Zeb Bangash is a voice that not only becomes the heartbeat of the listener but also has the power to awaken centuries-old traditions in new colors. From the radiant lights of live shows to the recording studios of Bollywood – wherever melody, softness, and sincerity joined hands, one name echoed time and again: Zebunnisa Bangash.

Born in Kohat and carrying within her the musical heritage of Khyber Pakhtunkhwa, this artist stepped into the global spotlight with her cousin Haniya Aslam through their duo, “Zeb & Haniya.” Their 2008 album Chup! introduced a simplicity and depth that remains the signature of Zeb’s artistry to this day.

Then came the moment when Zeb Bangash became the first Pakistani artist to work as a music director for a Bollywood film – Lipstick Under My Burkha. The film went on to win 18 international awards, taking her name to new global heights.

Urdu, Pashto, Punjabi, Persian, Turkish, Saraiki – Zeb’s voice does not merely sing languages; it carries entire cultures within it and delivers them to listeners. Whether it’s Bibi Sanam Janam, Chal Diye, Tann Dolay, the Kashmiri classic Roshe, or the soul-touching melodies of Diyar-e-Dil, Ho Mann Jahaan, Manto, and Parvaaz Hai Junoon – she created a world of her own every time.

Despite performing at festivals and concerts across the world, Zeb’s nature still holds the same gentleness, simplicity, and sincerity that are the true beauty of her voice. Perhaps that is why her admirers aren’t only in Pakistan, but also in India, the Middle East, Europe, the US, and every corner of Asia. Music is not just her profession – she breathes through it.

Even after her marriage in 2017, her bond with music remains the same – rooted in truth, tied to tradition, and always moving forward in search of new journeys.

These days, Zeb Bangash is playing a significant role as a judge on Pakistan’s biggest music show, “Pakistan Idol,” where she is striving to discover the finest voices of the country. Recently, during an exclusive Q&A session on the grand platform of Pakistan Idol, Zeb opened up about her art, her journey, her passion, her family, her experiences, and her memories from the colorful path of music – all of which we present here for our readers.

Q. What do you feel being a judge on Pakistan Idol?
A: To be honest, I was always reluctant to take on the role of a judge. I’ve always seen myself as someone who wants to keep learning, and I never felt particularly driven to impose my opinions on others. My focus has always been my own artistic growth and curiosity. So when the offer came, it took me some time to come on board.

But once I stepped into the role, I reframed it for myself. I don’t see myself as a “judge” in the conventional sense; I see myself as an artist sharing experiences that may be useful to others. Music is such a subjective and deeply personal art form, so my aim is never to pass judgment, but to offer constructive feedback that might help contestants grow. When I look at it this way, I feel much more comfortable and fulfilled in the role.

Q. How was your experience on Idol?
A: My experience has far exceeded expectations. I initially had reservations about how things would unfold, but I always believed Pakistan had a wealth of strong, rooted and technically gifted voices – perhaps more than many people realize. Even then, I was surprised by how many exceptional singers emerged, especially from the younger generation. For instance, someone like Manam, at just 19, is singing with a maturity and finesse that surpasses many seasoned performers.

What I love most about Pakistan Idol is that it brings music to the forefront in a way that feels broad, participatory, and truly connected to people’s aspirations. It doesn’t feel niche or exclusive. It feels democratic. Being able to witness this energy and be part of it has been remarkable.

Q. How do you see Pakistani talent?
A: I struggle with the word “talent” because it oversimplifies what creative expression actually requires. Singing – any creative art – demands intelligence, hard work, skill, and a unique perspective. What we really have in Pakistan is a powerful creative expression shaped by centuries of deep cultural and musical history.

Ironically, the lack of a hyper-commercial film or music industry has given Pakistani music a kind of originality and authenticity that stands out in today’s commercialized global landscape. Artists here continue to create out of genuine passion rather than guaranteed financial success. That sincerity shows in our voices, compositions, and overall sound. I hope we never lose that edge.

