A Muslim immigrant from Afghanistan has been arrested as the prime suspect in the serial killings of four Muslim men that rattled the Islamic community of New Mexico's largest city, police said on Tuesday.
After days of bolstering security around Albuquerque-area mosques, seeking to allay fears of a shooter driven by anti-Muslim hate, police said on Tuesday they had arrested 51-year-old Muhammad Syed, one among the city's Islamic immigrant community.
Authorities said the killings may have been rooted in a personal grudge, possibly with intra-Muslim sectarian overtones.
All four victims were of Afghan or Pakistani descent. One was killed in November, and the other three in the last two weeks.
A search of the suspect's Albuquerque home uncovered "evidence that shows the offender knew the victims to some extent, and an inter-personal conflict may have led to the shootings," police said in a statement announcing the arrest.
Investigators are still piecing together motives for the killings of the four men, Deputy Commander Kyle Hartsock of the Albuquerque Police Department said at a news conference.
In response to reporters' questions, Hartsock said sectarian animus by the suspect toward his fellow Muslim victims may have played a role in the violence. "But we're not clear if that was the actual motive, or if it was part of a motive, or if there is just a bigger picture that we're missing," he said.
Syed has a record of criminal misdemeanours in the United States, including a case of domestic violence, over the last three or four years, Hartsock said.
Police credited scores of tips from the public in helping investigators locate a car that detectives believed was used in at least one of the killings and ultimately track down the man they called their "primary suspect" in all four slayings.
Syed was formally charged with two of the homicides: those of Aftab Hussein, 41, and Muhammed Afzaal Hussain, 27, killed on July 26 and Aug. 1, respectively, Albuquerque Police Chief Harold Medina told the briefing.
The latest victim, Nayeem Hussain, 25, a truck driver who became a U.S. citizen on July 8, was killed on Friday, hours after attending the burial of the two men slain in July and August, both of them of Pakistani descent.
The three most recent victims all attended the Islamic Center of New Mexico, Albuquerque's largest mosque. They were all shot near Central Avenue in southeastern Albuquerque.
The first known victim, Mohammad Ahmadi, 62, a native of Afghanistan, was killed on Nov. 7, 2021, while smoking a cigarette outside a grocery store and cafe that he ran with his brother in the southeastern part of the city.
BULLET CASINGS
Police said the two killings with which Syed was initially charged were tied together based on bullet casings found at the two murder scenes, and the gun used in those shootings was later found in his home.
According to police, detectives were preparing to search Syed's residence in southeastern Albuquerque on Monday when he drove from the residence in the car that investigators had identified to the public a day earlier as a "vehicle of interest."
Albuquerque and state authorities have been working to provide an extra police presence at mosques during times of prayer as the investigation proceeded in the city, home to as many as 5,000 Muslims out of a total population of 565,000.
The ambush-style shootings of the men have terrified Albuquerque's Muslim community. Families went into hiding in their homes, and some Pakistani students at the University of New Mexico left town out of fear.
Imtiaz Hussain, whose brother worked as a city planning director and was killed on Aug. 1, said news of the arrest reassured many in the Muslim community.
"My kids asked me, 'Can we sit on our balcony now?' and I said, 'Yes,' and they said, 'Can we go out and play now?' and I said, 'Yes,'" he said.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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