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Local Groove Does Good: The Story Of Trip-Hop's Rise From Bristol

Vivien Goldman

indian trip hop music

The Wild Bunch — soon-to-be Massive Attack — at the Dug Out Club in Bristol. Photo by Beezer hide caption

The Wild Bunch — soon-to-be Massive Attack — at the Dug Out Club in Bristol.

Sinuous and mysterious as a plume of drifting smoke, a new sort of groove wafted two decades ago from Bristol, a bohemian university town in the west of England. Though its prime movers — Massive Attack , Tricky and Portishead — all loathe the term, the word "trip-hop" has become synonymous with the style created by Bristol bands like Massive Attack and Smith & Mighty. The sensuous groove fulfilled a timeless human need for a bass-heavy sound to touch the secret recesses of the imagination and lure our dreamworld onto the dance floor. Trip-hop was tailor-made for the moment — and it happens every night — when a bopper wants to get tender. Or when domestic listeners seek to wander within themselves.

Not all local grooves take flight, but trip-hop most certainly did. Over the next two decades it was re-imagined as chill-out, downtempo, illbient and lounge music. Its subtle tendrils have woven into music round the world: Washington, D.C.'s Thievery Corporation , with their exotic cosmopolitan edge; drifty Brazilian sounds like Ceu , whose dulcet lilt earned her maximum market penetration (a Starbucks CD); London's Ninja Tunes' artists like Bonobo and Berlin's techno-tinged Sonar Kollektiv. As music writer Simon Reynolds notes, "People like Flying Lotus and Gonjasufi on the West Coast are doing trippy hip-hop. Though it's not quite the same thing, they probably are the inheritors of the spirit of Massive Attack, Tricky, Earthling and DJ Vadim."

To qualify as true trip-hop, music has to share the sense of opiated mystery of Tricky's tantalizing mumbles on the classic album, 20 years old last year, that launched trip-hop worldwide, Massive Attack's Blue Lines. Its magical " Unfinished Sympathy ," cast a spell over the world's clubbers. Produced by Nellee Hooper (later of Soul II Soul and Bjork , among many others) the well-timed sound was just one manifestation of a movement taking place in Bristol at that time.

Scene initiators included Smith & Mighty and the DJ collective The Wild Bunch, from which came Massive Attack and Tricky. The Pop Group's volatile post-punk added another element to the scene, later splitting into the savage free explorations of Float Up C.P. and horn-happy Pigbag.

Bristol fed off its slave port for hundreds of years; now it's one of Britain's blackest cities, culturally and socially. It's long been home to a West Indian community, and shebeens and sound systems were a way of life for all music-loving Bristolian youth. Being a port, Bristol was always awash in hashish and other plant-based mind-benders like marijuana — not to mention more macrobiotically sound, locally-grown life-enhancers like scrumpy cider and hallucinogenic mushrooms (legal back then) grown in the surrounding countryside — that undoubtedly fuelled Bristol's music scene.

Much of this musical experimentation took place at a club called The Dug Out. As Hooper has said, "The Dug Out couldn't have had a better location, at the top of the hill from St Paul's — the heart of the black music scene — and just down the hill from Clifton and the trendy punk/art scene. It was just dangerous enough for trendies to feel edgy, music cool and edgy enough to confuse and enthuse the dreads ... perfect!"

Disclosure: I got a chance to explore Massive Attack's creative process first hand over a few years. What follows is a typically incestous Bristolian saga. The links between town and gown — the students and the locals — plus the charming city's many liberal artsy types, made for a scene with a hectic social, creative and romantic dynamic.

Blue Lines was born in an upstairs bedroom of the terraced West London home of Afro-Swedish hip-hop diva Neneh Cherry and her producer husband, singer Cameron McVey. Before her solo hits began with " Buffalo Stance ," Neneh sang with Float Up C.P., and as her first husband was Bruce Smith (drummer for the Pop Group and The Slits, with whom Neneh also sang), Bristol was yet another home to her. The young Massive Attackers, Daddy G, 3-D, Mushroom and Tricky, became Cherry and McVey's protegés. They took over the small side bedroom, soon cluttered with reel-to-reels and tape machines, and a record deck on which they would earnestly sift through possible samples. A superb chef, my friend Neneh would be in the kitchen concocting feasts in between writing rhymes, with Massive Attack wandering in for cups of tea.

