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These are our selections for new and notable music for March 2026. On Spotify & YouTube. Music videos from this playlist are also on Hamnawa TV.

Tracklist:

1. Sweet Dreams (Are Made Of This) - Anish Kumar, Arooj Aftab

2. SLUMDOG (abel31 Remix) - The Twins, abel31

3. Meri Jaan - Daniya Kanwal, superdupersultan

4. 2AM IN LONDON - Talha Anjum, Umair

5. DRAZ WARKA - Pameer Yousafzai, Bilawal Qureshi, Haidi

6. Dekh Sakti Hun - Natasha Baig, JANI, Parveen Shakir

7. holding on - The Twins, RADA

8. Alif - Saakin

9. Noor - Sami Yusuf, Atif Aslam

10. Sur Poorab - Amrit Pyala, Shah Jo Faqeer

11. Kya Kaho Gay? (Live at BTF) - Saad Mazher, Daniyal Ahmed

12. Bewajah - Hasan Raheem, Umair

13. Na Na - Babar Mangi, Amjad Mirani

14. Obsessed - Hamzay, Mehmood J

15. Lover Boy <3 - Asim Azhar

16. FACEOFF - aleemrk

17. Dekh Sakti Hun - Solo - Natasha Baig, Parveen Shakir

18. Kali wala da jenay - Subuk khan

CLOSE2ME - Talal Qureshi, Annural Khalid

Annural Khalid is perhaps best known for acoustic ballads. My earliest introduction to her was on a Miracle Mangal recording, singing a melody reminiscent of 2000s Pakistani rock on top of an Umair production. This song reminds me of that genre of Annural, which I feel is more exploratory. This song has a pronounced, quick beat from Talal. But Annural’s lyrics are lost and introspective. It is an anthem of self-doubt delivered with contrasting confidence. She slips from Urdu to English to Punjabi with no fuss. Perhaps it is the combination of doubt and multi-lingualism that draws me to this song, feeling like it describes an experience many like me who are in between languages in modern Pakistan feel.

Jaun Mein Kahaan - Kashmir

When Kashmir won Pepsi Battle of the Bands in 2017, a rock band show at a time when rock seemed to be dying, there was good reason to fear that this music may not last in the industry. Because among the many failings of music as in industry, being fickle is up there.

Yet what I find heartwarming is that Kashmir have not only survived but that they have added a new sound to their arsenal. By combining with Waleed Ahmed, also known as Janoobi Khargosh, they’ve moved their sound to a synth-pop core with distinct rock elements such as the clear choruses with vocal callbacks. And while Kashmir are continuing to reinvent themselves, rock seems to be coming back. What a great time to have an established band.

S.M.O.O.T.H - Miracle Mangal, Rithmetic, CGF

I find CGF’s vocal delivery badass. They rap in Urdu but they are not trapped by the aura of ‘Urdu rap’, which is often referenced in the Young Stunners universe of hip hop. They draw from English rap without being totally burger. They don’t really enunciate but who cares, it’s actually kind of endearing. This Rithmetic beat prompts an instant headbang. But the real attraction of this recording is when the flow goes up a gear into high-speed. It’s just slow enough to be fun but fast enough to be one step ahead of you. After a lot of listening, I continue to find this song extremely enjoyable.

raat ki rani (Khruangbin Remix) – Arooj Aftab, Khruangbin

I saw Arooj Aftab live after her 2024 album Night Reign was released. From what she said on stage, I understood that Raat Ki Rani was meant to be the hit single off Night Reign. While it appears that the version off the album did not reach the heights of her Grammy-winning Mohabbat, I still find Raat Ki Rani an impressive addition to Arooj Aftab’s repertoire.

One way to tell the quality of a composition, is to see how well it holds up to different arrangements. And every version of Raat Ki Rani I hear I like more than the last. My favorite version is actually the live performance on Late Night with Stephen Colbert, but this remix from American musicians Khruangbin is also great. In the album version, there is a ton of empty space. As Khruangbin adds a quicker beat, the empty space goes away and the vocal flows in and out of a more catchable rhythm. It’s a testament to the track’s strength that it can transform from a minimalist jazzy recording into a rhythmic danceable number without losing its soul.

