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Grace and glory of qawwali brothers Rizwan and Muazzam Ali Khan
Rizwan Ali KhanEvan Dawson
The dynamic duo returns this month with concerts in Bradford (14), London (18), Birmingham (23) and Bristol (25). The shows will feature a blend of Sufi classics and tracks from their new album At the Feet of the Beloved, along with the UK premiere of music from Chain of Light – the lost Ustad Nusrat Fateh Ali Khan album discovered 34 years after it was recorded and released in 2024.
Hailing from a family line of qawwali musicians that spans over five centuries, the brothers are ready to deliver more majestic, hypnotic and deeply joyful performances. Eastern Eye caught up with them to find out more.
'At the Feet of the Beloved' their new albumReal World Records
How do you reflect on this musical journey you have both been on?
Rizwan: This journey has been amazing, but also tough and challenging. We had to carry forward our family’s legacy from a very young age. After our legendary uncle Ustad Nusrat Fateh Ali Khan’s death, it was difficult to maintain that level of performance, but we did our best to follow in his footsteps.
What has kept your partnership strong over so many years?
Muazzam: First, we are brothers. We have shared the same vision since childhood – to uphold our family’s reputation, which spans centuries. We have always worked hard, together, to honour that.
What has been the most memorable moment in your journey so far?
Muazzam: The time we spent with our great uncle Ustad Nusrat Fateh Ali Khan.
And during your professional career?
Rizwan: Our debut tour in 1998 – performing at the Womad festival in the UK – stands out. The audience from around the world gave us a wonderful response, even though they did not understand the language. That was the beginning of something very special. You have performed countless concerts around the world.
What does live performance mean to you both?
Rizwan: Live performance means a lot – it connects us with the audience and gives us a chance to entertain them while bringing something fresh each time.
How do you generate so much power on stage?
Muazzam: It is part of our family tradition. This energy has been passed down through generations – it is in our heritage.
What can audiences expect from your 2025 UK tour?
Muazzam: We will perform beloved classics as well as qawwalis from our new album. We will also present qawwalis from our uncle’s recently released album Chain of Light.
How do you feel about performing for UK audiences?
Rizwan: We love performing in UK cities – the audience response is always fantastic, and it feels like our second home.
Muazzam: UK audiences are diverse and very knowledgeable about qawwali music, which makes it even more special.
Tell us about your new album At the Feet of the Beloved.
Rizwan: This album is different from our previous recordings – it features spiritual and contemporary lyrics. We are pleased with the release for two reasons: first, it includes four tracks with distinct flavours; second, it comes after a long gap in pure qawwali albums and coincides with the release of our uncle’s Chain of Light.
How have you handled the pressure of carrying your uncle’s legacy?
Rizwan: As I said, it has been challenging, but we try our best to keep our family’s qawwali tradition alive. No one can be like our great uncle.
Muazzam: We love performing his songs – they are a source of constant learning.
How does it feel to be on stage in front of a live audience?
Rizwan: It has always felt amazing to perform in front of a live audience because of the response they give. Muazzam: I agree – their energy inspires us and pushes us to work even harder.
Do you have any unfulfilled ambitions as a group?
Rizwan: We wish we had more time with our late uncle. But we remain inspired by him and his extraordinary legacy.
What are your future plans?
Muazzam: We plan to collaborate more with leading international artists.
Finally, why should audiences come to your UK shows?
Muazzam: Come for world-class qawwali entertainment, no one performs it quite like the family of Ustad Nusrat Fateh Ali Khan. There will be new songs from our album, and we look forward to seeing you all there.
Catch Rizwan-Muazzam Qawwal at Alhambra Theatre, Bradford (14), Royal Festival Hall, London (18), Birmingham Town Hall (23) and Bristol Beacon (25).
Usman Riaz breaks new ground with Pakistan’s first hand-drawn animated film
“It is an incredible honour,” says Riaz. “To have The Glassworker included at the UK Asian Film Festival – a platform that celebrates South Asian voices – means a lot to me, especially because this is the first hand-drawn animated feature film from Pakistan. It feels like a meaningful homecoming of sorts.”
The GlassworkerInstagram/ usmanoriaz
Riaz’s journey began with a love for visual art and music – passions that eventually led him to animation, which he describes as “the perfect combination” of the two. “Filmmaking allowed me to bring all of that together – visual art, sound, emotion, narrative. It gave me a way to express things I could not articulate otherwise,” he explains.
Set in the fictional Waterfront Town, The Glassworker is a coming-of-age tale following Vincent, a young apprentice in his father’s glass workshop, and Alliz, a gifted violinist and daughter of a military colonel. As war slowly tears the world around them apart, their lives intertwine. Riaz says the film explores art, love and the quiet courage it takes to follow one’s heart.
He was particularly inspired by the way political and personal conflict can shape individuals. “I wanted to explore how children inherit the consequences of decisions made by adults,” he says. “But more than that, I was inspired by the resilience of artists – and how music, craft and beauty can survive even in the harshest of times.”
Riaz also drew inspiration from his home city of Karachi, with its architecture, energy and contradictions woven into the visual world of the film. The project took more than a decade to complete – a labour of love that included building Pakistan’s first hand-drawn animation studio from the ground up. “Everything was a challenge,” Riaz recalls. “Training artists, creating a production pipeline, finding financing – it was a monumental task. But the biggest personal challenge was sustaining the vision over such a long period.”
Throughout the production, Riaz wore many hats – directing, animating, storyboarding every scene, and co-composing the musical score. “The line between exhaustion and obsession gets very blurry,” he admits. “But I am grateful to have worked with a wonderful team – in Pakistan and internationally – to bring this film to life.”
Every street corner, skyline and building in The Glassworker has been imagined with care, creating a world that feels tangible despite being entirely invented. The musical score – sweeping and emotional with classical influences – is just as integral to the storytelling as the visuals. Riaz hopes that the film will resonate with anyone who has ever felt out of place or clung to something beautiful in a difficult world.
“I made this film for dreamers, artists, and especially for young people in South Asia who have not seen themselves create animated films like this. I hope they watch it and feel proud.”
One of his favourite scenes comes near the end of the film, when Vincent and his father stand silently on a cliff overlooking the sea. “It is not flashy or dramatic, but there is a tenderness there – in the way they connect, the sound of the ocean, the subtle animation. It captures everything I wanted the film to be: sincere, thoughtful and deeply human.”
Riaz’s creative influences include Japanese animation legend Hayao Miyazaki. “His work has had a profound impact on me – not just in terms of animation but in how he approaches storytelling, with empathy, nuance and respect for the audience’s intelligence.”
He also admires the poetic style of director Terrence Malick. Riaz is already working on a new project, although he is keeping the details under wraps for now. “It is a miracle to make one feature film. If I am lucky enough to do it again, I will take everything I have learned and do it even better,” he says with a smile. “Hopefully it will not take another 10 years.”
He believes festivals like the UK Asian Film Festival play a vital role in elevating underrepresented voices, particularly when it comes to animation from South Asia. “These festivals remind the world that our stories matter. They give independent creators like me the oxygen to keep going.”
And why should audiences see The Glassworker on the festival’s closing night? “Because it is something you (hopefully) have not seen before,” says Riaz. “It is hand-drawn, heartfelt, and it comes from a place of deep love for cinema, music and the region I am from. If you have ever wanted to see what south Asian animation can be, come experience it with us.”
The Glassworker will be screened at The UK Asian Film Festival on Saturday (10) at BFI Southbank in London.www.tonguesonfire.com