Years later, after the band had released Blue Lines and were preparing the album that became Protection , I visited Bristol to collaborate with them, eventually co-writing the track " Sly ." Sample-based songwriting in those pre-digital days could be laborious. I bought a child's Casio keyboard to help fill the gaps, which came in handy for "Sly," but the process often involved someone getting on their bike and cycling down to the second-hand record shop to try and locate half-remembered grooves that might be just right to fulfill the elusive conception of a song.

Bring back the bike, because the tunes the Massives assembled by hand, between cups of tea, opened a poetic, evocative, emotional vein of music, which is still connecting hearts today.

10 Key Trip-Hop Tracks

Neneh cherry on "lately" by massive attack.

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From 'Blue Lines'

By Massive Attack

Sonically, it's the ultimate trip-hop track, really beautiful. When they were working on it in our house in Mortimer Road, West London, I remember lying in bed hearing it floating round the house and the feeling of being a silent witness to something really great happening. It would send me off into a beautiful dream space sleep. What I love about trip-hop is the bottom end, the sexiness of the downbeat which also gives it a blues-y sort of melancholy. It's the English interpretation of hip-hop, bringing the bass and bottom end from reggae into it. Why Bristol? All the people I know from there are hardcore individuals. It breeds some eccentric thinkers.

Singer-songwriter NENEH CHERRY is an anchor of the Bristol scene. She sang with The Slits, Float Up C.P. and is now with the band CirKus. She is working on two new albums.

Ray Mighty on "Anyone" by Smith & Mighty

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From 'DJ-Kicks'

By Smith & Mighty

To hell with false modesty!

RAY MIGHTY is half of the production duo Smith & Mighty.

Rob Smith on "King Tubby Meets the Rockers Uptown" by Augustus Pablo

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From 'King Tubbys Meets Rockers Uptown'

By Augustus Pablo/King Tubby

To be very honest, we all hated the term 'trip-hop'! The phrase was coined, I believe, by a non-Bristolian journalist, Dom Phillips, who in my mind was very underqualified to be making any opinions about the scene at that time. I remember we played with Tricky at Hammersmith. During Tricky's set, he shouted, "Who likes trip-hop?" A few people in the audience shouted, "Yaee!" and he replied, "Well f--- off home then!"

Bristol artists were not afraid to mix and blend styles, thus coming up with fresh sounding tunes. Also Bristol is far enough away from London that there wasn't the same need to compete or chase trends. Bristol had its own pace and tunes were often left to stew longer.

ROB SMITH is half of the production duo Smith & Mighty.

Mark Stewart on "Aftermath" by Tricky

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From 'Aftermath EP'

His first single. I made it with him and Martina Topley-Bird. We were desperate for a girl singer. 8 o'clock in the morning, stopped at some traffic lights on the way to the studio. Two school girls in their uniform at a bus stop — me and Tricky shouted across saying, "Can either of you sing?" Martina said yes, and two stars were born: Tricky and her.

The Wild Bunch (as well as 3D, Daddy G, DJ Milo, Willie Wee and Tricky Kid) — my boys. They call me The Godfather, but in fact some of them are older than me, I just started making music when I was 16.

Big up the mad skillz of generation next Bristol bass of Appleblim, Kahn and Joker dropping science — the new kids from Bristol.

MARK STEWART is the singer for The Pop Group and Mark & the Mafia. His new album, The Politics of Envy , will be released in March and includes collaborations with Primal Scream and others.

Bruce Smith on "Glory Box" by Portishead

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From 'Mysterious Heads'

By Portishead

"Glory Box" is a GREAT record, very sexy. I associate that track with sex. And Tricky's first album is very good, very creative. I think the genre is interesting as it is a particularly English take on a North American cultural phenomenon. In Bristol the West Indian influence is huge, so the interpretation of hip-hop — an aggressive music — was made from that perspective, with the influence of dub being the key element.

I spent my late teens absorbed by reggae in Bristol. Had an enormous effect on me and still does in the way I play the drums to this day.

BRUCE SMITH is the drummer for The Slits, The Pop Group and Public Image Limited.

Dick O'Dell on "Karmacoma" by Massive Attack

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From 'Protection'

Trip-hop happened in Bristol because of the strong West Indian community from slave trade times combined with middle class white boyz getting seriously spliffed up in the Dug Out!

DICK O'DELL was the manager of The Pop Group and now manages Bat for Lashes.

