The many lives of Sherry Khattak

Shehreyar Khattak, better known as Sherry Khattak in music circles, is one of those rare birds who has played an integral role in some of Pakistan’s most well-known music shows including Nescafe Basement, Pepsi Battle of the Bands, Coke Studio (14 and 15) and now Humnava, which ended its first season earlier this year. In between all this, he also found time to release a beautiful neo-progressive debut album, Ailan-e-Jang, with his band, Karakoram. Years had passed since we last spoke. Would there be a new album? Would Humnava return for a second season? I had plenty of questions for Sherry Khattak.

Fortunately, during this conversation with Instep, Sherry, who is as intelligent as he is thoughtful, reflects on discovering musicians in Hunza, building a platform free from formulas, his views on why artificial intelligence should remain a tool for learning rather than a substitute for creativity and what lies ahead.

Instep: Humnava is such an interesting name. Where did it come from?

Sherry Khattak (SK): I think Xulfi (Zulfiqar Jabbar Khan, better known as Xulfi) came up with the name. It’s rooted in qawwali. Even before Humnava, whenever we spoke to musicians from around the world, everyone wanted to understand qawwali and experience it from the inside. As we explored the tradition more deeply, we realised it carries something uniquely ours. Nusrat Fateh Ali Khan introduced qawwali to global audiences and it remains one of Pakistan’s strongest musical exports. In a qawwali ensemble, every performer has a role, much like an orchestra. Among them are the Humnava, the singers who clap the rhythms, keep the pulse of the performance and respond to the audience’s energy in real time. What fascinated us was that you can’t do that alone. Once we understood the idea more deeply, it became obvious that Humnava captured the spirit of the project. It’s about people coming together, sharing the same musical frequency and creating something collectively.

Instep: What gap do you think Humnava fills in Pakistan’s music landscape?

SK: We felt two things were missing. The first was the way music is made. Earlier, songs grew out of rehearsal rooms, where musicians exchanged ideas and built them together. That process has largely disappeared, not just in Pakistan but around the world. Today, music is often laptop-centric. A demo gets made first and musicians are later asked to recreate it. Technology has made music-making incredibly accessible, but somewhere along the way we lost the magic that comes from people creating together. Those little human imperfections often become the most beautiful parts of a performance. We’d already experimented with these ideas during Nescafé Basement 5, where everything was performed live. The challenge was preserving that honesty once the cameras started rolling.

The second thing that we noticed was that live music had almost disappeared from music platforms. We knew a completely live production was possible, so we asked ourselves: why not build a platform where everything is performed live with no compromises?

That also meant rethinking how songs were structured. Today, songs are expected to be two or three minutes long, leaving little room for intros, outros or instrumental solos. With Humnava, we wanted the music to breathe. If a song became ten minutes long or needed an extended solo, we embraced it and let it develop naturally.

Instep: As co-curator, what did your role involve?

SK: Every project has a natural division of responsibilities. During Coke Studio, I handled most of the execution, from production logistics to making sure creative ideas could actually be achieved. Humnava was different. Because it revolved around live music and recording, Xulfi wanted me to lead the jam sessions. I’ve been performing live for many years, so I’m comfortable helping musicians develop ideas in that environment. I also researched and recruited many of the international musicians, oversaw parts of the production and worked with the audio team to make sure the live recording setup was in place. Creatively, Xulfi and I were involved throughout the rehearsals, arranging, composing and letting the songs evolve naturally. It was demanding because I was wearing several hats, but those 40 days were incredibly rewarding.

Instep: How did you decide which musicians to bring in from abroad and which ones to feature from Pakistan?

SK: The international musicians were actually the easier part. We wanted exceptional live performers who were also experienced studio musicians, so we researched extensively before shortlisting around 50 or 60 names. The bigger challenge was convincing them to come to Pakistan because many still have very different perceptions of the country. We also received help from Blaze (also known as Blaise Merlin), a violinist who joined the project through the European Union, who introduced us to several outstanding musicians across Europe. We wanted a diverse line-up where every musician brought something unique.

The local musicians were chosen differently because Humnava is about empowering the place where we work. We didn’t want to rely on the same session musicians. We wanted to build the project around musicians from the region. With only 40 days to create the music and film every performance, we needed people who could adapt quickly. Two months before the residency, we travelled to Hunza for a recce. A local coordinator organised around 30 musicians for us to meet and hear them perform. From those sessions, we gradually built the band. What surprised me most was the standard of musicianship. Hunza has extraordinary talent and those musicians became the foundation of the project.

Instep: During the selection process, were the-re artists you personally championed but eventually realised weren’t the right fit?

