THE parents of a woman- who died in Pakistan ten days ago- have now appealed to UK prime minister Boris Johnson and his Pakistani counterpart Imran Khan to look into the case, a report stated on Friday (9). The family and friends have also appealed that the deceased woman's children should be brought back to their grandparents in the UK.
Kelsey Devlin, a 27-year-old carer and mother of two from Burnley in Lancashire, died on June 30 in a hospital in Rawalpindi, soon after arriving in Pakistan along with her two children. However, the inconsistencies in her death certificate and conflicting accounts have led the family and friends in the UK to suspect some foul play in her death.
While Devlin’s death certificate mentions sepsis, a stroke and cardiopulmonary arrest, it also said to have many basic inconsistencies such as getting her age wrong, incorrectly stating she was a Muslim and married, and falsely claiming that she had epilepsy since birth.
Claiming that they were given conflicting accounts of how she fell ill shortly after arriving in Pakistan, Devlin’s parents said that they were first told she had a stomach bug and then coronavirus while she herself told a colleague that she had been admitted with suspected malaria, a media report said.
Writing to Khan over the matter, Burnley MP Antony Higginbotham and Bradford West MP Naz Shah claimed that Devlin’s family “genuinely believe that there is the possibility that Kelsey was killed, with her relationship with her partner described as one of coercion and control.”
Claiming that Devlin’s case "has chilling similarities to that of Samia Shahid, who was brutally raped and murdered in Pakistan in 2016", the MPs have also requested for exhumation of Devlin’s body “for the purpose of a full autopsy and repatriation to the UK, and [for] the children to be returned to the UK to their grandparents.”
Even if the mother-of-two died due to some illness, her family and friends "still has a right to transparency of the circumstances surrounding her death and the illness that caused it”, the MPs wrote in the letter.
One of the Devlin’s colleagues told The Guardian that Devlin was in a relationship with a Pakistani man with whom she had two children and the man was keen to give his children Islamic education in Pakistan.
Devlin reportedly travelled to Pakistan along with her ex and two children- her eight-year-old daughter and six-year-old son- in June since she was told that the children’s paternal grandmother was critically ill.
Higginbotham also claimed that he had asked Foreign Office officials in Pakistan to check on Devlin after her family raised concerns about her well being before her death. The officials went to the hospital but reportedly could not meet her.
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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