Politics of Music
This article explores the evolution of 'indie' music in Pakistan, distinguishing between the aesthetic genre marketed to the elite and the structural realities of independent music production. It argues that true independence is defined by creative and financial control rather than just a specific sound or visual style.
Why it matters
The piece provides a critical look at how cultural labels can obscure the economic and social barriers faced by artists in developing creative industries.
In November 2017, I played session ukulele and bass guitar for Mehdi Maloof at two concerts at LUMS and Alhamra, Gaddafi Stadium. The audience knew every lyric and sang along without hesitation, carrying songs that had never belonged to the mainstream. It was hard not to admire that intimacy between artist and audience. But another thought stayed with me long after the final chord. Why has "indie" music in Pakistan historically found its most devoted audiences in elite universities, caf s and cultural spaces? The question is not meant to diminish those audiences. It is an invitation to examine the social world in which "indie" music, once synonymous with independent music, has come to flourish.
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