Less than two weeks after Diljit Dosanjh sold out Wembley Stadium, Panjabi prestige continued to shine across London. Fresh off the release of her latest album ‘PARINDA’, Rashmeet commanded the venue with her genre-ranging ability, and her undeniable (k)aura. The room was filled with a diverse mix of ages. From classics to contemporary, film soundtracks to genre experimentation, everyone had their own reason for being there. That intergenerational connection to the music was apparent throughout the show.
Words by Rohan Minhas
Photos by Isha Shah
Special thanks to Odeto & Indie Khoj
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Amrit Kaur opened the night and captivated the entire room instantly. Her set was dedicated, a powerful celebration of Panjabi women, focusing not only on their generational trauma, but the generational strength passed down. ‘Ajj Aakhaan Waris Shah Nu’, Pritam's devastating poem about women during Partition, was delivered with warmth and control. The kind of performance that made the room stop and listen. I’ve truly never witnessed vocals being held for that long.
‘Paradise Lost’ followed, an original song, in honour of personal grief. Amrit reached high notes that put Minnie Riperton's famous whistle register to shame. ‘Madhaniyan’, a song about entering a new phase of life, continued the emotional journey. Its message of acceptance felt particularly powerful here. She closed with Sam Cooke's ‘A Change Is Gonna Come’. A set already laced with history and politics, the choice felt fitting. As the audience joined in with the chorus, there was a feeling of pride that had grown even further (If that was even possible).
Rashmeet’s entrance came soon after. The opening was funky, loud and immediate. Saxophone and guitar solos, dancing and gratitude. Her signature vocals screamed, setting the expectation for what was to come. ‘Bholay’, ‘Bajre Da Sitta’ and ‘Challa’ truly brought everyone into the show. Each distinct and widely recognisable, yet Rashmeet's approaches gave these songs another life. Through the covers, she acknowledged the inspirations who came before her, creating a bridge between the traditions that shaped Panjabi folk and the contemporary sound she has built her career around. The latter two songs being staples in Panjabi music truly had the crowd pumped and on cloud 9. That bridge became even clearer with ‘Tere Bin Nahin Lagda’. Reimagined for the stage, the old-school classic healed something in all of us that we didn’t know needed healing. It was refreshing to be at a gig where an entire room was singing a song so impactful both culturally and personally. The song also features in ‘Bend it like Beckham’. Much like the film, this night served as such strong showcase of the power and talent of Panjabi women, especially in creative spaces.
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‘Kahaan’ and ‘Udd Jana’ slowed things down, continuing the softer stretch. Her vocals received huge cheers. A line I could honestly write about every track. ‘Limitless Pyar’, illustrated Rashmeet's range once again. Hearing the flow of a flawless rap verse, when only a few songs prior, we were singing to Qawali. A vast range which is unmatched within the industry. ‘Buhe Bariyan’ slowed the pace again before a fan favourite ‘Ishq Nachaawe’ create the action-movie feel of music. ‘Janiye’ followed, another reimagining that highlighted her creativity and artistry. The repeated ‘janiye’ became a fun, collective moment.
The undeniable best and defining moment of the night then occurred. For the first time, Rashmeet brought her mother onto the stage. Together they sang traditional Panjabi songs. ‘Mawan Te Dhiyan Ral’ and ‘Das Main Ki Pyar Vichon’ paid tribute to female voices, whilst also becoming something much more personal. Heartfelt songs took on another dimension. Seeing the band take a back seat, watching from the sides in awe was a beautiful sight. Allowing the two of them to share the stage together created something that felt sacred. The applause afterwards said everything.
Rashmeet’s genre range is too wide to let the room stay emotional for too long. ‘Haye Ri Duniya’ was sang with angst, with its funky saxophone and rap changing the tone once again. The live arrangement almost felt like an entirely different song. Unrecognisable in the greatest way. One of her most viral and pivotal, ‘Faqeeran’ was another major moment. It was clear from the opening that the crowd knew exactly what was coming. They knew exactly when the middle rap was coming. The flute once again shone, and the band, all dressed in Faqeeran merch, successfully made the song feel bigger.
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‘Parinda’ played, but not quite as we know it. Once again, it was inspiring to see not only traditional music being reimagined, but her own songs too. Reworked to feel less action-filmy, and more like I’d stumbled into a jazz bar. The ability to completely rethink her own music in a live setting in such a way. Incredible. Then came the Bhangra section. The iconic ‘Jugni’ was the perfect starting point. The original’s composition contains a wealth of instrumentation. The band perfectly showcased this. ‘Nadiyon Paar’ followed and the crowd were more than ready to ‘let the music play’. ‘Dhol Jageero Da’ arrived, and everyone went wild. The demographic of the crowd didn't matter. Everyone was dancing together. It was the perfect penultimate song. The room was completely hyped, the band were firing on all cylinders, and the energy was at an all-time high.
‘Jogi Naal’ closed the night, creating a cyclical ending by returning to the first song of her latest album. After spending the evening moving between folk, movie influences, rap, and Bhangra, ending with a stripped-back feeling felt perfect. It also allowed both us and her to slightly rest from the Bhangra that just occurred. The night was never about choosing between tradition and modernity. It showed that they can co-exist. A gig dedicated and celebrating both Panjab and women. Old school songs didn’t simply act as nostalgia. They acted as a performance of evolving culture. There was heritage and experimentation. Folk and funk. Mother and daughter.
Whether it’s Hyphen or Joy Crookes, I’m always inspired and feel represented when attending gigs by those from the diaspora. However, as a British-Panjabi, I felt a level of pridefulness I cannot begin to explain or write about. Not a line you want to read in a review I know. Being a creative Panjabi, I’m fortunate to be part of a generation where styles that didn’t feel like they ‘belonged’ in these spaces thrive, and, more importantly, inspire. No matter how much I surround myself with this in the modern day, to witness it in London venues like these, is a feeling that will never get old.
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