he notion that women musicians are increasing in number and popularity in and of Pakistan has never been truer than the present day.

We still cherish artists like Haniya Aslam and Zeb Bangash – irrespective of both working as solo artists now – in the Pakistani music ecosystem. The iconic Hadiqa Kiani cannot be dismissed with efforts like Wajj and what has followed musically.

But they are no longer the only names imprinted in our minds when looking for material from women in music in mainstream and counterculture sonic landscapes.

There are countless others who have been working rather diligently. Off the top of my head (and putting the divide between counterculture and mainstream out of mind for a minute), names such as Arooj Aftab, Slowspin (Zeerak Ahmed), Nimra Gilani, Natasha Noorani, Natasha Baig, Natasha Humera Ejaz, Gul Panra, Wishaal Khalid (Tarbooze), Quratulain Balouch, Yashal Shahid, Sanam Marvi, Wajiha Naqvi (Hijrat), Eva B (rapper), Jannat Aziz (Wooly and the Uke), Zoe Viccaji, Rachel Viccaji, Aima Baig, Momina Mustehsan, Shamu Bai, Naseebo Lal, Mai Dhai and Nazia Zuberi Hassan come to mind. If we go on a specific search, more names will come up.

In other words, it is a competitive time for women artists and the hashtag #futureisfemale does have merit to it.

So, if during this time, a name emerges with a song that soon becomes the most-loved track of the year while singing alongside one of the most fascinating and prominent singers of the opposite gender, it feels like a statistical deviation.

And yet, Shae Gill is much more than a statistical deviation as she emerged during Coke Studio 14 with ‘Pasoori’ and co-sang it with Ali Sethi.

But, as an artist, you can only go so far on the basis of one song. You need a body of work in order to perform at concerts, which is often the bread and butter of artists.

What is most striking about Gill (presumably in an effort to create a body of work) is how she outshines those she is collaborating with.

The latest case in point is her collaboration with Asim Azhar for a song called ‘Bulleya’. Apart from the redundant title of the song, it is an Asim Azhar song as it is featured on his YouTube page. And when you listen to the song, the first voice that opens the song is of Asim Azhar.

But it is only when Shae Gill appears on the track that it builds into something decent, palatable to your ears.

The track in itself is not a ‘Pasoori’ so don’t bet on the song, rather the voices.

This is the latest song in Shae Gill’s quest, presumably, to build a body of work.

She does, more often than not, leave her co-vocalist behind due to the tenor and range with which she sings.

Though there are a handful of examples, the most obvious is her collaborative song with the very popular Asim Azhar.

Unlike ‘Left/Right’ that is a collaboration between Gill, Ali Sethi, Maanu, and Abdullah Siddiqui and has a tenacious character and strong music production design, ‘Bulleya’ makes it easy for Shae Gill to surpass Asim Azhar. Why? In addition to her stealing the vocal game from him, it is an average song that you only can listen to it if you are a fan of both singers or just one.

There is no redeeming quality otherwise. From flying high in ‘Pasoori’, Shae Gill is emerging as an electrifying voice with post-‘Pasoori’ songs such as Hassan & Roshaan’s track ‘Sukoon’, ‘Left/Right’ (with Ali Sethi, Abdullah Siddiqui and Maanu), HBL PSL 8 anthem ‘Sab Sitaray Humaray’ (with a forgettable Asim Azhar and an unforgettable Faris Shafi), and ‘Aa Milay Ho Yunhi’ from Yunhi original soundtrack (with Sami Khan) and ‘Manzil’ with Atif Aslam as part of a gender equality campaign, and even an advert with Bilal Maqsood. It is palpable that eviscerating most of the voices doesn’t seem to be her goal nor does she achieve it with Atif Aslam, Bilal Maqsood, Ali Sethi Sethi being some examples.

The real fact is that Shae Gill has an lasting voice, which is her greatest strength as an artist. Has she been receiving hateful messages because of a zealotry factor? Yes, and she is a smart cookie who block such hate.

And so, it begs the question: Will 2023 be Shae Gill’s year? We think so given her ability to work in multiple genres and that gorgeous voice. The future is clearly, female.