Pal Pal - Afusic, Ali Soomro

I called dibs on this song before any of the other writers could take this because I knew it would be on everyone else’s list too. This is a song you knew would be a hit as soon as you heard it. I personally had not heard of either artist before this but this was an amazing introduction into their music, which I would suggest our readers to dive into more as well

Now for the song itself, it’s just so holistically good – from Afusic’s delivery and melodies to the beat that is subtle but punchy in its own right. The chorus is so incredibly catchy that nothing really matched it or could have.

Super excited to see what these two keep bringing in the future.

Kinaaray - Abdul Hannan

Abdul Hannan stands outside of the past and present of the Pakistani music scene. He has the voice and predisposition that could easily belong to the earlier era of rock musicians in the country but also the aesthetic & taste that is very modern pop oriented.

I think Kinaaray is a perfect example of all of his sensibilities in full swing. The drums are so sharp and crisp, the flute is so serene and the vocals are honey like. I look forward to hearing him carve out his own space in the pop landscape of the country.

HAWA ANEY DE - Talha Anjum, Umair

I am a very big fan of Umair. I believe he is the most talented producer in this country and the fact that he is still so young makes the prospect of his production maturing further with the years even more exciting.

Hawa Aney De is a perfect example of a clear yet very subtle shift in sound. His incorporation of more interesting sounds makes this beat extremely interesting and a bop at the same time. The song was stuck in my head for days. Umair & Talha are such an excellent duo as well that results in an extremely potent song with incredible punchlines & bars. The song is still on repeat for me and the video is also excellent,

Daayein Baayein - Eid Milan

Songs less than 2 minutes are almost always hard to pull off without sounding half baked. Ideas only start to flourish before they are cut off under the guise of experimentation. Happy to say that this is not the case with Daayein Baayein by Eid Milan.

This was one of the catchiest songs to come out of Pakistan in 2025, to my ears at least. The specific lo-fi texture of the guitar in that beat is just so sweet and mixed with the sticky and simple hook from Hassan makes this an excellent tune.

I hope this group keeps releasing more because it clearly looks like an outlet for a bit more left-field or creative songs.

KISSMYSHOE - Ashir, Ibrahim Zaheer

I believe this song deserved more attention last year. It is a very straightforward song with a no-frills attitude - two qualities that make it an extremely potent song as well. A very strong and razor-like lyrical delivery over a beat that flourishes in the low end

I would also suggest our readers to listen to the full EP by Ashir & Ibrahim for more songs like these.

cm - Maanu, MALIK.

In an era of AI slop where Suno users generate 7 million tracks daily and surpass Spotify’s entire catalogue every two weeks, standing out requires intentional sonic and conceptual packaging.

The cm (channa mereya) music video is great at world-building. By placing Maanu and MALIK. in astronaut suits on the streets of Lahore, they create a core memory for both gawking bystanders and digital viewers. The YAIN branding, a callback to the universe Maanu has been building throughout his career, adds a layer of depth and human intent.

My research shows that listeners often associate a robotic vocal touch with AI. But in cm, this texture is a deliberate artistic choice. Since the track is electronic pop produced by MALIK., his signature industrial style uses vocal processing as a stylistic tool rather than a sign of automated generation.

It is easy to sing along to and features minimalist dance moves that are simple for the audience to mimic. While the song merges Maanu’s easy lyrical flow with MALIK’s industrial influence, it remains human and digestible.

BUSIN JA DHIKA - Babar Mangi, Amjad Mirani

بسن جا ڌڪا کائي پنھنجي حياتي وڃائي
Thrown around by the bus, while life slipped away

Babar Mangi is carving out a distinct niche by blending Sindhi folk influences with modern hip-hop. His ability to tell local stories through a folk-pop rap lens has made his sound instantly recognizable.

His visuals and lyrics exhibit the heavy influence of his upbringing in a village in Larkana, keeping his work deeply rooted in the heart of Sindh. However, he also manages to tap into a wider audience by covering relatable themes. He uses an undercurrent of humor in songs and provides lyric translations to bridge the gap for non-Sindhi listeners.