Cameron McVey on "Any Love" by Massive Attack

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From 'Singles 90/98'

It was the very first Massive Attack 45, before me and Neneh started working with them. Smith & Mighty produced it, who I was trying to work with at the time, with Chris Parry, the manager of The Cure. I love Portishead too, and I'd also like to pick Horace Andy's "One Love," with Massive Attack .

Trip-hop was born in Bristol because a lot of 6' 5" Masai warriors must have jumped ship during the slave trade! That's why Bristol has street names like Black Boy Hill and White Lady Road. Bristol is where reggae mixed with hip-hop. It's mad. It's so profound.

CAMERON MCVEY is a singer, songwriter and producer for Neneh Cherry, CirKus and more.

Beezer on "Small World" by Smith & Mighty

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From 'Big World, Small World'

The Dug Out was a meeting spot for the ghetto and Poshville where black and white would hang out. We were there almost every night, playing disco, funk and punk. It was our Studio 54, and it put Bristol on the map. We were totally into dub and reggae; it was an amalgamation of cultures with no barriers.

We didn't know we were part of something that would be influential later, but even at the time it felt like something special was going on, although it was still just, like, going out on a regular Wednesday night.

BEEZER is a photographer who chronicled trip-hop in the mid-'90s.

Tessa Pollitt on "Unfinished Sympathy" by Massive Attack

I choose everything dear ol' Tricky has put out. The Slits were often in Bristol and I have always loved and respected the "Brizzle" scene. So much innovative music and talent has come from there and has influenced following generations musically.

Let's face it, reggae from Jamaica has influenced us all in the U.K. from old steppers to jungle, drum and bass, dubstep, trip-hop, grime etc. The original rapper was U Roy, [J.A].

But Bristol has something special about it. Must be the Ley Lines (lines of energy running beneath the earth) and the huge hills you have to climb like in San Francisco. And probably the amount of Jamaicans that came here way back in the windrush era, 1950s.

TESSA POLLITT is bass player for The Slits.

Martina Topley-Bird on "Aftermath" by Tricky

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From 'Maxinquaye'

It's the only Tricky song I recognize as a trip-hop song (still hard to write those words even now), and it was our first single. Mark Stewart was there. I'd just turned 16. Recorded in a squat studio in Bristol.

I arrived in Bristol when I was 13. I like that Bristol is really mixed racially, more so than anywhere else in England, even London, for me at the time. It was smaller and there were no great swathes of land for people to be segregated to.

I think how it's laid out as a city has its own effect on the psyche of its dwellers — and the weather. Back then it was England before shops were open on Sundays. Some parts were melancholy, and some parts were bleak. But the suspension bridge was beautiful and the gorge. It has history as a slaving port too.

It was the generation before me that started making this music though. I heard more than I saw with my own eyes about Blues dances and Sound Systems.

MARTINA TOPLEY-BIRD is a vocalist with Tricky and Massive Attack. She's working on new material now.

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Best Trip Hop Songs of 2023 - New Trip Hop Songs

List of the best new 100 trip hop songs released in 2023, ranked by relevance to this genre and popularity on Spotify. See also trip hop overview. This list is updated weekly


Boozoo Bajou


Róisín Murphy


Everything But The Girl


Little Dragon


The Chemical Brothers


Jay-Jay Johanson


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Martina Topley-Bird


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10 Up-And-Coming Indian Musicians Who Should Be On Your Playlist

© Parvaaz

India ’s independent music scene may have been unfortunately overshadowed by the Bollywood music industry. However, a surge in music festivals and platforms for non-Bollywood artists, as well as an explosion of talented and distinct musicians emerging around the country, tells us that things are about to change, if they haven’t already. Here are ten up-and-coming Indian musicians you should listen to now.

Sulk station.

As best described by the musical duo itself, Sulk Station has created its own unique brand of lush, moody, and hypnotic music. Spanning across genres such as trip hop and ambient music, and tastefully combining elements of Indian classical music, their music is markedly different from a lot of contemporary Indian independent music. The Bangalore -based musical group has Tanvi Rao on vocals and Rahul Giri on music production.

Formed in 2010 when when Khalid Ahmed and Kashif Iqbal, childhood friends from Kashmir, met in Bangalore after a gap of a few years and decided to collaborate on music together. Soon Sachin Banandur and Fidel D’Souza also joined them to complete the rock band. With strong Urdu/Kashmiri lyrics and a distinct blend of blues and rock among other styles, Parvaaz has carved out a space for itself in India’s music scene.

