Market Rivalry Influencing Music In Pakistan

Globally, there has been an emergence of music personalities across brands and marketplaces, with Pakistan having a significant part.

Between the last season of Coke Studio ’22 (curated and produced by Xulfi), the early years of the same (under Rohail Hyatt’s reign), and Velo Sound Station (helmed by Bilal Maqsood), any new music series, digital or televised, has a lot of ground to cover.

A slew of additional music series, particularly the second wave of Pepsi Battle of the Bands and the brand’s newest series, Why Not (helmed by executive producer Ali Hamza), indicate that content production platforms are popping up quicker than we can keep up with them. The objective is to provide forums for Pakistani musicians to demonstrate their talent, each accompanied by a landscape that will compliment the music in a unique way.

As our music libraries expand, so do our chances of connecting with individuals on a deeper level. This is when the brands come into play. There is no better method for a brand to show their target audience that they understand and are like them than through the music that they enjoy. Following in Coca-footsteps, Cola’s Nescafe Basement, Velo Studio, Kashmir Beats, Bisconni Music, Cornetto Pop Rock, Cornetto Music Icons, and even the reality show Pepsi Battle of Bands were revived in an attempt to promote the band culture that we had long abandoned.

With its new vision, Coke Studio sits atop the table this year, nearly making us wonder if this is the same show that’s been running for more than a decade. As a result, unless there is no visual component, the representation of music on whatever platform must be unique. Music videos also play a part, so the audio-visual has to be appealing enough to tempt us away from bingeing on something else or the other on Netflix.

Because of the epidemic, which limited social contact and caused a halt in concerts, musical digital series gave a music-hungry audience an opportunity to see musicians in a live setting. Live music, on the other hand, is still gaining its feet in 2022, thanks to tight SOPs. With this in mind, digital/music TV programmes have to reinvent themselves once more. Coke Studio 14 was the one who did it. We were so taken by Velo Sound Station that we’re hopeful it makes a comeback.

Others, however, not so much…

When a brand backs (yet) another music show, the assumption that fans from all demographics would like it necessitates a drastically different show in terms of audio and visuals. Even Uth Records (sponsored by Ufone), which aired for only two seasons before being cancelled, had a unique storyline. What is the significance of all of this? Because, with shows like Bisconni Music, one has to wonder what the point of such music series is, both past and present.

It appears to be following the format established by Coke Studio. Studio-format live recordings of music. That doesn’t sound very creative, does it? The first season, directed by Saad Hayat, is forgivable because the first season is always a learning experience. Plus, it included several good songs, such Sajid and Zeeshan’s ‘Keep Moving’ and Mughal-e-‘Meda Funk’s Ishq,’ which featured Aizaz Sohail and Mahnoor Altaf, and Mughal-e-‘Meda Funk’s Ishq,’ which featured Aizaz Sohail and Mahnoor Altaf.

For once, Coke Studio 14 has a think tank with Sherry Khattak, Natasha Noorani, and Abdullah Siddiqui. And, as Abdullah revealed in an interview with Instep, a lot of names were thrown around. As a result, we were able to observe the future of music as well as seasoned musicians. The concept of an assistant music associate was also beneficial to the show. Bisconni may not have the resources of a Coke Studio, but in its second season, it should’ve showcased more partnerships and, most importantly, an audio-visual narrative that didn’t make us desire for another Velo Sound Station instead. Bisconni Music needs to reassess its strategy after two seasons or it will drift aimlessly as a show that is neither here nor there.

Numbers are useful indications of reach and engagement, but they don’t always indicate content quality. Nonetheless, in Pakistan, these brand sponsorships have elevated Pakistani music to a new level, making it more accessible to a wider and worldwide audience. Artists who previously held back their creative ideas due to a lack of funding, opportunities, or the experimental nature of their work are now courageously executing their ideas, giving the music industry a whole new dimension. These companies have also highlighted the country’s wealth of talent.

Because it benefits both the brands, artists, and the music industry, this collaboration between brands and Pakistan’s music industry is successfully aiding in the revival of Pakistan’s lost music and talent, and because it benefits both the brands, artists, and the music industry, it speaks volumes about how the industry is better off with collaborations rather than relying on the country’s already-limited resources for budding artists.