His track Busin Ja Dhika uses the metaphor of an endless, jolting bus ride to represent the journey of life. It is the musical embodiment of the phrase thokay (or dhakay) kha kha kar seekhna. Both Amjad and Babar sing/rap about a struggling economy where people have become double-faced and untrustworthy. They describe a life spent chasing money that is never enough, with their patience wearing thin as the destination remains out of reach.

The video is filled with classic Pakistani imagery shown in a humorous light, such as a bus driver spitting gutka out of the window, uneven roads, stolen motorbikes, bribing police, and men climbing the roofs of moving buses. Yet, beneath the humor is a serious observation on how people have become accustomed to helplessness and no longer fight for their rights. Ultimately, the song reminds us that we are all in this together regardless of class or creed.

SAKHI - Raazi Hussain, Ahsan Pervaiz Mehdi

Success in a music project partially depends on how organically it connects with an audience. In Sakhi visual artist Murad Muradov achieves this through AI visuals rooted in Azerbaijani heritage. While AI in art often triggers repulsion, the conversation isn’t clear-cut because aesthetic beauty and emotional resonance still matters. The images of flowy shawls, physics-defying carpets, and pattern-lined caves are oddly touching.

These visuals complement the grief-stricken Punjabi lyrics about a lost friendship. Raazi Hussain’s raspy vocals float over a violin and EDM beat, creating a semi-classical vibe that thrives on the contrast between sad lyrics and a driving rhythm.

Beyond the heavy use of patterned carpets, the video finds its true resonance in human visuals. It uses cultural objects as a backdrop, focusing on female-centered scenes like a grandmother braiding hair or women drying red spices. Interestingly, many female faces are obscured by flowing shawls. This creates a contrast to other uses of AI, such as the currently controversial use of Grok to undress females and minors.

While the clips maintain a mostly organic flow, they raise ethical questions. Does the moral weight of AI change if an artist uses it to augment their own original work? We must also remain critical of inherited biases; for example, the darker-skinned women are depicted in manual labor while fair-skinned women are shown as dancers in luxury. In the end, generative AI remains a stagnant mirror. It cannot evolve without the human input that drives true cultural growth.

Tanhayi - Dijay Khalifa, Islam Zemer

While Islam Zemer is an exciting new find from late 2025, Dijay Khalifa has been on our radar for some time. His fresh approach to Balochi rap provides a strong contrast to other contemporary Balochi music, which often consists of melodic renditions of poetry.

Tahnayi caught my interest pre-release because it was marketed as the first Balochi sci-fi music video. Set in Gwader, Baluchistan, in the year 2099, the premise involves a high-stakes “voice transfer” project. Interestingly, the song itself is quite warm and mellow with an acoustic feel, which sits in stark contrast to the cold, high-tension futuristic laboratory scenes at the start of the video.

One of my favorite moments is the heartfelt performance by the director, Mohammed Al Balushi, whose dance style is a unique blend of traditional Balochi and contemporary movement.

I also enjoyed spotting the linguistic similarities between Urdu and Balochi, which was made possible by the provided romanized lyrics and English translations. For example, zind and zindagi, as well as bewapa’e and bewafa. These shared roots highlight the cultural overlap between the languages, while the universal theme of loneliness remains relatable for everyone regardless of the language they speak.

Beyond the music itself, one of the most enjoyable aspects of any Balochi release is the community engagement. The Baloch audience is incredibly active on every platform, turning every release into a collective digital event.

ta.ra.ra - Natasha Noorani, Abdullah Kasumbi

Even if you don’t know FT.WA (Forward Thinking With Attitude) Studio by name, you have likely seen their work. Co-founded by Shams Mansur and Abdullah Kasumbi, the studio is the creative force behind projects like Afusic’s Pal Pal music video and Hasan Raheem’s Nautanki audiovisual tour. Kasumbi’s influence on Raheem’s sound is evident from his breakthrough Aisay Kaisay all the way to the present.

FT.WA’s creativity continues with ta.ra.ra, the first collaboration between Natasha Noorani and Kasumbi. This partnership exemplifies the cross-pollination of producers and singers that drives a music scene’s evolution. The music video was produced by FT.WA Studio, while the song itself avoids flashiness. It leans into Kasumbi’s minimalist, airy production style to allow the melody to flow.

