
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£1 tickets available for families receiving Universal Credit
The Peter Rabbit™ Adventure runs at Hampton Court Palace from 25 July to 7 September 2025
Trail includes interactive games, riddles and character encounters across the gardens
Children can meet a larger-than-life Peter Rabbit in the Kitchen Garden
Special themed menu items available at the Tiltyard Café
£1 tickets available for families receiving Universal Credit and other benefits
Peter Rabbit comes to life at Hampton Court
This summer, families visiting Hampton Court Palace can step into the world of Beatrix Potter as The Peter Rabbit™ Adventure takes over the palace gardens from 25 July to 7 September 2025.
Explore the Kitchen Garden, Tiltyard and WildernessHRP
The family trail, officially licensed by Penguin Ventures on behalf of Frederick Warne & Co., combines the palace’s historic gardens with the much-loved tales of Beatrix Potter. Visitors will encounter interactive activities, puzzles and games while exploring the Kitchen Garden, Tiltyard and Wilderness.
Interactive activities and wildlife learning
Along the trail, children can try Mrs Tiggy-winkle’s washing equipment to make music, search for Peter Rabbit under wheelbarrows, or test their hopping skills alongside Beatrix Potter’s characters.
The experience also highlights Potter’s role as a committed environmentalist. Young visitors are encouraged to look for real wildlife such as hedgehogs, squirrels and toads while learning about habitats and conservation in the palace grounds.
Children can meet a larger-than-life Peter Rabbit HRP
Meet Peter Rabbit and enjoy themed treats
Peter Rabbit himself will make appearances in the Kitchen Garden at set times each day, where families can take photos among the seasonal produce. Fresh fruit and vegetables grown in the gardens will feature in special Peter Rabbit™ menu items at the Tiltyard Café.
After completing the trail, children can also explore the Magic Garden playground or visit Henry VIII’s Kitchens inside the palace, where live cookery demonstrations take place each weekend.
Tickets and access
The Peter Rabbit™ Adventure is included in general admission:
Off-peak (weekdays and bank holidays): Adults £27.20, Children (5–15) £13.60, Concessions £21.80
Peak (weekends and events): Adults £30.00, Children £15.00, Concessions £24.00
HRP Members go free
Families in receipt of Universal Credit and other means-tested benefits can access £1 tickets throughout the summer (advance booking required).
Membership offers unlimited visits to Hampton Court Palace and other Historic Royal Palaces sites, including seasonal events such as the Hampton Court Palace Food Festival and Henry VIII’s Joust.
For more details and booking, visit
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The former Match of the Day presenter was voted best TV presenter by viewers at the ceremony on Wednesday
Gary Lineker named best TV presenter, breaking Ant and Dec’s 23-year run
Former Match of the Day host left BBC after social media controversies
Netflix drama Adolescence wins two awards, including best drama performance for 15-year-old Owen Cooper
Gavin & Stacey takes home the comedy award
I’m a Celebrity wins in the reality competition category
Lineker takes presenter prize after BBC departure
Gary Lineker has ended Ant and Dec’s record 23-year winning streak at the National Television Awards (NTAs). The former Match of the Day presenter was voted best TV presenter by viewers at the ceremony on Wednesday.
Lineker stepped down from Match of the Day in May after 26 years, following controversy around his social media posts. Accepting the award, he thanked colleagues and said the prize showed “it is OK to use your platform to speak up on behalf of those who have no voice.” He added: “It’s not lost on me why I might have won this award.”
Asked if he might work with the BBC again, Lineker said he was uncertain but was “really looking forward to working with ITV.”
The last winner before Ant and Dec’s run was Michael Barrymore in 2000.
Netflix drama Adolescence scores double win
Netflix’s hit drama Adolescence won best new drama and best drama performance for 15-year-old Owen Cooper. The show, which follows the story of a teenage boy accused of murder, became a national talking point earlier this year.
Cooper beat fellow nominee Stephen Graham, who plays his on-screen father, though neither attended the event.
Gavin & Stacey named best comedy
Gavin & Stacey’s Christmas finale, watched by more than 20 million viewers, was named best comedy. Ruth Jones, who plays Nessa, accepted the award and joked: “Alright, calm down. I’m going to the bar now for a pint of wine.”
Backstage, Jones paid tribute to co-writer and co-star James Corden, who could not attend, and addressed reports of a new Apple TV+ project, saying nothing had yet been confirmed.
