Gayathri Kallukaran is a Junior Journalist with Eastern Eye. She has a Master’s degree in Journalism and Mass Communication from St. Paul’s College, Bengaluru, and brings over five years of experience in content creation, including two years in digital journalism. She covers stories across culture, lifestyle, travel, health, and technology, with a creative yet fact-driven approach to reporting. Known for her sensitivity towards human interest narratives, Gayathri’s storytelling often aims to inform, inspire, and empower. Her journey began as a layout designer and reporter for her college’s daily newsletter, where she also contributed short films and editorial features. Since then, she has worked with platforms like FWD Media, Pepper Content, and Petrons.com, where several of her interviews and features have gained spotlight recognition. Fluent in English, Malayalam, Tamil, and Hindi, she writes in English and Malayalam, continuing to explore inclusive, people-focused storytelling in the digital space.
The Shahbaz Fayyaz Qawwal Group return to the UK with a nationwide tour after viral success online.
The ensemble of brothers blend centuries-old qawwali traditions with fresh improvisations that connect with young audiences.
From Pakistan to the USA and UK, their performances have won acclaim for their electrifying energy and spiritual depth.
Fans can expect new instruments, reimagined classics, and the same message of love and harmony at this year’s shows.
From viral sensation to global stages
When a performance goes viral, it can change an artist’s career overnight. For the Shahbaz Fayyaz Qawwal Group, their stirring renditions of Bhar Do Jholi and B Kafara propelled them from local fame in Pakistan to global recognition, amassing millions of views across platforms. What set them apart was not just the power of their voices, but the way their music resonated with younger listeners who were hearing qawwali with fresh ears.
That viral momentum soon carried them beyond borders, leading to major performances in the United States and the UK. “It wasn’t just one track,” the group explained. “We revived older gems like Kali Kali Zulfon and Dil Pukare Aaja in our own style, and those went viral again, showing that qawwali still speaks across generations.”
Heritage, family and style
The Shahbaz Fayyaz Qawwal Group’s uniqueness lies in their roots. Composed of seven brothers and joined by fellow musicians from respected musical families, the ensemble was trained by their late father, himself a master of the art form. On stage, as many as 15 to 20 performers create a sound that is both deeply traditional and daringly modern.
Their shows are alive with improvisation. In the middle of a devotional track, harmonium player Shahbaz might suddenly weave in a melody from a contemporary Bollywood hit, while lead vocalist Fayyaz channels his energy into unrestrained movements and audience interaction. “When different styles meet, something new emerges,” they said. “That’s what keeps the music vibrant.”
UK audiences and the international journey
Having performed across the USA, the Middle East and Europe, the group describe UK audiences as particularly electric. “Each time we perform here, the atmosphere is charged. People don’t just listen – they become part of the performance,” they said.
Their repertoire often draws requests from fans who expect to hear viral favourites alongside traditional classics. “Sometimes, if organisers don’t allow us to perform songs like B Kafara or Dil Pukare Aaja, the audience won’t let the show continue. That’s the level of passion here,” they recalled with a laugh.
Keeping qawwali alive for new generations
While the roots of qawwali stretch back centuries, the group see their role as carrying the tradition into the present. By fusing tabla, harmonium and handclaps with newer instruments and arrangements, they appeal to younger listeners without losing the music’s essence.
“We want every audience to feel peace, harmony and love when they leave our concerts,” they said. “An artist should never belong to just one group of people – music is for everyone.”
What fans can expect this tour
This year’s UK tour promises new surprises. The group have introduced fresh orchestral elements and added instruments to expand their live sound. Fans can expect a mix of beloved classics, spontaneous improvisations, and the chance to hear qawwali reimagined for today’s world.
For Shahbaz Fayyaz Qawwal Group, the mission remains unchanged: to honour their heritage, embrace new audiences, and spread the universal message at the heart of their art. As they put it: “We look forward to growing together with our fans. Let’s celebrate qawwali as a tradition that belongs to everyone.”
At a time when more and more of us are feeling the overload of restlessness, stress, and anxiety – caused by work, family, and mass media – Rishab Sharma’s Sitar for Mental Health is just what is needed.
His show isn’t just a performance – independent of the audience – but an interactive movement that explores the intersection of sound, consciousness, and wellbeing. From the outset, the audience become part of the music and its hypnotic qualities.
To create this effect, Sharma draws upon the ancient raga system to tap into the therapeutic essence of Indian music, using tone, rhythm, and resonance to restore balance to the audience’s psyche.
In effect, the concert is – in parts - a trace-like meditation to the inner consciousness, a dialogue between the body and the soul. In other parts, it’s a raucous fusion of classic ragas and hits from popular culture – there’s even a quick nod to The Game of Thrones. It’s this modern fusion with just the right mix of spirituality and pop that makes the show an extraordinary blend that is soothing, serene, and tranquil.
Glimpses from Rishab Sharma's concert
The show opens with a short biographical film that highlights Sharma’s own battle with anxiety and depression, and the way the sitar has helped him to fight those mental demons. Sharma (a fourth generation of satarists) refers to his music guru, the late Ravi Shanker, his isolation during the lockdown, and the numerous international accolades he has received over the last few years (he’s still only 27).
After a light-hearted introduction, Sharma begins with a short pranayama (breathing exercise) to prepare the audience for the transcendental experience. The show is clearly a focus on mental health and wellbeing aspects which in recent years, have highlighted in social policies.
It’s no hyperbole to say that Sharma’s ragas unfold with astonishing grace and artistry. Though they are all beautifully composed, some of the pieces are particularly moving. For instance, Kailashon Ke Vaasiis a powerful work inspired by Lord Shiva’s cosmic abode. The slow-burning tune is spiritually rich, and as the other instruments joined in, the performance lifted into another realm. Every pluck and pause of the sitar is measured as if Sharma knows what the audience is feeling. With some members brimming with tears, the auditorium becomes a collective experience of shared memory. It’s as if the music and his strumming of the sitar is like a wormhole into our deep consciousness.
Other pieces seem more delicately composed – quiet and personal. Roslyn for instance, has a certain restraint, melancholy, and vulnerability. The silence between the notes speak as loudly as the notes themselves.
The sitar, with its shimmering overtones and elastic glides, becomes a tool for emotional release. The interplay between sitar and tabla creates a pulsating energy that gently realigns the listener’s attention inward, offering an experience that is simultaneously grounding and transcendent.
Glimpses from Rishab Sharma's concert
The finale ShivTaandav is, of course, a beautiful and emotional tribute to Sharma’s Hindu roots and the audience – all standing – felt a certain religious and cultural pride in seeing the passion with which this was delivered. Sheer poetry in motion.
In the end, Sharma’s performance leaves the listener not just musically enriched, but spiritually and emotionally renewed. This is entertainment and therapy at its finest – a rare and beautiful gift in our restless age of modernity and cacophony of life. If you are to see one classical performance this year, this is it.
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