y now, many of us have seen or read reviews of the film, Wakhri by director Iram Parveen Bilal. It is inspired by the life and times of Qandeel Baloch, but the film, according to its creator, wanted to aim for a different ending and achieved one, with an impeccable sensibility given the reality of the late internet sensation, who was murdered by her own brother.

Critics have given the film strong and positive reviews as they ought to, but its music is an entirely different ballgame.

A film always features music that fits its narrative, if the filmmaker has a larger view in perspective and how music can elevate a good film. Many Pakistani films have released music that work within the film, not without. There are always some thrilling exceptions.

Zindagi Tamasha is one example; Laal Kabootar is another. Manto, Khuda Kay Liye, Cake and Moor are other strong examples. What all these films have in common is that the original soundtrack works within the scope of the narrative of each of these films but also works without it.

Iram Parveen Bilal’s Wakhri also has that remarkable quality. Its original soundtrack piqued curiosity because of the film itself.

But, to be able to listen to it without contextual embedding of the synopsis of the film is where its real success can be found.

With Abdullah Siddiqui helming the responsibility as music producer (who also created the original score of Saim Sadiq’s Joyland), the music was in safe hands.

Abdullah Siddiqui can succeed on any musical voyage including creating his own singles and albums to collaborating with other artists and being involved with films that make us proud.

These are the films (in well-made fashion) that offer sad truths about the country, addressing how entire communities are marginalized, dismissed, hated or silenced permanently because they don’t fit in a binary bracket.

To make music for such films that reflect a mirror to a deteriorating society is not an easy task, but Abdullah Siddiqui has delivered as a music producer for Wakhri, working with the likes of longtime collaborator Meesha Shafi, as well as other dynamic talents including Natasha Noorani, Eva B, Ali Sethi and others.

For the purpose of this piece, we will highlight one song because each is deserving of a sizable space.

The soundtrack of Wakhri features four songs in total and Abdullah Siddiqui is credited as the official music producer. But, if you listen to the songs, you realize the artist bill is as electrifying as it is well-thought out.

In this designated and limited space, we will explore just one of the four tracks with the other three coming in upcoming editions. Why, you might wonder? Well, sometimes, the songs are so beautiful that you can’t lump them in one story. Such is the case with the soundtrack of Wakhri.

Natasha Noorani enters this soundtrack with ‘Matlabi’ which is an original song from her 2023 LP, Ronaq.

Wakhri’s soundtrack features four songs in total and Abdullah Siddiqui is credited as the official music producer. But, if you listen to the songs, you realize the artist bill is as electrifying as it is well-thought out.

However, for this film, the same song has been intelligently designed and called ‘Matlabi (Wakhri Version)’. Noorani has sung for other major projects so it was a smart call to add her to the film’s soundtrack. While ‘Matlabi’ from Ronaq was written by Natasha Noorani & Zeerak Ahmed and produced by Talal Qureshi, the film version is also written by the same team (ft. some of the same lyrics) but produced by Abdullah Siddiqui.

If you hear the two songs, some things might feel familiar because both are sung by Natasha Noorani as well as due to the wordplay. The original ‘Matlabi’ that was written by Natasha Noorani and Zeerak Ahmed had its own gripping character, mood and was among Ronaq’s darker tracks, noting the drowning of a voice.

For example, its lyrics said at one point, “Kya main naqabil/In dhokon ki baarish mein doobay gi meri awaz.”

In the ‘Wakhri – Version’, that same tenet is in place including some of the lyrics from the original that you might relate to or realize many others do, because they have to, in order to survive in this country that we call home.

The major difference in both songs is its music production. To simplify it, ‘Matlabi (Wakhri Version)’ is a lot more mournful and a deliberate effort.

Natasha Noorani’s voice echoes the voice of the film’s narrative but also of all those whose voices remain muffled or are drowned by a chaotic world.

The original, produced by Talal Qureshi, is brilliant because it fits perfectly within the sonic landscape of Ronaq and is a showcase of how he can produce artists as compelling as Natasha Noorani.

‘Matlabi (Wakhri Version)’ feels like you’re traveling from one planet to another and one must applaud Abdullah Siddiqui for managing the effect. The Abdullah Siddiqui version is sublime because (a) it fits the narrative of what the original soundtrack needed and (b) gives us, the listeners, an arresting song, once more, with love.

You will find yourself in a catch 22 situation because both versions are ultimately so graceful that you just can’t say this one is better than the other.

In fact, by recreating ‘Matlabi’ for the soundtrack, we now have not one but two blistering songs, sung in such a precious manner that you will keep coming back to both.

What ‘Wakhri – Version’ does is also remind us that Natasha Noorani has joined the rank of artists whose voice is so precious that you will be able to recognize it instantly without relying on Shazam or Google to be sure. To this effort, one can only say: bravo!

“One life, but we’re not the same/We get to carry each other, carry each other.” – ‘One’ by U2

Imagine yourself being in the film, The Matrix, or just standing in a hallway that’s purely a white corridor with white doors to your left and right, white lights and no one to guide you.

You don’t know what is behind each door but you want to open the right one to the reality you’re looking for. ‘Matlabi’ – Wakhri Version’ is like finding and entering that right door and for a film to accomplish that, is just heartwarming because you don’t feel like walking away for a smoke break or find yourself thinking about other things whenever it plays.

(Watch out for more from the soundtrack, as well as other musical gems, next week.).