A high school friend once told me we were born after the golden age of Pakistani music. He made this controversial statement back in 2018 amidst the release of Coke Studio Season 11. Strings had just completed a massively successful stint at the helm of Coke Studio through he seventh to tenth seasons. Ali Hamza and Zohaib Kazi had taken over, and although they had not lived up to the hype, they had done a decent enough job to keep the legacy going. If someone here is not familiar with Pakistani pop culture, let me debrief you in one sentence: as a culturally proud nation, we attach a lot of importance to the art we produce but take it for granted at the same time. With this in mind, let us examine my friend’s statement about missing the golden age of Pakistani music.

While it is true that bands like Vital Signs, Junoon, and Strings defined the pop and rock scene of the late ‘80s and ‘90s, to say the golden age has passed is perhaps a misjudgment. Pakistani music has a unique tendency to evolve and reinvent itself, often borrowing from its rich cultural heritage and embracing global trends. The post-millennium era may not have produced another “Dil Dil Pakistan,” but it has given us artists who resonate with a generation battling entirely new challenges.

In the early 2000s, underground rock bands like Noori and EP were the voice of a restless youth. They blended poetic Urdu lyrics with Western rock influences, creating anthems that spoke to rebellion and identity. Fast forward to today, you find this same ethos in the songs of Young Stunners, but with a distinctly urban twist. From guitar riffs to trap beats, Pakistani music has not been stagnant — it has been adaptable, riding the waves of global and local cultural shifts.

On Dec. 08, I found myself at the Coca-Cola Arena in Dubai, attending a live Coke Studio concert. To say it was an experience of a lifetime would be an understatement. Watching some of Pakistan’s finest artists take the stage in a foreign land, backed by the unmistakable branding of Coke Studio, was surreal. It was not just the music or the electrifying performances; it was the pride of seeing this entire team travel to Dubai to showcase their talents on an international stage.

Artists who had previously been confined to screens were now embodying the global reach of their art. The reception by the audience, a mix of Pakistanis and various other nationalities, affirmed that Pakistani music has a universal appeal. This achievement in and of itself speaks volumes about the industry's resilience and potential.

No discussion of Pakistani music would be complete without addressing Coke Studio, arguably Pakistan’s most significant cultural export of the past two decades. From its inception in 2008, the platform has served as a melting pot for traditional and contemporary genres. Whether it is Rahat Fateh Ali Khan’s soul-stirring qawwali music or the techno-infused Balochi folk of Abida Parveen and Naseebo Lal’s “Tu Jhoom,” Coke Studio has showcased the breadth of Pakistan’s musical talent. Season 14, helmed by Zulfiqar Jabbar Khan, marked a new era with tracks like “Pasoori,” which resonated globally and broke linguistic barriers.

Yet, while Coke Studio continues to be a beacon, it is no longer the sole platform for emerging talent. Platforms like Spotify and Patari have provided independent artists with the tools to bypass traditional gatekeeping and take their music directly to the audience. As a result, artists like Talha Anjum and Talhah Yunus have used these platforms to redefine what it means to be a Pakistani musician. The rise of hip-hop in Pakistan deserves special mention. Young Stunners, Faris Shafi, and Eva B are at the forefront of a movement that combines sharp social commentary with catchy beats. Their lyrics often tackle themes of class disparity, mental health, and societal norms, making their music not just entertaining but also meaningful. Hip-hop, once considered an alien genre in Pakistan, has now become a powerful tool for self-expression among the youth.

On the other hand, folk music is experiencing a revival, not as a relic of the past but as a dynamic force intertwined with modernity. Artists like Saif Samejo of The Sketches and Mai Dhai are blending Sindhi and Balochi folk traditions with contemporary arrangements, making regional music more accessible to younger audiences. This blending of genres is where Pakistani music truly shines — it is neither completely traditional nor entirely modern but something uniquely its own.

The digital revolution has also been instrumental in reshaping Pakistan’s music industry. Platforms like YouTube, Instagram, and TikTok have democratized the way music is consumed and distributed. Viral trends have allowed lesser-known artists to gain traction almost overnight, as seen with Hasan Raheem’s meteoric rise. Raheem, with his lo-fi, laid-back style, represents a generation unafraid to experiment with their sound and identity.

Similarly, live music is making a comeback in Pakistan, with festivals like Lahooti Melo and Solis creating spaces for artists to connect with audiences directly. These events are not just concerts — they are celebrations of culture, diversity, and the resilience of an industry that continues to thrive despite numerous challenges.

Pakistani music has always been a reflection of its society — dynamic, multifaceted, and deeply rooted in its history. The current wave of artists, whether they are reviving forgotten traditions or breaking new ground, represents a generation that understands the power of music as both a cultural marker and a form of resistance.

As I look back at my friend’s statement, I realize that the golden age of Pakistani music is not a singular moment frozen in time. It is an ongoing saga, one that reinvents itself with every riff, verse, and beat. Whether you are drawn to the nostalgia of Vital Signs or the swagger of Young Stunners, one thing is certain: the spectacle of Pakistani music is alive and well, and it is only getting started.