Overloaded and overwhelmed

Music holds no boundaries and knows no limitations. Never before perhaps has this phrase been so aptly personified than during last month’s Overload performance in Karachi. Echoing the band’s message to its listeners and music enthusiasts all around, it was an aristocratic blend of age, instruments and ideas delivered proficiently in an hour-long performance that stunned, and overwhelmed, one and all.

After waiting patiently for over two hours backstage for our renowned late arrivers to grace the auditorium with their presence, Overload set the tone for a classy evening to follow with an entrance that sent chills down everyone’s spines as well as reminding the band of what was expected from them in the performance. The applause with each set of lights switched on, coinciding with each band member’s arrival onto stage, further emphasised that this uncanny combination of western music with dhols has become a true sensation.

Overload comprises of Farhad Humayun (drums), Sheraz Siddiq (keyboards), Hassan Mohyeddin (hand percussions), Zulfikar Ali aka Pappoo Saeen (dhol) and Manzoor Hussain aka Joora Saeen (rhythm dhol). Specialising in delivering tracks with no vocals, the idea of incorporating Pappoo Saeen into the band came over three years ago when Farhad saw him play in London. Since then, Overload has recorded one album (featuring Shafqat Amanat Ali’s voice on one of the tracks) and is planning to include a few more vocals in their upcoming album.

When asked to describe Overload, the term “collaborative project” summed up the effort nicely. It’s not every day that the twinkle of a keyboard is witnessed so vividly amidst all the drum-bashing and dhol-dashing. Sheraz stood a solemn figure in the corner with a watchful eye over the rest of the band right from the moment he ascended his rather-high podium with Joora Saeen, dressed up in a maroon kurta with golden scribbles, placed in front of him somewhat too close to the liquid nitrogen smoke nozzle. Farhad, with his dazzling drum kit and a performance that outshone even the best of drummers in the country, cast a majestic figure situated on a colossus-like rostrum with the rest of the band in his “wings”. Hassan, with a collection of instruments ranging from Egyptian drums and conga to chimes at his disposal, seated himself down neatly testing everything and eager to get on with.

The loudest applause, however, was reserved for Pappoo Saeen who is regarded as the greatest dhol player in the world by a fair few. Witnessing him live on stage, he not only lived up to the tag but came flashing out as one of the best live performers and entertainers. Carrying the huge dhol and playing non-stop for an hour is no mean feat. However, doing all that while gyrating in a mere 15-inch circumference at an ever-increasing pace (while playing the dhol) was truly the most captivating moment of the evening. Perhaps the reason why he is an idol-figure in Japan, UAE, Sri Lanka and Germany as well as the shrine of Baba Shah Jamal in our very own Lahore where he has been playing every week for the last 20 years.

The event attracted ardent followers of music from a varied age-range. While some had merely attended to catch a glimpse of Pappoo Saeen in action, the majority had been left perplexed beforehand at how drums and keyboards can acquiesce so fittingly with dhols and congas. All questions, and suspicions, duly answered. It was Overload’s first proper performance in Karachi (previous ones were termed private and corporate affairs) albeit an invite-only one and makes one wonder how long before Karachites, would be able to give Overload the standing ovation it received, and fully deserved, that evening. According to Farhad, not long.

© Faras Ghani 2007-2008. Published in Herald 2006