Filmed on a boat in Karachi, the video focuses on Noorani against the sea. The imagery of the sea breeze aligns with the song’s themes of yearning. In a striking finale, she unwraps a gun and tosses it into the water, evoking a tragic film ending. It is interesting that the song title uses non-word syllables to fit the melody.

The chorus, “Piya more aaja/ پیا مورے آجا”, uses a staple phrase of South Asian pop culture. While piya often implies romance, it historically can signify divine love. This is also seen in the works of the Sufi poets such as the iconic Mera Piya Ghar Aaya by Baba Bulleh Shah. It is fascinating how various forms of love are often conflated with romantic love today. Historically, South Asian art provided a vast space for expressing spiritual longing through the metaphor of the beloved so perhaps it is a Western lens that has caused this shift in perspective.

These are our selections for new and notable music for February 2026. On Spotify & YouTube. Music videos from this playlist are also on Hamnawa TV.

Tracklist:

1. Gulabi – Umair, Hasan Raheem

2. MUNDA – AHSAN, MALIK.

3. ROOFTOP – AHSAN, MALIK.

4. Apology – aleemrk

5. 3AM AT FALLS – JJ47, Umair

6. Digital Darakht – MirzaMadeIt, Saneeah

7. Paisa Bolay – Meesha Shafi, Talhah Yunus, Abdullah Siddiqui

8. Left With Me – Raf Saperra, Bobby Kang

9. After Hours – Uzair Khan, Saneeah, superdupersultan

10. Ulfat – SEHER, Abdul Hannan, Shahmeer Raza Khan

11. DMT – Talal Qureshi, Taha G

12. Flow – TMPST

13. Mala – TMPST

14. Jana Hai Wahin – Kashmir, Hasan Raheem

15. Pyaar Ki Patang – Asad Khan Niazi

16. Raat Guzri – Ali Tariq

17. go away – Aurat

18. Salt – Shorbanoor

19. Fish – Shorbanoor

20. Art of War – Raf Saperra, Kulvinder Johal, Bobby Kang

21. Arch – TMPST

These are our selections for new and notable music for January 2026. On Spotify & YouTube. Music videos from this playlist are also on Hamnawa TV.

Tracklist:1

1. Jihadi Aurat by Daniya Kanwal, Bumb Shah

2. Tahnayi by Dijay Khalifa, Islam Zemer, superdupersultan

3. Bhaago Babe! by Saneeah

4. No More Care by Hasan Raheem, Varqa Faraid

5. Tanhai by Muzammil Ahmed, Kaashi Haider

6. Humanize by Abdullah Siddiqui

7. Free Fall by Asteria

8. Time To Go by RakuNavi

9. Sachay Loki by Meesha Shafi, Talwiinder, Abdullah Siddiqui

10. Butcher’s Scale by Raf Saperra, Benny The Butcher, Taj Aulakh

11. Late Ho Gaye by Shehzad Roy, Students Of Zindagi Trust Schools

12. Nashe Me Hun by Hasan Raheem, Shehryar Khan

13. KHAYAL SE KHWAAB TAK (Main Tainu Fir Milaangi) by Schumaila Rehmat Hussain

14. Mera Naam by Asfand

15. SHUMA WA MEHIR BEDIYE by Sohail Khurshed

16. Sindhu by Nafs The Band, Noman Ali Rajper

17. Mother! by Abdullah Siddiqui

18. Ishqa Ve by Zeeshan Ali, Yuvraj Tung, Sandeep Aulakh, Honey Dhillon

19. Pighal Ja by Abdul Hannan, Shahmeer Raza Khan

20. Duniya Jaal by Sabat Batin, Rackstar

21. Shor Na Machao by Dulhay Mian

22. Far Away by Jokhay, Talha Anjum, Talhah Yunus

23. B2B by Mr Mani, Shareh, JJ47, Umair

24. Circle Back by Abdullah Siddiqui

25. CHALLA by Hadiqa Kiani

26. Turdi Jawan by Adnan Dhool, Adnan Dhool Productions

27. Wish Me Away by JANI, Hasan Raheem, Jokhay

28. Have Me by Abdullah Siddiqui

29. Sky High by Hash Browns

30. Akh Dasdi by Raf Saperra, Taj Aulakh, Mani Longia

31. Out of Context by Abdullah Siddiqui

32. Pend Khalli by Raf Saperra, Bobby Kang

33. Occam’s Razor by Abdullah Siddiqui

These are our selections for new and notable music for December 2025. On Spotify & YouTube. Music videos from this playlist are also on Hamnawa TV.

