Someone, someday will appreciate our music: NV front man Naveed Masood

NV front man Naveed Masood on why upcoming rock band is counting on internet for success

LAHORE: “Every musician is pursuing a day job. Music is their passion, yes, but not their bread and butter.”

This was said by musician Naveed Masood, front man of rock band NV, during a conversation that proved that they may be new to the scene, but the band is fully aware of how things work in Pakistan’s music industry.

As a new-generation musician, Masood feels brands, instead of bands, are riding the wave of music in Pakistan. The ‘commissioned vs personal music’ argument is extremely pertinent these days. “Most bands that are backed by brands have stopped making their own music because that is how they make money and get recognition for their art,” he said. “I think there is nothing wrong with that. The only time it’s wrong is when people abandon their own music.”

NV comprises Masood, Azam Shahani and Asim Siddiqui, although the other two members have so far only collaborated with Masood on Anj and their unreleased single Sawera.

Anj is a rock song that the band recently released on YouTube, featuring Masood on vocals, guitar, bass, composition as well as audio/video production. Shahani rocks a guitar solo while Siddiqui takes care of the drums. Their other track, also a YouTube release, is a contemporary rock version of the Punjabi folk classic Lathey Di Chaadar.



An unusual and daring modification of the song, Masood shares it was purely fortuitous. Although it takes a while for the rendition to grow on you, the added lyrics and contemporary feel are an interesting take on the song.

The video has been shot by Masood himself which shows him working instruments as they are played in the song. Keeping costs low, he feels this method works in favour of rock bands because the performance-based approach complements the song’s energy.

Masood credits Pomplamoose, an American music duo, for the idea behind his videos. The duo was formed in the summer of 2008 and managed to sell approximately 100,000 songs online in 2009. Somewhat of an online phenomenon, they release a music video every month – recording videos themselves on low budgets. “They record the song first and then show the instrument the way it’s played rather than going for scenic shots or models and we used a similar approach,” said Masood.

However, neither Anj nor Lathey Di Chaadar was the band’s debut track. The year was 2011 when they had decided to hit the studio to record the yet-to-be-released Sawera. “That was our best song to date because it was more of a pop rock anthem with a catchy chorus. When I wrote it back in 2008, I had different influences and was greatly inspired by the great rock bands of Pakistan, particularly Noori,” he recalled.

Although, the band had the song recorded at Nescafe Basement boss Xulfi’s studio, the video they had shot was lost by the producer. “We had paid them and they didn’t give us a refund even after losing our video. That was when I realised we can’t keep investing in something that won’t give us money.”

Of that realisation, NV Studios was born. “I decided to make a onetime investment, buy the equipment and do everything myself. That is what working in Pakistan is like because those who don’t have studios have stopped making music. I have a studio and that has made things work for me otherwise it would have been extremely difficult because producing music costs a lot.”

Why didn’t the band release Sawera, the track they considered their best outing? “We want to showcase our musicality and even if it doesn’t resonate with the mass audience, someone, someday will appreciate what we’ve done with our instruments,” he said.

The internet has provided all musicians with a greater connection to audiences and the ability to share their passions with people they could have never reached before. Like its inspirations Pomplamoose and Noori, NV hopes to make it big one day, without the involvement of corporate money.



Published in The Express Tribune, June 15^th, 2016.

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