This talented music producer has a strong background in jazz music and a keen appreciation of old Bollywood music , which he brings into his distinct brand of electronic music. Using samples from Bollywood music like few others can, Sid Vashi blends in elements of jazz, hip-hop, and a range of hypnotic sounds to create a musical experience that you simply should not miss out on.

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Alisha Pais

This singer-songwriter from Mumbai , with distinct and rich husky vocals, has been making the rounds around music festivals in the country from Ragasthan to Sunburn . Accompanied by her trusted guitar, Alisha Pais sings haunting originals about life, love, and longing as well as covers of contemporary and retro music.

Sandunes, or Sanaya Ardeshir, has established herself as one of the country’s leading electronic producers over the years. With an upbringing as a pianist and keyboard player, Sanaya has an exceptional understanding of music to her advantage, which she has worked into her very popular electronica productions.

Naved Sheikh, aka Naezy, from Kurla, Mumbai raps in Urdu/ Hindi about all the right things – growing up in a low income neighborhood, inequality in the city, and so on. With sharp, vivid lyrics – a testament to his impeccable storytelling skills – and a characteristic hip hop sound, his music is fast gaining the appreciation it deserves.

Kumail Hamid

This independent producer, who lists the likes of Shlohmo and Nicolas Jaar as inspiration, has created his own niche in dreamy electronic music with a range of productions combining ambient sounds with rich bass and beats.

Hari Sukhmani

Combining traditional Punjabi folk music with ambient electronic, and taking inspiration from Sufi poets like Bulleh Shah and Kabir, this musical duo is a fantastic blend of old and new of which India’s music scene cannot get enough. Sukhmani Malik is a trained Hindustani classical vocalist while Hari Singh is a multifaceted producer, vocalist, and audio engineer.

This alternative band from Chennai recently released their debut full-length album, Triggerpunkte , which was recorded in Chennai and Mumbai for over a year. Having played in major festivals around the country, with an energetic dance/punk sound and strong lyrics, the band is integral to the country’s bourgeoning alternative music scene.

This live electronica project, comprised of singer-songwriter Sohrab Nicholson and producer/drummer and multi-instrumentalist Rohan Ramanna, lists jazz, folk, pop, electronica, soul, R&B, hip hop, and feature film scores among influences, transcending genres in their productions. Having performed around the country and internationally, this Mumbai-based musical duo is every bit worth a listen.

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All our travel guides are curated by the Culture Trip team working in tandem with local experts. From unique experiences to essential tips on how to make the most of your future travels, we’ve got you covered.

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With Def Jam opening up a new label division there, we learn a bit about the hip-hop scene in India.

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For my entire adult life, I have written about hip-hop culture. I actually fell into this profession in part due to my curiosity about hip-hop’s international scene. Nonetheless, I have plenty to learn, so I will be using this column as a way to share a few quick facts that I learn about hip-hop from around the world. This edition is all about hip-hop in India.

From its very beginnings, rap music was a live phenomenon. In hip-hop’s earliest days, if you wanted to hear rap music, you would have to catch it happening live at a park jam, rec center, or block party. In those days, the closest thing to a rap record were the countless cassette tapes that were recorded at these live jams. These tapes, featuring early hip-hop luminaries like Afrika Bambaataa, Jazzy Jay and the Zulu Nation, Kool Herc, the L Brothers, Cold Crush Brothers, and more were circulating all over, allowing listeners a chance to hear rap music as it happened live. By the 1980s, rap music had emerged as a recorded medium and a formal genre that grew increasingly intertwined with the record industry. By making the leap from a primarily live setting to records, hip-hop began to spread internationally. Young people around the world took notes from the American pioneers and combined this new sound with the musical traditions of their homelands.

Looking for new hip-hop and R&B sounds from around the world? Check out our playlist, The Global Cypher .

One of the oldest countries in the world, India’s musical heritage stretches far back into antiquity. More recently, though, the influence of Indian music has touched everything from the jazz sound of John Coltrane , psychedelic rock groups like The Byrds and The Beatles to modern electronic music. This cultural exchange between India and the rest of the world goes both ways. You began to see the sound of hip-hop in India, for example, near the dawn of the 90s and today several Indian hip-hop acts have reached impressive commercial and creative heights, establishing India as one of the genre’s global hotspots.

