‘Zalmi Yama’: Peshawar Zalmi’s latest anthem is a feisty merger of electronic and folk

PZ’s cricket song for PSL 9 continues the team’s tradition of dropping bangers

Peshawar Zalmi's latest anthem, Zalmi Yama introduces a captivating regional flair to the global landscape of cricket. Following a somewhat lacklustre anthem for the ninth edition of the Pakistan Super League, Peshawar Zalmi has unveiled a refined approach to sports anthems, infused with traditional Pashtun folk elements.

The Pakistan Super League extends beyond cricket, embodying a representation of diverse sports. Therefore, team anthems must successfully encapsulate regional, national, and international dimensions. In this evaluative framework, the new Zalmi anthem triumphs.

Abdullah Siddiqui, Nehaal and Zahoor collaborate on the track complimented by an energetic music video, which allows every singer to shine on the screen. Actor Hania Amir busts some well-choreographed moves that muster a young enthusiasm for cricket and music.

The composition commences with a fusion of synths and rubab, creating an ambiance reminiscent of a cricket stadium enveloped in reverb. From the outset, the track wholeheartedly embraces its identity as the anthem for Peshawar Zalmi. The initial Urdu verse imparts a sense of national unity and belonging to a larger sociopolitical entity. Following a richly layered chorus, the song seamlessly transitions into a Pashto section, embracing the regional aesthetic hinted at in the track's introduction.

A notable paradigm shift within the song occurs with the segue into Siddiqui's English vocals. This choice in particular not only nods at the international players in Zalmi but also signals the sense of modernity associated with the T20 format, a format that took away the classic British feel from cricket and introduced a more contemporary audio-visual aesthetic to the sport.

The inherent challenge of a sports anthem lies in balancing functionality. However, the Peshawar Zalmi anthem marks a significant advancement. Stray too far from the stadium aesthetic, and the essence is lost; abandon experimentation altogether, and the appeal dwindles. Yet, with the Zalmi song, there seems to be a commendable equilibrium between the two, a lesson that the PCB could glean from this noteworthy development.

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