Q. How do you feel about young people singing without formal training?
A: It depends entirely on how they sing. Formal training is not a requirement if someone sings well. But it’s also true that many of our traditional forms are extremely complex and difficult to master without proper guidance.

I myself only pursued serious training after already becoming a pop artist, because I wanted to expand my range and ambitions. So if someone can master these styles without formal training, I applaud them – but training undeniably deepens one’s craft.

Q. Do boys have more talent or girls?
A: I don’t believe talent – or any creative capacity – can be divided by gender. Women and men are equally gifted. What often differs is opportunity and confidence. I was pleasantly surprised to see how many young women are quietly learning – whether within musical families, through cousins, or even independently online.

Many of the female contestants are vocally powerful and well-trained. When given equal opportunities, both boys and girls excel equally.

Q. Why is there no major platform for music training in Pakistan?
A: Our musical tradition is primarily oral and built on the Ustad–Shagird (master–student) relationship. This cannot simply be replicated through institutional platforms unless those platforms are built to genuinely support and empower the masters themselves.

Over the past two decades, commercial involvement in music has increased significantly. Excellence requires long-term mentorship, stability, and respect for tradition.

Until we create systems that recognize and reward excellence – not just commercial success – it will remain difficult to sustain meaningful training platforms. Even after 15 years in the industry, I cannot predict what will become popular, which shows how unpredictable and mercurial the system is. Strengthening our traditions and uplifting our masters is the only way to truly nurture the next generation.

Q. Do these young people need more learning?
A: I believe everyone needs more learning – myself included. Growth in the arts comes from curiosity and desire. Some people want to keep learning, while others focus more on performance and visibility.

Yet many contestants – like Ravish, Manam, Hassan, and others – are doing a beautiful job balancing both worlds: they are active on social media but also deeply committed to learning and refining their craft.

People often say they are “God-gifted,” but I believe the real divine gift is the opportunity to learn and the blessing of a good teacher. That is what allows an artist to truly understand their instrument and express themselves fully.

Q. Can their talent improve through proper music education?
A: I’m not even sure what “proper” education means anymore, but learning – of any kind – always helps. Training expands vocabulary, technique, and expressive range. The more an artist learns, the richer and more nuanced their creative reservoir becomes.

And it’s not just musical education. Being curious about life, literature, other art forms, and different ideas also strengthens one’s artistic voice. Multidisciplinary learning has always been part of our tradition, and it remains essential today.

Q. Would you like to teach these kids?
A: No, I’m not interested in becoming a teacher. I’m happy to share my experiences as a fellow artist, but I don’t see myself as an Ustad. I’m a working musician and, most importantly, still a student myself – one who continues to learn and evolve.

In creative fields, age is irrelevant; what matters is the depth and development of one’s expression. Someone younger than me may be far more developed musically and therefore someone I learn from, and vice versa. I’m more interested in creating spaces where learning can take place rather than leading that learning myself.

Q. Can you share any special or interesting incident?
A: Rather than a single incident, what has stood out for me is observing the psychological journey of the contestants. I’m learning how crucial self-belief and emotional resilience are for artists.

Some singers hold back out of fear, while others overcorrect themselves for the same reason. Those who understand their own voices, who remain open to learning but stay true to themselves, are the ones who ultimately shine.

Watching these young artists navigate their fears, strengths, and individuality has been deeply inspiring. It has also prompted me to reflect on my own artistic practice.

Q. What did you feel was missing in these kids?
I don’t see them as “kids.” They are artists – some of them exceptionally developed. Our terminology around “talent” and “young artists” often comes from commercial frameworks, not artistic ones.

No one is perfect; every artist, including myself, has room to grow. What I feel many contestants need most is a deeper understanding of their own voices. Because training opportunities are limited, many have not yet fully discovered their authentic sound.

Exposure is another area where more could help. Some contestants have remarkable musical intelligence and curiosity, but their listening experience is limited. With more exposure, they may discover new pathways for their voices – if they choose to pursue them.

But each of them has something unique. Every contestant has an X-factor, something special that is entirely their own.