Talhah Yunus is back—and not just with any project. He returns with Shikwa (Side A), a solo album that sounds like a smoke-filled lament drenched in existential angst. As I nod along, I can feel the cinematic weight of every track.

With ten songs, Yunus crafts what feels like a gritty monologue delivered under a flickering Karachi streetlamp, cigarette smoldering, pistol resting on the table. This is noir rap. This is desi existentialism in a leather jacket. And this might be Yunus’ most powerful self-portrait yet.

He Opens with Fire, Then Dives into the Flame

Yunus opens the album not with an invitation but a warning. Wazir Patar slides in with slick Punjabi verses, and Rap Demon slices through with sharp delivery. Yunus doesn’t just rap—he stalks the beat, delivering lines like he’s chambering bullets. The mood feels dark and theatrical, setting you up for aggression—but Yunus flips the script. Instead of sticking to smoke and bravado, he exposes raw emotional depth.

Musically, Shikwa (Side A) balances drill-inspired swagger with introspective stillness. Producers Umair and Jokhay create a minimal but potent soundscape of icy synths and ambient flourishes. The bass hits hard but never overwhelms, giving Yunus’ steady, often wounded voice the space it needs to land.

He Peels Back the Persona, Layer by Layer

As the album unfolds—from Takeover to Fancy—Yunus begins to fracture his rap persona. He still flexes with confidence, but you can hear doubt creeping into the gold-plated world he builds. On Shopping, a catchy beat masks a cynical truth. “Karachi is my home and my warzone,” he spits—reframing consumerism as survival.

Guess Who’s Back hits like a villain’s re-entry, but Yunus isn’t chasing charts. He’s clawing back identity. Each verse nods to his past but avoids nostalgia. This isn’t Burger-e-Karachi Yunus; it’s a darker, more bruised version trying to find clarity in chaos.

He Collaborates with Purpose, Not Just for Hype

Yunus doesn’t use features as filler. Dawgs with Talha Anjum feels like two veterans speaking in code—intimate and restrained. On Happen, Faris Shafi brings confession-booth vulnerability, and Yunus meets him there. Together, they turn the beat into a space of emotional free fall.

With 100%, Shareh adds laid-back ease to a lo-fi-leaning beat. It’s a breath of fresh air. Majaal, featuring Shamoon Ismail’s smooth vocals, floats with a softness that balances the album’s grit. Yunus spaces out these lighter moments carefully, ensuring they soothe without diluting the album’s core.

He Ends with the Heartbreak Before It Happened

The album closes with Shikwa, its emotional anchor. Urdu poetry filters through as Yunus delivers, “Kya hi shikwa karein phir, teri ghalti nahi hai.” The production drops away just enough to let the heartbreak breathe. It doesn’t just end the album—it lingers.

Cleverly, Shikwa (Side A) retroactively reframes Shikwa (Side B), which he dropped last year. Side B mourned the fallout; Side A captures the denial, ego, and illusion before the crash. Together, they form a nonlinear heartbreak—a rap duology that says, “Here’s who I was, and here’s where it all broke.”

A Story Only Yunus Could Tell

Shikwa (Side A) succeeds where many solo debuts stumble. Yunus weaves narrative, mood, critique, and character into a personal yet universally resonant journey. The album isn’t flawless—but its imperfections feel intentional, even poetic.

Should we dare ask for a Side C? If it comes, bring tissues—and a body bag. Because if Shikwa (Side A) starts the story, we’re definitely not ready for the jawab.

Shikwa (Side A) is now streaming on YouTube and Spotify.

Also Read: Talhah Yunus’ ‘Shikwa’ Album Includes Talha Anjum Cameo

In a world where Instagram Reels and TikTok dominate attention spans and most songs barely hit the two-minute mark, rapper Faris Shafi flips the script with Shayar. As the opening track of the new season of Velo Sound Station, Shayar runs nearly six minutes — and every second hits like a powerful statement.

Faris walks in wearing a hood, stepping into a grand, opera-style hall. This isn’t just an entrance — it’s a moment. The crowd parts, sensing something special. Directed by Bilal Lashari, the cinematic and intense video immediately pulls you in.

Faris opens the song with nearly two minutes of deep, poetic verses, delivering lines like a seasoned poet at a mushaira:
“Eh mayray Shaoor-e-Zaat… Rasta bananay day… Gaal pay laga ghaaza / Hont pay lagi laali… Khud ba khud pigalnay tak…”

His deep voice gives the words weight. Though the intro may feel a bit long, it perfectly fits the track’s meditative mood.

Then the beat drops — and everything shifts.

Drum and bass explode into the mix, and Faris launches into his signature razor-sharp rap. He raps about choosing love over hate, delivering his message with power and precision. As the music builds, Zain Zohaib step in with soulful qawwali vocals.

They don’t just support the song — they become its heart. The fusion of qawwali and electronic rap defies logic, but somehow, it works — and it’s pure magic.

The transition between Faris’s intense delivery and Zain Zohaib’s spiritual energy creates a rare musical experience. One moment feels ancient, the next futuristic — and yet, everything blends seamlessly.

Visually, Bilal Lashari amplifies the experience with grand, moody sets that feel royal but never overdone. The drama feels earned, not forced.

Shayar isn’t just a track — it’s a fearless artistic declaration. Faris Shafi and Zain Zohaib prove that music doesn’t need to follow rules. It can be traditional and modern, emotional and bold, local and global — all at once.

And in this bold fusion, Faris and Zain Zohaib shine the brightest.

Also Read: Faris Shafi Opens Up About His Lyrics, Idols, and Personal Life

Ammar Baig made a lasting impact during the Legacy of the Khans 2025 Tour, opening for the legendary Ustad Rahat Fateh Ali Khan at two of the UK’s biggest venues — London’s OVO Arena Wembley and Manchester’s AO Arena.

Performing on April 5 and 6, Baig captivated audiences with his raw, unplugged renditions of Bollywood and classical hits using just a guitar and mic. His setlist featured songs like Beedi, Channa Mereya, O Re Piya, Do Dil Mil Rahe Hain, Hungama Hai Kyun Barpa, and even Sia’s Chandelier.

His soulful performance not only moved the crowd but also earned praise from Rahat Fateh Ali Khan himself, who called Ammar “very talented” and deserving of global fame. Rahat also announced an upcoming collaboration with Baig and his son Shahzaman Khan, saying, “Ammar is like my own son.”

Tour producer Vijay Bhola lauded Baig’s emotional vocals and minimalist style, calling it an experience that “touched every heart in the arena.”

As the son of legendary Pakistani singer Waris Baig, Ammar is proudly carrying forward his father’s legacy with a fresh, modern sound. Fans flooded his Instagram with love, calling his performance “sensational” and “amazing.”

Also Read: Rahat Fateh Ali Khan On Son’s Comparison With Nusrat Fateh Ali Khan