New voices are reshaping Pakistani drama OSTs today

For more than a decade, Pakistani drama soundtracks were largely defined by a familiar group of singers. Their voices became closely associated with television romances, emotional family stories and dramatic finales. But in recent years, a noticeable change has emerged. Since around 2019, a new generation of artists has begun bringing different sounds, styles and creative approaches to Pakistani drama OSTs.

Among the artists making the biggest impact are AUR, Yashal Shahid, Samar Jafri, Saad Sultan and Natasha Baig. While their musical styles are very different, they share one thing: each has helped push the traditional drama soundtrack beyond its usual boundaries.

AUR

AUR offered one of the clearest departures from the conventional Pakistani OST formula with “Chal Diye Tum Kahan,” the title track of Kabhi Main Kabhi Tum. Performed by Ahad Khan and Usama Ali, with production by Raffey Anwar, the song embraced a modern, atmospheric and lo-fi sound.

Rather than relying on the familiar orchestral arrangements often heard in television soundtracks, the track connected with a younger, digitally driven audience. Its emotional simplicity and contemporary production helped turn it into one of the most memorable drama songs of recent years.

Although “Chal Diye Tum Kahan” remains AUR’s only drama OST so far, the duo has already established a strong identity through songs such as “Tu Hai Kahan,” “Shikayat” and their 2025 EP Par Ab Jo Aayegi Tu.

Yashal Shahid

Yashal Shahid has developed into one of the most recognisable newer voices in Pakistani television music. Her journey began when a singing video recorded during her university years attracted the attention of Ali Zafar, eventually leading to studio work and her first drama OST, Bharaas.

Her emotional vocal style later became particularly noticeable through the OST of Iqtidar, which gained widespread popularity during the drama’s 2025 run. Her voice also featured in “Akhiyan” for Main Manto Nahi Hoon, adding a haunting quality to the soundtrack.

She was also heard on “Tere Bin,” the OST of Hum Kahan Kay Sachay Thay. Across these projects, Shahid has established a style that is deeply emotional, restrained and particularly effective for stories centred on heartbreak and complicated relationships.

Samar Jafri

Samar Jafri represents a different kind of emerging musical presence. Known as an actor, singer and composer, he has been able to connect his music closely with his performances.

His tracks “Main Rahun” for Parwarish and “Guzaarishein,” a collaboration with Alistair Alvin, showcase his warm and slightly raw vocal quality. His musical journey, however, began before his recent rise as an actor. His 2023 OST for Mayi Ri also attracted significant attention.

Because Jafri writes, composes and performs his own material, his music carries a distinctive personal quality. His involvement across multiple creative roles gives his OSTs a sense of authenticity that sets him apart.

Saad Sultan

Saad Sultan may not be new to the Pakistani music industry, but he has recently become more visible as a performer. Having worked behind the scenes on OSTs for projects including Dhaani and Mera Naam Yousuf Hai, Sultan spent years contributing primarily as a composer.

That changed with “Main Woh Toh Nahin,” his OST for Main Manto Nahi Hoon, which featured his vocals alongside Aima Baig. The stripped-down and personal character of the song helped bring greater attention to Sultan as a singer.

He also co-composed “Khaada Aye” for Sher, performed by Shahid Amin, demonstrating his versatility beyond his own work.

Natasha Baig

Natasha Baig brings perhaps the most genre-diverse approach to Pakistani OSTs. With experience in Sufi rock, folk and playback singing, she has spent years developing a sound that refuses to fit neatly into one category.

Her work on “Banjarapun,” the OST for Jinn Ki Shadi Unki Shadi, demonstrated that versatility. The song needed to create an eerie atmosphere without becoming overly theatrical, and Baig’s distinctive voice gave it an unusual character.

Her earlier work shows an equally broad range. Her 2019 OST for Khaas, “Woh Jo Tha Bahut Hi Khaas,” was tender and romantic, while her work on Adawat with Adnan Dhool explored another musical direction.

Together, these artists reflect a broader transformation in Pakistani television music. The new generation is not replacing one established formula with another. Instead, they are making OSTs more diverse, experimental and personal. From AUR’s modern sound to Baig’s genre-blending approach and Jafri’s multi-talented artistry, Pakistani drama soundtracks are becoming less predictable—and audiences appear increasingly ready for that change.