New albums from Asim Azhar & Jevin Gill. A little late to the party for us, but we just added some songs featuring Zeb Bangash with the Firdaus Orchestra. New songs from Jokhay, JJ47. And some songs from Hasan Raheem’s and Blal Bloch’s last albums that we have belatedly added.

His debut album, Between Flowers, arrives during a deeply personal period for the artist, coming between the passing of his grandparents and his marriage last year. As he says, “Between those two moments - loss and love - I found myself reaching for something to anchor me, something to help make sense of it all.” I usually measure songs by whether or not they bring me back to the present and make me pause and in OAFF’s Between Flowers, time is suspended.

The album begins with Baalmaa sounding like that perfect mix of a sunny day with a slight cold breeze. Divyam Sodhi sings a rendition of Latt uljhi suljha jaa baalma and makes it his own. There is an almost sickly sweetness in the casual affection of asking a beloved to untangle your hair because you have mehndi on your hands. In a sense, you are relying on them to be a space where you can rest. The background hums with shifting layers, a warm blend of children’s laughter, or the vibrant interplay of Gopesh Jha’s sitar and OAFF’s electronic rhythms.

Bageecha (interlude) captures sounds of sitting outdoors in the Indian subcontinent complete with the “coo-ee” song of koels and OAFF’s grandmother reminiscing a related memory. It then transitions into the Punjabi love track Between Flowers where Manreet Khara’s poetry is sung by Amira Gil. Amira is singing on a mic and OAFF alternates between his guitar and sampler at the back of a flower-covered truck, giving the illusion of listening to a live performance while traveling through the roads.

In Forever you are floating with the sarangi which OAFF records on a mic that is accompanied by Pratika Gopinath’s vocalisations. The melancholiness of Rooth Gaye is accentuated by the trumpet woven throughout the song and Vidhya Gopal singing “Ambwa ki daari pe bairi koyaliyaa. Gaa gaa ke mujhay rulaati rahi.” which although altered, was originally penned for the 1950 movie Dahej.

The album then transitions to Kadri, a tribute to Kadri Gopalnath, a pioneer of the Carnatic alto saxophone. The track features another interlude, you are special where OAFF’s production transforms a voice recording between lovers into a song. Though remixing audio recordings has long been a trend for humor, this track succeeds by using intimate real-life voice notes to evoke a genuine vulnerability, much like the emotionally impactful work of artists such as Fred Again during COVID.

Following this, Sid Sriram, a renowned Indian Carnatic musician, collaborates with a Bharatnatyam dancer on the R&B track Falling, where the Bharatnatyam dancer, Maneesha Negi, synchronizes her movements with the music’s rhythm. This pairing of Carnatic music and Bharatnatyam, both deeply rooted in South Indian culture, echoes a modern fusion seen in viral social media trends, such as Usha Jey’s hip-hop Bharatanatyam choreography.

The album ends the way it started, with Divyam Sodhi. In Neu he adapts the Sufi kalam Neu La Liya Beparwah De Naal with the rise and fall of notes from OAFF’s keyboard. Divyam often does renditions of songs by Kaavish in his Instagram posts so it’s not farfetched to imagine he was inspired by their Coke Studio performance.

Anurag Baruah captured the spirit of each song with apt visuals, and his timing was perfect. The video transitions are smooth, making each performer stand out in sound and sight. For example, Divyam’s hair is brushed by the breeze in the sun-soaked Baalmaa. Or, in Between Flowers, Amira’s drifting voice is accompanied by a drifting red dupatta. OAFF is deeply immersed in creating his music within the confines of an auto in Forever. The camera in Rooth Gaye rapidly spins around when the trumpet kicks in, and red and yellow flowers fall on the dancer at the end of a crescendo in Falling. And the album ends in evening blue with OAFF’s keyboard being a source of light in Neu. The album is accompanied by the backdrop of what is so obviously India, but through a new lens.

