'Tu Hai Kahan': AUR and Zayn's collab lacks the oomph it aims for

KARACHI:

While a song’s virality is not always an indicator of an artist or band’s long-term success, it appears that AUR is here to stay. In an Instagram post on Wednesday, the band unveiled an exciting collaboration with global sensation Zayn Malik on a rendition of their hit song, Tu Hai Kahan. 

Upon its release, the 2023 song scored big on streaming platforms and launched AUR as a notable act within the Pakistani pop music industry. The trio’s decision to team up with none other than ex-One Direction star Zayn succeeded in building hype for an already popular song. Suffice it to say, AUR’s got the marketing part down. As for the rendition itself, it leaves a lot to be desired.

Tu Hai Kahan opens with a mix of digitally altered vocal and guitar samples, a staple in this format of music. On top of this mixture lies Zayn's falsetto vocal improvisation which leads us to the first verse of the song. While the song's intro might be a little stereotypical, it works well enough in terms of function. 

That is until we reach the verse that introduces one of the most overused programmed beats in the R&B and hip-hop industry, topped with the four chords of pop music playing in repetition over the beat throughout the song. This feature lays the foundation of an instrumental that not only just doesn't support the weight of the song, but also remains devoid of any meaningful depth. Beyond the application of a certain pop music formula with no personality, the verse rings empty. 

Much of the 4-minute 26-second runtime of the song can probably claim a single positive: the lyrics. The conversational structure and simplicity fit perfectly with the track’s overall theme and energy. In some instances, the melody and rhythmic breakdown bar the syllables from resting smoothly on top of the beat, leaving little room for the vocals to articulate the song’s lyrical. 

Additionally, the song’s production choices beg some hard questions. Zayn's vocal contributions stand out but are marked by an assertive use of pitch correction that, unfortunately, lacks the subtlety and refinement expected even in over-produced tracks. It is very hard to argue or appreciate what kind of vocal prowess lies beneath the thick blankets of post-production tricks, reducing the singer’s appearance on the track to a marketing tactic.

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