The monotony of a nonchalant Thursday afternoon was disrupted by a text from a generous pal. Ticket promoter by the day, reseller by night, our friend was looking for his mid-week bounties. A glance at his doctrine revealed popular names- Karan Aujla, Boiler Room, Diljit Dosanjh and so the list went. As the end approached, a familiar name in Aharoni font flashed: Young Stunners, sticking out like a sore thumb. Trust in my reseller friend could not overcome my skeptical bias to this anomaly. Rushing to my socials, I opened the ticketing page and was greeted warmly by this.
If Stake had an option to bet on this outcome, I would make some serious generational income.
For readers living under a rock, Young Stunners is a hip-hop duo birthed into existence by rappers Talha Anjum and Talha Yunus. Forerunners for the post of poster boys of Pakistani rap, their rich discography has helped them scale their growth, collaborating with initiatives like Coke Studio and the Pakistan Cricket League.
The level of conflict between states does not necessarily correlate with the cultural exchange between them. Having amassed a huge fan following in India, the duo fixated their eyes on a three-show India showcase, traversing Mumbai, Delhi, and Bangalore- the staple of any international tour to India. Perhaps, greater ambitions require even more competent execution. The duo may have miscalculated that love for art would triumph over the aversion some Indian citizens have for their neighboring state.
More vocal about his opinions before and since the start of the duo, Talha Anjum was not very cozy to the actions of the Indian state. A barrage of his tweets showcasing intense feelings towards the country made multiple rounds on the internet over the years, before being stumbled upon by the average citizen.
You may think to yourself “But Aayush, doesn’t every individual have the right to think for themselves”, and you may be right, you liberal punk! However, when nationalist tensions are at an all-time high and any irregularity that’s minutely against the supposed image of a perfect nation is frowned upon, intricacies like this can seldom be swept under the rug. Half-baked information, seasoned with a pinch of intolerance, topped with seemingly harmless statements blown out of proportion, makes this come across as derogatory to people not nuanced with people having their own opinions. A Twitter outrage ensued, with netizens calling for an immediate closure to the plans of the duo.
Leaving personal opinions in the bin, how could the organizing team think that the current timeline was a marvelous opportunity for Pakistani artists to perform in India? Recent skirmishes in North India have given a new opportunity to extremist individuals to pin the duo as scapegoats, looking forward to extinguishing their exasperation and insecurities using a vile modus operandi. This is the most baffling part of the entire ordeal. Did no one in the team, including the duo themselves think about the possible lapse in safety? No wonder the duo has a history of subpar management during live shows. A recent example includes their Canada tour, where they arrived hours later to perform an unsatisfactory set.
The apology from Skillbox suggests a reluctance to forego a potentially lucrative opportunity. The swift decision to remove themselves as the ticketing platform even before tickets went on sale underscores them not wanting to associate with anti-India sentiments and the negative consequences and controversy that comes with it. It’s evident that the threats and outrage they faced compelled them to withdraw their support for the event.
For you, dear reader, this may be a sorry state of affairs, but don’t make the mistake of believing that you are free from guilt. Individuals who portray selective outrage should have no say in dictating the course of action. The ones enraged over the situation never advocated for other Pakistani artists to return to touring in India. Where were you when associate groups were seeking a complete ban on Indian citizens, companies, and associations from engaging with Pakistani artists? Where were you when the ones seeking a cross-border tour were shunned? Weren’t they equally capable in their musical abilities?
No one in their right mind can deny the stature and contributions of our neighboring country to art forms. However, when political situations arise, art takes a backseat, an unfortunate yet natural course of geopolitical conflicts. While the disappointment is astounding, cross-border collaborations mustn’t cease entirely. Appreciation and acknowledgment of their artistic capabilities and achievements remain essential. Perhaps, one day in the future, there will be a time when such challenges are less daunting. Unfortunately, that time is not now.
