Fresh off of her historic Grammy win, the Brooklyn-based Pakistani singer Arooj Aftab has added another feather to her cap with a debut at the much-touted Coachella music festival.
She graced the California desert with a set that centered her melodious Urdu lyricism, a barrier-breaking move as she became the first Pakistani to play the prestigious festival.
For Aftab, the language barrier no longer exists: "This is a door that's opened."
The 37-year-old -- who just released a cover of Spanish flamenco revisionist Rosalia's Di mi nombre -- sees a revolution in popular music, with artists sailing freely past genre and borders.
"There's a movement happening in the music industry at large," she said on the grounds of Coachella, where she delivered a moving performance of her work that fuses ancient Sufi traditions with inflections of folk, jazz and minimalism.
"The audience and the musicians are creating music and the audiences are listening to music with a lot of freedom in their minds. Less genre-genre, less border-border," she said.
"It's so free, and open, and really, really beautiful."
She credits the Latinx community for making huge inroads in this respect, citing Rosalia along with Becky G, Karol G, J. Balvin and Bad Bunny as influential in the transformation.
"The trap movement definitely changed the way listeners listen," Aftab said, referring to the explosion of Southern US hip hop that later made it's way into Latin America and fused with reggaeton.
The surge of Latin music on US airwaves and especially on streaming platforms "created a big opening in the minds of listeners in America," she continued."
"They now listen to music that they don't understand, and it's fine! They love it. That's a big step."
Aftab said that opening has allowed her to feel more liberated with her own creations, putting out music based on emotions, without limitation.
"It's a personal music," she said. "It's not 'my country, my country' -- it's global music. It's everything that we feel, it's all the people that we meet."
"Whatever makes my heart sing is in the music."
- 'A high' -
With three studio albums, Aftab mere weeks ago made history in becoming the first Pakistani solo vocalist to nab a Grammy, winning for her song Mohabbat in the Best Global Performance category.
She was also nominated in the prestigious Best New Artist field -- although that award went, as expected, to pop sensation Olivia Rodrigo.
But Aftab is basking in the moment of recognition, savoring her career accolades as well as her two performance dates at the premier Coachella festival.
Arooj Aftab attends the Spotify Best New Artist Brunch at Encore Beach Club at Wynn, Las Vegas (Photo by Ethan Miller/Getty Images for Spotify)
"It feels really amazing, it's a high -- it's a high moment in my career," the singer said. "I've been working towards this moment and imagining that this moment would come, or not."
"And it did! Which is miraculous."
She's also stoked to be back in front of live audiences, with Coachella returning after a three-year, pandemic-induced hiatus.
Featuring artists from all over the world, the 2022 Coachella poster is a reflection of music's' globalization and genre fluidity.
For Aftab, that's a big win: "This is a door that's opened, for sure."
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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