There is no need to say anything too complicated about Gal Sun, except that it is an excellent melody delivered with effortless, raw style. I use the term effortless, knowing that this is in fact not really true. Because if you scroll down not too far down Sabaat’s Instagram profile you see him singing many songs to the camera, just him and the lens. Gal Sun is one of them. So whatever we call this effortless style has behind it a persistence and hope. Why one song catches fire is anyone’s guess as much as mine, but that this one did makes me happy.

What’s been interesting to observe about the growth of Gal Sun has been the immense following it has received from India. This is remarkable because a Pakistani song became a hit in India after May’s 4-day war, that significantly changed the Pakistani music industry.

Pakistani musicians were banned from being listened to on major online platforms in India. This is obviously a huge cultural fracture. But it has had large implications on the economics of Pakistani music. The subset of Pakistani musicians that are able to sustain their craft financially through music also, rely on concerts, brand deals, and streaming revenue. For the biggest Pakistani musicians, the amount of streaming they got from India was significant. It was not uncommon for Pakistani musicians to have more Indian listeners than Pakistani ones. In addition, Indian streams as far as I understand, are worth more than Pakistani streams financially because ad revenue in India is higher. Add this to the fact that Pakistani artists which have signed with labels, now have even bigger business commitments to meet, which also factored in their Indian audience. The overall result is that Pakistani music now needs to look elsewhere to make up for this revenue, and has come to the realization that relying on Indian listeners is not a source of stability.

Being banned in India was also a weird marker of cultural relevance. Because there was no way to just request a blanket ban on Pakistani artists from the big streaming companies. And it appears that a list was manually created listing all the artists that should be banned. This meant that an unknown voice would slip through, and Sabaat Batin went through that door with some force. And now the comments from India are easy to find on his videos. In another example, Pal Pal, one of the other recent hits from Pakistan, was also released in a version with Talwiinder, who is an Indian diaspora artists. This has caused many people to be confused if Pal Pal was an Indian or Pakistani song to begin with.

These are our selections for new and notable music for November 2025. On Spotify & YouTube. Music videos from this playlist are also on Hamnawa TV.

In what has been a trend of late, we are spoilt for choice with new albums. This time from blal bloch, NAYEL, and Shareh. Also notable new singles from Nehaal Naseem, Abdullah Siddiqui, Asim Azhar and Zain Zohaib. The story of these last few weeks however has been Sabat Batin’s Gal Sun, which if you haven’t heard, you should. I hope to write about it in more detail as well.

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These are our selections for new and notable music for October 2025. On Spotify & YouTube. Music videos from this playlist are also on Hamnawa TV.

This is one of those months where the range and number of artists makes me take a pause as well. We are looking at the likes of stalwarts such as Faisal Kapadia and Ahmed Jahanzeb putting out new releases, new industry titans like Umair, Jokhay and Hasan Raheem, cult hits like Kashmir and MALIK., and a healthly dose of young indie artists as usual with these playlists.

These are our selections for new and notable music for September 2025. On Spotify & YouTube. Music videos from this playlist are also on Hamnawa TV.

It’s a golden age for Pakistani indie music. I think I am ready to declare that the era where corporate music shows were the most influential component of Pakistani music, is over. While the corporate shows still hold the ability to drown out independent artists with sheer marketing money, the songs themselves last less long and chase the cutting edge of Pakistani art rather than defining it. This month’s playlist is an example of that. It includes songs from Afusic and Ali Soomro, AUR, Hassan & Roshaan, Kashmir, Kaifi Khalil, CGF and Dulhay Mian among others. A range of genres from alaap pop, to rock, to rap.

If you are in North America, I wonder if there has been a time where more Pakistani artists have been on tour through American and Canadian cities than there are today. It’s a wonderful sign of how much the culture of Pakistani music is cementing globally today.

These are our selections for new and notable music for Aug 2025. On Spotify & YouTube. Music videos from this playlists are also on Hamnawa TV.