Today, India enjoys a burgeoning hip-hop scene with acts like Divine, Raftaar, Badshah, Dino James , Fotty Seven , and others making major waves commercially and a rich underground scene. Reflecting just how much interest there is in the county’s scene, Def Jam opened up a new label division there earlier in 2022. Like many young people around the world, Indian rappers brilliantly take influences from hip-hop and the West as inspiration for creating their own unique artistic voices. With that in mind – and with respect and deference to all of the artists, DJs, writers, and fans pushing this culture forward – here are just a few things that I learned about hip-hop in India.

Baba Sehgal

Rapper Baba Sehgal debuted in the early 90s and is commonly cited as the first Indian rapper. In the early 90s, he released a trio of albums – Dilruba , Alibaba , and Thanda Thanda Pani – that combined rap with traditional Indian singing and New Jack Swing and Chicago house-influenced beats.

Asked about his hip-hop beginnings, he once told IANSlife in an interview : “I started rapping only for survival. I saw some international videos and started exploring rapping. It was coincidentally just one month before MTV was launched in India. When I was delving into the layers of rapping and researching about it – I had to read a lot, considering there was no internet back then. I created my own way around raps, I made them funny and creative because I just wanted to tickle a funny bone in people.” Today, Baba Sehgal is a major star in Indian outside of music, acting in several Bollywood films and television shows.

My friends and I made a documentary about Indian hip-hop, and there’s still more to learn

In the spring of 2018, rapper/producer/author Raj Haldar was booked to play his first tour in India. As an Indian-American kid growing up on the East Coast, Raj had visited India with his parents, but hadn’t had a chance to perform the music that he loved there. Eager to document the experience, Raj invited me and my writing partner, Josh Leidy, to come along and film the trip. Unfortunately, I fell ill and couldn’t come along, but Raj and Josh spent a week in India, capturing footage and interviewing artists in Mumbai, Delhi, and Bangalore. The resulting film, Another Word For Paradise , highlights the talents of Indian dance crews, graffiti artists, and acts like Prabh Deep and Indian-American rapper Raja Kumari. While I knew that India had a vital music scene, I was immediately struck by the richness and diversity of India’s hip-hop scene. And, in the years since the documentary was shot, a ton of new artists have emerged.

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Image courtesy of Def Jam Recordings India

Dino James loves Eminem, and so do a lot of Indian rappers

When we filmed the interviews with local artists for Another Word For Paradise , one name kept coming up when we asked about influences: Eminem . The film 8 Mile made a huge impact on India’s youth. Dino James, for instance, explains how he first embraced hip-hop and began creating: “Just like most of us, I was introduced to hip hop by the Eminem song ‘Rap God.’ I have a song on my album, called ‘On the Rocks’ about how I stepped into music, detailing my calling for it. Initially, I had no clue what rhyme schemes and flows meant, but it developed over time with more and more work being put in.”

Dino James - On The Rocks (From the album "D") | Def Jam India

Fotty Seven and his anthemic song “Banjo”

Gurugam-born rapper Fotty Seven creates high-energy songs based on intricate flows. Earlier this year he released his club-ready anthem “Banjo,” a tune that he describes as being about “a high headed guy who thinks he’s better than everyone without really achieving anything substantial in life.” Fotty began his career by rapping in English, emulating his heroes 50 Cent and Eminem, but eventually switched to Hindi. Fotty’s love of Indian culture is obvious from the sonics as well – many of his biggest songs include traditional Indian sounds in some way. A student of the game and supporter of his peers, Fotty namechecks Badshah, Bali, Rebel 7, Divine and, of course, himself when asked to name his top 5 Indian rappers.

Banjo (Official Video) Fotty Seven | Prod. By Quan | Def Jam India | New Hip Hop Song 2022

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With a fusion of tradition and hip-hop, a ‘Punjabi wave’ sweeps Canada

Music can make a community feel heard. the rise of “punjabi wave” music is helping the indian diaspora in canada feel recognized in a new way..

“Get ready to experience the biggest Punjabi artist on the planet of all time,” the voice booms across the darkened stadium.

The sold-out crowd, over 50,000 in all, roars as the lights go up and Diljit Dosanjh takes the Vancouver stage. He’s dressed in all black – from his turban, to tunic, to tinted sunglasses – except for a pair of red Nike high-tops.

