The Orchestral Qawwalli Project at Celtic Connections
As part of the Celtic Connections festival, the Orchestral Qawwali Project graced the stage at Glasgow's Royal Concert Hall, delivering an unforgettable evening of music. The audience was immersed in a captivating experience that fused traditional qawwali with Western influences.
By Samar Jamal
I took my seat at Glasgow's Royal Albert Hall, ready to be enchanted by the world of the Orchestral Qawwali Project, one of many performances taking place as part of the Celtic Connections festival, running until 2 February. The stage was bathed in blue light, with the orchestra in the centre and Rushil Ranjan and Abi Sampa of the Orchestral Qawwali Project positioned on opposite sides of the stage.
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At its heart, qawwali (meaning “utterance” in Arabic) is deeply spiritual – a profound journey to sama, the state of connecting with the divine. While I understood that the Western uniqueness of this event might not fully capture that transcendent essence, I was eager to transition from my qawwali playlist to experiencing it live, in all its tangible beauty. However, it is important to recognise and respect the core of what qawwali truly is—an art form deeply rooted in Islamic tradition and devotion. Honouring its origins ensures that its spiritual and cultural significance remains intact, even as it evolves in new and innovative forms.
With this understanding, I approached the evening with curiosity and an eagerness to hear the Orchestral Qawwali Project's interpretation. As an eager listener of qawwali, I was already anticipating soulful melodies reverberating through the night. The reality was even more powerful than I expected, as Rushil Ranjan, Abi Sampa, and the symphony transcended the boundaries of those familiae classical sounds.
Sampa's singing was layered with the tabla and harmonium, played by the qawwali singers she was leading. Alongside this, there was the harmonious orchestral arrangement, crafted by self-taught composer Ranjan.
The sound of traditional qawwali, with singing accompanied by sarangi, tabla, and dholak, is cathartic even without Ranjan and Sampa’s unique fusion. But, when perfectly blended with instruments like the violin, harp, and piano, the performance reached new heights.
Sampa's introduction of each song provided the audience with insight into her influences, noting particular inspiration from Nusrat Fateh Ali Khan. The late Khan is often called the king of qawwali, having popularised it in the Western world with his rhythmic, raspy voice.
From the song Gaje Shakar to Rubaru, Sampa’s voice gradually reached a crescendo, elevating the sounds of the tabla player and the symphony behind her. The harmonious sounds of the musicians, accompanied by Sampa, pulled listeners in with melodic clapping, taking us on an immersive journey.
Ranjan expressed his gratitude to the orchestra and the privilege of sharing the stage with such talented musicians – who had only learned the music that day.
The performance concluded with the well-known qawwali Must Must Qalandar, which loosely translates to "In every moment, enraptured in devotion to the Qalandar", and everyone in the audience was invited to dance. As the tabla player played an energetic solo between Sampa’s voice, unified with the orchestra, we rose to our feet in awe and ended the night with clapping and cheers. I left the hall with a memorable experience – one that I’m sure we will see on our stages again.
Visit the Celtic Connection’s website for more information on performance.