SK: Our first priority was always practical. We didn’t have the luxury of training people over several weeks. Everything had to be performed live, outdoors and often across multiple takes, so we needed musicians who could deliver from day one. We also kept a second list because none of the songs existed before we arrived. Every arrangement evolved during rehearsals, so we needed the flexibility to bring different musicians into different songs as ideas developed. We relied on Mujeeb (Mujeeb Ur Rehman) who became our guide throughout the project. He introduced us to musicians, suggested ideas and helped us understand the local musical landscape. Since we were blending regional traditions with international musicians and our own approach to production, we kept asking ourselves, “Does this still resonate with your musical culture?” That constant dialogue made the process incredibly collaborative.

Instep: Hunza has featured in other music projects before, but Humnava’s debut season is entirely based in this region. It is also known that Hunza, including Gulmit, embraces gender equality and education. How did the local traditions shape the project?

SK: Even before we travelled there, our research showed us that Hunza has a very progressive culture. We also spoke to people from the region and what stood out was their openness and strong sense of community. Even something as simple as a landslide becomes a community effort. People don’t wait for officials to arrive. They work together and solve the problem themselves. That spirit of collaboration is deeply rooted there. As we got to know the community, we discovered stories that reflected those values. One example appears in ‘Noor-e-Nazar’, where we incorporated the local tradition of husband and wife making roti together. It may seem simple, but it speaks to partnership and shared responsibility, values we wanted to reflect in Humnava.

Instep: Humnava br-ings together regional languages, folk traditions and contemporary production without ever fee-ling forced. How did you decide where to draw the line between experimentation and accessibility? Was preserving and showcasing them always part of the vision?

SK: Honestly, we never thought about it that way. Everything came down to one question: does it feel right? The moment you start thinking about commercial appeal or whether something will become a hit, you stop following the music. Our process was instinctive. If everyone in the room was completely immersed, we knew we were on the

right track. Sometimes Xulfi would say, “I think this is it.” Other times I’d say, “That’s enough.” We trusted those instincts instead of overanalysing every decision. We never started with the language. If a melody, lyric or voice connected with everyone in the room, we followed it. I think that’s what made the representation of those cultures feel honest. We weren’t trying to tick boxes or make cultural statements. One of Humnava’s biggest advantages was that it came with no baggage. We weren’t trying to recreate another platform or follow a formula. Everything evolved naturally and I think that’s what gave the project its identity.

Instep: Music today is increasingly judged by numbers, but talent cannot be validated by numbers. However, we live in an age where success is defined by the number of streams a song receives or its YouTube views. The same is true for films, where box office figures determine whether a film is a hit or a flop, regardless of its quality. Did that ever influence your thinking as you approached Humnava from scratch?

SK: Whenever you’re building something from scratch, you have to be realistic. Growth takes time. Comparing a brand-new platform with something like Coke Studio isn’t fair because every platform needs time to find its audience. From the beginning, we wanted Humnava to have its own identity rather than compete with or imitate what already existed. My responsibility was making sure business decisions never dictated the music. We believed in the songs and trusted they would find their audience, even if that took time. Every musician contributed creatively and I think audiences recognise that honesty. For a first season, we are very happy with the response. Now we’re using everything we learned to build an even stronger second season.

Instep: Has Humnava changed the way you see Pakistan’s music scene?

SK: Absolutely. The project introduced me to instruments, traditions and communities I simply hadn’t experienced before. We live in Pakistan, but I don’t think we always realise how much there still is to discover about our own country. I can certainly say that about myself. It also changed the way I think about music and collaboration. I ended up performing on several songs, even though that was never the original plan. While Xulfi and I were curating the sessions, we’d naturally pick up instruments and start jamming with everyone else. Nothing was planned, tho-ugh. I felt connected to some songs and wanted to play on them. The same was true of Xulfi.

Instep: Artificial intelligence is becoming increasingly common in various art forms such as films and music production. At the same time, streaming platforms and social media often reward songs that fit trends or are designed to go viral. As a musician, how do you navigate that landscape?

SK: I think AI is a powerful tool. Even on Humnava, we used it to clean up background noise because we were recording outdoors. It’s incredibly useful. The problem begins when people rely on it completely. For me, music has always been about building a relationship with listeners. Someone discovers a song, explores more of your music and eventually wants to see you perform live. That’s where a lasting connection is made. If a song goes viral because it was generated through AI, that journey often doesn’t happen. You might have a hit, but there isn’t always a path to building an audience that grows with you. I’ve also noticed that artists who make music entirely inside a laptop sometimes struggle on stage. Great performers reinterpret their songs and create new moments that make audiences want to come back. So I think AI is an excellent creative tool for learning, but I wouldn’t want it to replace the human side of making music.