And if the audacious welcome message – calling the audience the “special chosen ones” about to “witness history” – seems over the top, Mr. Dosanjh does indeed make history. The first leg of his North American tour that runs across Canada and the U.S. into the summer is touted as the largest Punjabi show ever played outside India.

It’s a dazzling expression of the “Punjabi wave” surging across the international music scene. Its creators, mostly Sikhs from northwestern India, mix traditional music with the hip-hop, rap, and pop beats of North America. And Canada-based musicians are leading the way. It’s a nod to the remarkable Punjabi immigration story – with all its complexities – across this country.

“This is the Punjabi wave. Nobody ever thought somebody would come and sell out BC [Place] Stadium,” says Robyn Sandhu, who came to Canada from India as an international student in 2017 and is now a hip-hop singer penning Punjabi lyrics from Surrey, British Columbia. “They’d say, ‘What are you talking about?’ It’s just crazy.”

The Canadian dream

Punjabi hip-hop, rap, and pop is definitely having a moment. In April, Canada-based Punjabi rapper AP Dhillon performed at the Coachella music festival, after Mr. Dosanjh became the first Punjabi artist to take the California stage last year. In March, Punjabi rapper Karan Aujla, based in British Columbia, took home the 2024 Fan Choice Award at Canada’s annual JUNO Awards. According to Spotify, consumption of music from India has shot up worldwide by 2,000% in the past five years.

Kavita Saini, who was born to Indian parents in small-town British Columbia, says Punjabi music was once something she heard only   at weddings or inside her home, not on mainstream airwaves.

“When I was growing up, I was a minority. Now the music has blown up and it’s like, we’re getting known,” says Ms. Saini, at the Dosanjh show with her 9-year-old son at his first concert; an aunt celebrating her 76th birthday; and her mother, who keeps warning her to be wary of two journalists who approach her in case it’s a scam. “Our culture and music is getting known, and our actors and actresses. There is so much talent, so I’m just proud of us.”

The swelling Indian population in Canada buoys the genre. Canada has the largest percentage of Sikhs outside Punjab. The Indian migrant population here has grown by over a third between 2016 and 2021. Of the nearly one million international students who arrived in Canada last year, 40% hailed from India.

Many Punjabi singers – and their producers, managers, and lyricists – came as international students themselves and generated this newest wave, though Sara Grewal, a professor at MacEwan University in Alberta who is co-writing a book on Canadian Sikh hip-hop artists, says the fusion is not new. It’s simply more mainstream now that white audiences are more willing to listen to music in foreign languages.

The international student migration story is central to many Sikh singers. “For some artists, it shows up in their lyrics as the ‘Canadian dream,’ the international student with one suitcase … who is now a big star,” she says. Others rap about the discrimination international students face both by Canadians and the Punjabi community itself. 

On the contrary, fraught politics between India and Canada over the assassination of a Sikh separatist leader on Canadian soil last year have hardly registered in the music.

Homeland connections

The Punjabi diaspora is centered in Brampton and Surrey, in greater Toronto and Vancouver respectively. The most recent wave of fusion music is often traced to the late Sidhu Moose Wala, an artist who had moved to Brampton as an international student and was gunned down while in India where he’d launched into politics. But the music’s hub has shifted westward in recent years.

The Punjabi community of Surrey, where nearly 30% of residents identify as Sikh, is concentrated around 128 Street. Mr. Sandhu, who goes about his days penning poems on his iPhone, spent a recent Sunday drinking mango lassis at the town’s Little India Plaza with friends, all newly arrived international students. The night before, he’d been recording a song he dubbed “128,” an ode to a city he says he loves. But in the Punjabi wave, he sees a vehicle for keeping immigrants and second-generation Indians connected to their homeland.

“A huge part of the diaspora was born here and was sort of disconnected from their culture. But once they found Punjabi music, they found a lens onto the culture,” he says. “We listen to the same music as you do. We listen to Michael Jackson. We listen to Tupac. … We’re in North America speaking English and listening to English beats and we’re rapping Punjabi over it.”

“We are so excited,” says Ikvir Chahal, who is waiting outside for the Diljit Dosanjh concert to begin. Born in Vancouver, she is here with her younger sister and friend. The girls, all students at the University of British Columbia, show off their iPhones with wallpaper images of Mr. Dosanjh. Ms. Chahal’s father, Kuldip Singh Chahal, approaches the group with his eyes lit, talking about how his village back in India is next door to Mr. Dosanjh’s.

He doesn’t have to convince his daughters that this is worth knowing.

