‘Aayi Aayi’ is Sindhi on the surface, standardized at its core

KARACHI:

After a gap of one year, Coke Studio Pakistan is back for its 15th edition with a signature Coke Studio track. On the one hand, the very availability of a signature can demonstrate a brand’s long-standing familiarity with its market. On the other hand, what is tried and tested is usually an antidote to innovation and innovation. These tensions betray themselves most acutely at the start of this season.

Aay Aay comes hot on the heels of Coke Studio’s diversity and inclusion manifesto – with minimal preamble and social media hype. Far from new, the politics of the music franchise has marinated in many transitions before settling into its own format. With Noman Ali Rajper, Babar Mangi and Marvi Saban headlining the song, there is no doubt about what it aims to restore: the Sindh aesthetic.

Attention to detail is given, perhaps a little too much. With over a decade of music making under his belt, a solid production plan like this Aay Aay it’s more of an expectation than an achievement at this point. The track does not disappoint in this regard. A woman drapes a large Sindhi patchwork quilt over a wall, others squat together and draw rangoli. Symbolism abounds for those keeping count.

From its musical scores to the set and costume design, especially Babar Mangi’s stunning ensemble, the piece attempts to carve out a Sindhi feel. However, the audio experience is undeniably overwhelming for those who remember Coke Studio’s past offerings and can predict the song’s chorus from the get-go.

It’s not that Aay Aay it’s a bad song in every way. Clocking in at 5 and a half minutes, the track begins with Noman Ali Rajper’s vocals, which are treated to a tasteful amount of autotune — used in this case as a purely modern vocal production technique that enhances rather than overpowers. Noman’s voice acts as a strong backbone throughout the track, guiding the transitions and sustaining the energy of the song. His presence, both aurally and visually, brings a charisma that is hard to ignore, making him a standout performer on this first number.

The transition to Babar Mangi’s rap verse is one of the highlights of the track. Babar not only delivers powerful lyrics but also brings a palpable energy that complements the song’s traditional roots. His ad-libs and subtle backing vocals during his verse add layers of depth.

Marvi Saban’s contribution, though used sparingly, is no less impressive. When she’s in the spotlight, particularly during the bridge, her vocal prowess shines, adding a sweet touch to the track that enriches its cultural texture.

Despite many overt attempts to deliver a distinctly Sindhi collaboration and generous use of instruments from the region, one can close one’s eyes and listen Aay Aay only to realize that the song would sound the same if it was rendered in Balochi, Pashto or Serai. Despite following neat shelves of Coke Studio’s brand of fusion music, Season 15 began with a hesitancy to create something new.

Partly responsible for this is perhaps the move to a music video format that Xulfi initiated in season 14. That the preference for representation ultimately becomes a matter of what is seen rather than what is heard begs the question of what is lost when the optically. The same year also marked the end of Coke Studio’s episodic format, trading the mini-album per episode for one song each week.

Unlike the Season 2 debut where listeners tuned in to Atif Aslam’s Jal Pari and by Shafqat Amanat Ali Khan Khamaaj in the same episode, Aay Aay he can satiate his audience before his successor begins his course. As elsewhere in mainstream music markets, repackaging the old is a safer bet than developing something new.

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