Instep: Many people still hope to hear more from Karakoram. Is the band still active?

SK: Definitely. Nothing has happened to Karakoram. We never disbanded. Everyone’s career has evo-lved. Bilawal Lahooti is performing with Rahat Fateh Ali Khan, Annan Noukhez is working with Asim Azhar and everyone else has their own projects and touring commitments.

At a certain point, I realised I still had music I wanted to make and I didn’t want to keep waiting for everyone’s schedules to line up. Last year I stepped away from work, social media and even WhatsApp for a month and focused entirely on writing. By the end of it, I’d written around 25 demos, eight of which made it onto my solo record. It reminded me not to overthink things. I’ve finished recording and I’m finishing the mixes. Hopefully, the first single will be out in August, followed by a new release every week. Sometimes you just have to make the music, put it out into the world and let it find its audience.

Instep: Live music remains one of the biggest challenges in Pakistan, particularly from a technical perspective. Having worked on both Humnava and Coke Studio Live, how do you see the situation today?

SK: We were actually the team behind Coke Studio Live, so I was closely involved with that project. We’d already proposed live shows as part of our vision for Coke Studio 14, but the biggest challenge has always been infrastructure. Things have definitely improved, but we’re still some distance away from international production standards. Sound engineering, stage production and the technical side of live events all need to keep evolving. Coke Studio Live worked because we designed it as one continuous experience. There were no breaks between artists. Everything flowed seamlessly from beginning to end, almost like watching a film. That kind of show only works when every technical detail has been carefully planned. We’re constantly talking to engineers, production teams and vendors about how we can raise those standards in Pakistan. I genuinely believe we’ll get there, but it will take time and investment.

Instep: Humnava was built around live collaboration. Have you thought about taking it on the road as a live concert experience?

SK: Absolutely. Those conversations started before we even began the residency. When we came back from our recce trip to Hunza, it became clear these musicians deserved to perform on bigger stages. That’s what led to another project called Mehfil. You can think of it as a live extension of Humnava. It’s built around musicianship and giving these artists the exposure they deserve. We’ve already staged two shows, one in Lahore and one in Karachi. Both received a fantastic response. One thing that’s often missing from live concerts is visibility for the musicians themselves. Audiences naturally focus on the singers, but we wanted the instrumentalists to become part of the story too. We’re doing the project with a local television channel and we already have a tour planned this year, with many more shows lined up. As for a dedicated Humnava concert, we’d love to make that happen. The music was created live from the beginning, so it naturally belongs on stage.

Instep: You’ve worked with Xulfi for many years across Coke Studio, Humnava and several other projects. How has that creative partnership evol-ved over time?

SK: It’s been a great journey. He’s always been like an elder brother to me and has supported me throughout my career. Today we’re almost always on the same creative wavelength. I think Humnava came together so quickly because we already understood each other’s instincts. Xulfi has always been the person who sparks new ideas. Everyone else brings their own strengths to help make it happen. One thing I’ve learned from him is to stay curious. Whether it’s discovering musicians, exploring new ways to record live or constantly seeking fresh ideas, that mindset has gradually become part of who I am. Every project feels like another semester at university. I’m always learning something new.

Instep: Finally, it sou-nds like the next few months will be busy. Your solo album is on the way and Humnava Season Two is already in development.

SK: InshaAllah. We’re already working towards the next season and it’s looking very promising. At the same time, I’m excited to finally release my own music and we’re looking forward to taking Mehfil to new audiences. Hopefully, all three journeys continue to grow from here.

“Hunza has a very progressive culture. We also spoke to people from the region and what stood out was their openness and strong sense of community. Even something as simple as a landslide becomes a community effort. People don’t wait for officials to arrive. They work together and solve the problem themselves. That spirit of collaboration is deeply rooted there. As we got to know the community, we discovered stories that reflected those values. One example appears in ‘Noor-e-Nazar’, where we incorporated the local tradition of husband and wife making roti together. It may seem simple, but it speaks to partnership and shared responsibility, values we wanted to reflect in Humnava.”

– Sherry Khattak on why Hunza became the base for

Humnava’s debut season

“I think AI is a powerful tool. The problem begins when people rely on it completely. For me, music has always been about building a relationship with listeners. Someone discovers a song, explores more of your music and eventually wants to see you perform live. That’s where a lasting

connection is made. If a song goes viral because it was generated through AI, that journey often doesn’t happen. Great performers

reinterpret their songs and create new moments that make audiences want to come back. AI is an excellent creative tool for learning, but I wouldn’t want it to replace the human side of making music.”

– Sherry Khattak on using AI tools in music