This playlist features a bunch from three great new albums. New Garden Sound by Blal Bloch, Love Language by Ali Sethi, and thikaana by Maanu. With record labels making more moves into Pakistani music, more artists are building portfolios of songs with albums rather than just singles. These are released after deals are signed (such as Blal releasing with international label Mass Appeal), or as a way to build interest in an artist’s discography. Maanu and Ali Sethi are too big to have to do that, but are in the stages of their careers where albums represent statements of their artistic journey and current status in the industry. It’s exciting to see all of this happen.

Gaana Mangwao is a multilingual tool that transcribes songs in Urdu, Roman Urdu, and English, adding timestamps and song structure for Musixmatch compatibility. This allows musicians to easily upload lyrics to platforms like Spotify, Instagram, and Apple Music.

Beyond transcription, producers use it for vocal backing, and songwriters for song iteration. Tested with Pakistani musicians, it's highly effective, with one user noting “99% kaam hogaya hai.” Guidance for Urdu keyboard and transliteration keyboard installation is provided for minor edits.

We also offer instructions for captioning multiscript songs and font installation, based on feedback from Pakistani and Indian music listeners.

We're looking to expand to regional languages like Punjabi, Sindhi, Pashto, and Balochi. If you're a musician interested in user testing has any queries, email lailadodhy@gmail.com.

Inside baseball is that I’ve been advising Laila on this project, a perfect combination of this life on Hamnawa and my other life. This sort of tool is the perfect example of how AI can benefit culture.

These are our selections for new and notable music for July 2025. On Spotify & YouTube. Music videos from this playlists are also on Hamnawa TV.

Some of what this playlist has:

• New indie music from Mishal Shafi, Dulhay Mian, Dye Corduroy, awad & Nushay

• Raf Saperra collaborating with Ikky, who is well known for producing Panjabi artist Karan Aujla

• New Karachi hip hop from Babar Mangi and Kamran Adam

These are our selections for new and notable music for June 2025. On Spotify & YouTube. Music videos from this playlists are also on Hamnawa TV.

Some of what this playlist has:

• The playlist starts with a viral hit from Amna Riaz, a well-deserved success from a lovely artist

• Annural Khalid sounding totally new in her latest collab with Talal Qureshi

• Ali Sethi & Maanu reunite

• Shamoon Islmail goes back to his roots

• A new Abdul Hannan hit

Eid Mubarak! These are our selections for new and notable music for May 2025. On Spotify & YouTube. Music videos from this playlists are also on Hamnawa TV.

Some notes:

• Some up and coming acts are featured on this playlist, including dabbay, Ashal Haider Khan, and BWIAS.

• Collaborations with a couple of different vocalists produced by Abdullah Kasumbi, who has been on a tear recently

• Sikandar Ka Mandar frontman Nadir Shahzad returns with a new rock act called Dulhay Mian

• Releases from Ali Sethi, Umair, Talhah Yunus, Maanu & Annural Khalid

• New Pothwari/Mirpuri music from an act by the name of Nomi AK

These are our selections for new and notable music for April 2025. On Spotify & YouTube. Music videos from this playlists are also on Hamnawa TV.

Promise that we do actually try to publish these on time.

Some notes:

• The Karachi progressive music collective Miracle Mangal is back with a new album: MM07. Miracle Mangal returns after 3 years, but is notable because this is where big name producers such as Umair and Rovalio first found their footing. This album features in addition to those two names Shahmeer Raza and MALIK.. Vocalists include Annural Khalid, AHSAN & CGF. Worth your time to see the developing edge of Pakistan’s electronic music.

• Meesha’s new album. After many years of seeing Meesha it’s still strange to realize that this is in fact her debut album. We know her of course from her early years with Overload and then through multiple hits on Coke Studio and Pepsi Battle of the Bands. This is in addition to singles through the year.

• We feature a song by Noman Asmet, which is in Burukshaki and is accompanied by music video inspired by Hunzai folklore.

• Other new songs from Annural Khalid, Ali Suhail, Haroon.

• As usual more DHH releases. DHH stands for Desi Hip Hop, which was a collective term for South Asian rap music, but with the changing times we may soon see DHH mean mostly Indian music. Terminology changes are perhaps due to occur. We are already seeing repercussions in the Pakistani music industry due to the war.