Coke Studio - Pakistan

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Piya Piya Calling​

Coke Studio Pakistan ..... S15​

Karpe | Kaifi Khalil | Amanda Delara | Quick Style​

 

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@Abubakarawan1122​

4 hours ago
Urdu, Norwegian, English, Arabic,Persian, Baluchi, Gujrati.

@usamatalkin​

4 hours ago
Norwegian, Farsi, Gujrati, Arabic, English, Urdu and Balochi...in one song! that's a collaboration in true sense!

@mirhazahidsheikh9719​

5 hours ago
The fact that there are international singers all the way from norway makes it hundread times more special and majestical

 

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[RealNapster]

Well this is not a Coke Studio song, but really liked it.



@Signalian , @Dalit ,

 

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Mehmaan | Coke Studio Pakistan ....... Season 15​

Nizam Torwali x Zeb Bangash x Noorima Rehan​

 

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Coke Studio Pakistan launches Nu.WAV as a new space for creative experimentation​

New platform brings together musicians, filmmakers and visual artists to explore independent sounds, ideas and stories

Life And Style Desk
August 23, 2026

Coke_studio/Instagram

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Coke Studio Pakistan has announced the launch of Nu.WAV, a new music platform designed to give artists, producers and storytellers greater creative freedom while building communities around their work. The platform was unveiled on Coke Studio Pakistan’s Instagram, with the project created by award-winning filmmaker and director Kamal Khan.

Unlike the traditional Coke Studio format, Nu.WAV aims to bring together talent from music, design, visual storytelling and film, creating space for creators to experiment with independent sounds, ideas and forms of expression.

Describing itself as the “sound of the people”, Nu.WAV is positioned as a platform where artists can develop their own creative worlds rather than work within the established Coke Studio format.

 

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Nu.WAV’s inaugural edition is expected to feature six songs — Maheya, Dil, Rangeen, Qasam, Shabnam and Ae Deewan-e-Dil — with each track offering a different perspective on Pakistani identity and creative ambition.

At the listening party, Coke Studio brought together a diverse lineup of artists, including Asim Azhar, Hasan Raheem, Young Stunners, Shae Gill, Maanu, Rovalio, Ali Soomro, Zoha Waseem and Abdullah Kasumbi, among others.

The gathering also reflected the platform’s wider focus on collaboration across Pakistan’s creative industries.

 

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Rather than imposing a single creative direction on the artists, the platform aims to give them the freedom to shape their own work and define the worlds surrounding their music.

“My job was to bring the right people into the room, let them do what they do, and then get out of the way. Each song has its own world because each artist does,” he added.

With Nu.WAV, Coke Studio Pakistan appears to be expanding its role beyond a single music series and creating a broader space for the country’s creative community to experiment, collaborate and tell stories on its own terms.

The platform’s first edition could mark a shift towards a more open-ended approach to how Pakistani music and visual culture are presented.

 

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Atif Aslam says ‘magic’ sets Coke Studio Pakistan apart from Indian version​

Singer also weighs in on AI’s role in music, saying it could replicate singing but not personal nature of composition

Life And Style Desk
September 02, 2026

Photo: Atif Aslam /Instagram

Atif Aslam has once again drawn a distinction between Coke Studio Pakistan and Coke Studio Bharat, saying the Pakistani version has a certain “jaadoo” (magic) that its Indian counterpart lacks.

The singer made the comments during a recent interview with Mirchi UAE, where he discussed the differences between the two versions of the music franchise as well as the possibility of AI one day replacing artists.

Asked what sets Coke Studio Pakistan apart from Coke Studio Bharat, he said the compositions on both sides were strong, but argued that the rawness he associated with Pakistani music was missing from the Indian version.

According to Aslam, Coke Studio Bharat leans more heavily towards commercialism, while the Pakistani show places greater emphasis on original compositions.

He described the process in Pakistan as almost a “do-or-die situation” for the small group of people working on a composition, while still allowing room for “personal flair.”