Ms. Chahal says she loves North American rap and hip-hop. “But I love music in my language. It has a different touch. A magic to it,” she says. “We love our Punjabi music.”

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Trip-Hop Essentials

In the early '90s, an ambient, atmospheric sound began to emerge from rave culture's chill-out rooms and smoky club corners. This bass-driven blend of hip-hop-inflected breakbeats, jazz grooves, dubby tempos, Rhodes licks, and wraithlike vocals spoke to both premillennial anxiety and escapist bliss. Trip-hop was largely British in origin; Bristol's shores in particular provided a backdrop for Portishead's eerie noir, Massive Attack's epic comedowns, and Tricky's murmured incantations. But the woozy deconstructions of Howie B and the baroque flourishes of Lamb and Goldfrapp pushed the genre beyond its ground zero—geographically and stylistically.

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Saraswati Mantra (Saraswati Mahabhage) Indian Trap, S. J. Jananiy,

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On The Way - VivaSwan & Indian Trap

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Vishnu Mantra (Mangalam Bhagwan Vishnu) - Indian Trap, S. J. Jananiy 







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Fear you’ll never hear your favorite band live? These Maine tribute shows might do the trick

See homages to David Bowie, Prince, The Cure and The Rolling Stones in Portland this week, and other shows coming this summer.

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If you’ve never seen a tribute act perform the songs of artists that are either too big to play in Maine or who have passed away, there’s a way to do a whole bunch of that this week in Portland.

There are also tribute shows happening in venues around the state all summer long.

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A Strange Day is the Portland-based tribute to The Cure. Photo by Seth D. Warner

Let’s start with Portland-based A Strange Day, a tribute to British alternative act The Cure, fronted by singer and guitarist Seth Warner.

The band will perform The Cure’s second album, “Seventeen Seconds,” in its entirety, along with some hits and other cuts at Portland House of Music on Thursday.

The album was released on April 18, 1980. Lead singer and guitarist Robert Smith turned 21 three days later. The single  “A Forest” marked the band’s debut on the U.K. Singles Chart, where it reached the No. 31 spot. The song remains a setlist staple at The Cure’s live performances.

Warner said he put himself in the shoes of Cure fans when deciding what album to cover. “What I would like to hear from a Cure band is a dive into the specific eras that surrounded each record, and ‘Seventeen Seconds’ set the tone for the more introspective and gloomy textures and themes.” Advertisement

As for Warner’s favorite “Seventeen Seconds” tracks, he said, “I really like ‘At Night’ for its dynamic potential, and the edgy and angsty ‘M.'”

The band took its name from the track “A Strange Day” from The Cure’s 1982 album “Pornography.”

Along with Warner, the band is Pete Dugas (keys), Andrew Hodgkins (drums), Matt Kennedy (synth/sax), Kevin O’Reilly (bass), Casey Urich (trumpet) and Corey Urich.

Angel Butts, a copy editor living in Westbrook, has seen The Cure more than 100 times on three continents and at least 10 countries, including Latvia and Colombia. “They’re like breathing to me. They have this massive catalog and it spans every possible mood, I don’t know of another band with a palette like that. “Seventeen Seconds” is among her favorite of the band’s 13 studio albums.

Butts has seen The Cure play the “Seventeen Seconds” album all the way through three times. “One of those shows stands as the best show I’ve ever seen in my life. The Cure: Reflections, Nov. 27, 2011 at the  Beacon Theatre in New York City.”

Butts said she and her 13-year-old daughter will be attending the A Strange Day show. “I think she’s more excited than I am.” Advertisement

A Strange Day  8:30 p.m. Thursday. Portland House of Music, 25 Temple St., Portland, $12 in advance, $15 day of show, 21-plus.

Another British act that will likely never perform in Maine is The Rolling Stones. With more than 30 albums, the band achieved legendary status decades ago. Singer Mick Jagger and guitarist Keith Richards are both 80, and the band is currently on tour and will be at Gillette Stadium in Foxboro, Massachusetts, on Thursday.

There are still tickets left for that show, but you can save yourself hours of traffic jams and a lot of more by instead heading to Aura on Saturday to see Satisfaction: The International Rolling Stones tribute show. Or maybe you’ll see the real deal and then keep the party going here in Maine.

Satisfaction has been slinging Stones hits for over two decades and has played more than 4,000 shows. Chris LeGrand’s take on Mick Jagger is pretty convincing, and he and the band will surely be pleased to meet you.