I’m a Celebrity beats The Traitors
In the reality competition category, I’m a Celebrity… Get Me Out of Here! triumphed over The Traitors, Love Island, and Race Across the World. Presenters including Coleen Rooney and Oti Mabuse collected the award.
Other winners of the night
Michael McIntyre’s Big Show won the Bruce Forsyth Entertainment Award
Molly-Mae Hague’s Behind It All won best authored documentary
Wallace & Gromit received a special recognition award
Gogglebox won factual entertainment, while Call the Midwife secured returning drama
The NTAs remain unique in British television for being entirely voted for by the public.
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UN human rights office urges India to drop cases against Arundhati Roy
ARUNDHATI ROY’S forthcoming memoir, Mother Mary Comes To Me, is about the author’s close but fraught relationship with her mother, Mary Roy, whose death in 2022 her daughter has likened to “being hit by a truck”.
Mary Roy, who insisted her children call her “Mrs Roy” in school, belonged to the Syrian Christian community. She does not seem a very nice person.
The Financial Times, which interviewed Arundhati at her home in Delhi, reveals: “In an episode to which the writer makes oblique reference early in the book but withholds until later — because of the pain it caused — she returned from boarding school for the holidays, aged 13, to find that Mrs Roy had had her beloved pet dog, Dido, shot and buried as ‘a kind of honour killing’ after Dido mated with an unknown street dog.”
In 1996, someone tipped me off that a publisher had won an auction by paying £1 million for The God of Small Things by an unknown Indian writer. This was unprecedented for a debut novel. But the buzz among the bidders was that the novel was a possible contender for the Booker Prize.
As I was writing my story at the Daily Telegraph, the night editor, Andrew Hutchinson, leant over and quipped: “Writing about your sister again?” As we know, Arundhati Roy did win the Booker in 1997. I had actually met Arundhati two years previously when she had stuck up for Phoolan Devi, the subject of Shekhar Kapur’s movie, Bandit Queen, based on Mala Sen’s biography.
Phoolan had been repeatedly raped by upper class Thakurs (the men were later lined up in the village of Behmai and executed by Phoolan’s gang in 1981). The film was exploitative, claimed Arundhati, because for Phoolan, it was like being raped again. She wrote a piece in Sunday in Calcutta (now Kolkata), headlined, “The Indian rape trick”.
Mala arranged for me to interview Phoolan who was refusing to talk to Channel 4 which was making a documentary in India on the controversial movie. In public, she supported Arundhati, but behind the scenes did a deal with C4 which paid her £40,000.
The FT interview says Arundhati “left home at 16, putting the length of the subcontinent between her mother in Kerala and herself in New Delhi, where she was admitted as one of the few women students at the School of Planning and Architecture. ‘I left in order to be able to continue to love her, because I knew she would destroy me if I stayed,’ she says.
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The mural has been covered and is being guarded by security
A new mural by street artist Banksy has appeared on the Royal Courts of Justice building in central London.
The artwork depicts a judge hitting a protester, with blood splattering their placard.
It comes days after nearly 900 arrests at a London protest against the ban on Palestine Action.
The mural has been covered and is being guarded by security; Banksy confirmed authenticity via Instagram.
Banksy’s latest work at the Royal Courts of Justice
A new mural by the elusive Bristol-based street artist Banksy has appeared on the side of the Royal Courts of Justice building in central London.
The artwork shows a judge in traditional wig and black robe striking a protester lying on the ground, with blood depicted on the protester’s placard. While the mural does not explicitly reference a specific cause or incident, its appearance comes just two days after almost 900 people were arrested during a protest in London against the ban on Palestine Action.
Security and public access
Social media images show that the mural has already been covered with large plastic sheets and two metal barriers. Security officials are guarding the site, which sits beneath a CCTV camera.
Banksy shared a photo of the artwork on Instagram, captioning it: “Royal Courts Of Justice. London.” This is consistent with the artist’s usual method of confirming authenticity.
Location and context
The mural is located on an external wall of the Queen’s Building, part of the Royal Courts of Justice complex. Banksy’s stencilled graffiti often comments on government policy, war, and capitalism.
Previous works in London
Last summer, Banksy launched an animal-themed campaign in London featuring nine works. The series concluded with a gorilla appearing to lift a shutter at the London Zoo. Other notable pieces included piranhas on a police sentry box in the City of London and a howling wolf on a satellite dish in Peckham, which was removed less than an hour after unveiling.