Satisfaction: The International Rolling Stones Tribute Show 9 p.m. Saturday. Aura, 121 Center St., Portland, $15, $25.50, 18-plus.

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The Prince/Bowie tribute act performing live. Photo by Tammie Birdwell

David Bowie and Prince died within five months of each other in 2016, at the ages of 69 and 57, respectively, and their losses were felt by millions of fans around the world. Advertisement

With contributions that are impossible to quantify, both artists left behind a legacy of music that lives on through radio play, home listening and tribute shows.

Boston-based musician Eric Gould loves both artists and is the bandleader of a Prince/Bowie tribute coming to Portland on Saturday. The band is a revolving lineup of players from all over the country.

Gould plays bass and designs the setlists. For this show, the musicians are Cal Kehoe (guitar, vocals), Adrian Tramontano (drums), Sammi Garrett (percussion, vocals), Josh Schwartz (baritone sax, vocals), Rob Somerville (tenor saxophone), Rob Volo (trombone) and Kiran Edwards (keys).

Gould said that, to him, Prince embodies soul, creative arrangement and precision. “His music has the best energy and makes you feel on top of the universe.”

He described Bowie as having a voice and character that is completely unique.

“It is powerful and epic and decadent,” said Gould, who has made a career out of finding unique connections through the songbooks of artists. “It is such a treat to present music people know and love in a way that is fresh to the ears. This combination brings so much joy to everyone on and off stage.” Advertisement

Prince/Bowie 8 p.m. Saturday. Portland House of Music, 25 Temple St., Portland, $25, 21-plus.

Other upcoming tribute shows

The Peacheaters: An Allman Brothers Band Experience, Friday. Jonathan’s, Ogunquit, $31 to $72.50.

Sweet Baby James: James Taylor Tribute, Saturday. Vinegar Hill Music Theatre, Arundel, $30 to $45.

Studio Two: The Early Beatles Tribute, June 9. Vinegar Hill Music Theatre, Arundel, $30, $35.

Magic Bus: A Tribute to The Who, June 14. Vinegar Hill Music Theatre, Arundel, $30. Advertisement

The The Band Band, June 21. Vinegar Hill Music Theatre, Arundel, $45, $55.

Bruce In The USA, June 21. Aura, Portland, $20 to $39.50.

Elvis Tribute Show, June 22, July 20. Jonathan’s, Ogunquit, $29 to $70.

Higher Ground: A Tribute to Stevie Wonder, July 20. Vinegar Hill Music Theatre, Arundel, $40.

Studio Two: The Early Beatles Tribute, July 6. Jonathan’s, Ogunquit, $41.50 to $82.50.

Johnny Cash Tribute Show, July 7, Aug. 10.  Jonathan’s, Ogunquit, $29 to $70. Advertisement

Rose Alley: A Tribute to Jerry Garcia, June 28. Vinegar Hill Music Theatre, Arundel, $23.

Runnin’ Down A Dream: The Tom Petty Tribute Band, July 13, Nov. 14. Jonathan’s, Ogunquit, $35 to $76.

The Elton John Experience, July 21. Jonathan’s, Ogunquit, $29 to $79.

Zach Nugent’s Dead Set, Aug. 1. Vinegar Hill Music Theatre, Arundel, $25.

The Stray Horses, Aug. 8. Vinegar Hill Music Theatre, Arundel, $25.

Wake Up Mama: The Allman Brothers Tribute Band, Aug. 24. Vinegar Hill Music Theatre, Arundel, $25.

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  • สมัคร / ล็อกอิน
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วันเปิดตัว Air Force 1 x Tiffany & Co. "1837" (DZ1382-001)

Air Force 1 x Tiffany & Co.

Air Force 1 เป็นที่รู้จักครั้งแรกในปี 1982 และสร้างนิยามใหม่ให้รองเท้าบาสเก็ตบอลตั้งแต่คอร์ทพื้นไม้ไปจนถึงพื้นคอนกรีต แถมยังเป็นสนีกเกอร์บาสเก็ตบอลคู่แรกที่ใช้ Nike Air แต่ความล้ำนวัตกรรมก็ยังต้องหลีกทางให้ความเป็นไอคอนในแนวสตรีทของรุ่นนี้

วันเปิดตัว Air Force 1 x Tiffany & Co. "1837" (DZ1382-001)


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