Pakistani singer Natasha Baig talks the heart and hustle behind her music

In Pakistan’s ever-fluctuating pop landscape, few female artists have carved a lasting space for themselves. While the country continues to revere icons like Nazia Hassan and Hadiqa Kiani, singers like Natasha Baig have been quietly yet powerfully pushing the boundaries of what a female pop star can be. From her electrifying live Sufi rock renditions to her memorable performances on Coke Studio, she has struck a chord with audiences hungry for both authenticity and innovation.

She acknowledges that being a vocalist is no easy feat. It’s a relentless grind to deliver powerful performances, stay relevant, and remain financially sustainable in an ever-evolving music industry. Unlike acting, where one breakout role can define a career, the world of music, especially for vocalists, demands unwavering consistency, versatility, and an endless well of creative energy.

Add songwriting into the mix, and the challenge multiplies. Crafting a memorable song or album often means sifting through countless drafts before finding the perfect words and melodies. It is a craft that calls for patience, introspection, and a mind that is constantly switched on.

Recently, she lit up the stage in Dubai, performing at the Pakistani Independence Day celebrations at the Expo Centre Dubai and the Global Encounters Festival 2025. In conversation with City Times, the rockstar pulled back the curtain on her creative process, reflecting on what success truly means to her, how her passive riyaz keeps her sharp, and how her live performances win over audiences every time she takes the stage. 

Excerpts from the interview…

On going beyond social media metrics

It frustrates me sometimes. I don’t believe a song’s worth should be defined primarily by these metrics. I grew up in an era when such digitisation didn’t exist, and by the time my turn came, the landscape had shifted completely. At first, I resisted it, but eventually I accepted that this is the new way of working. Still, I make sure I don’t fall into the trap and stay true to my art.

It is no secret that with the right PR push, even a subpar song can go viral. That’s why I never judge a track purely by its numbers. I have to actually listen to it before deciding if it belongs on my playlist. Just because it has racked up millions of views doesn’t mean it will become my favourite by default.

Remember, there is a fine line between what is popular and what is memorable. Viral is not always valuable.

On the real test of a singer

Technology can fix a lot these days, and there is no harm in tidying up the loose ends. But in my view, a singer’s true longevity comes only from being strong at live performances. The real test is your ability to hold an audience in a concert.

In the studio, you can re-record, fix mistakes, or even start from scratch. On stage, there is no hiding; you are judged instantly. If you can ace an auditorium, you are made for this. We have all experienced songs that sound perfect in the car on Spotify, but when heard live, the reality feels very different.

My forte is live singing. One of the reasons I feel I am cut out for this is because I deliver on stage. I have performed in front of a crowd of 60,000 at Expo and I have also sung in a room with only 10 people listening. My honesty remains the same in both settings.

On Coke Studio focusing more on visuals than the traditional studio setting

To be honest, I initially thought the same way. After all, that was the original format. But maybe if they had kept it exactly the same, monotony would have set in, and perhaps we wouldn’t have had chart-toppers like Blockbuster or Tu Jhoom, where the visuals truly made an impact.

So I adapted my thinking. Maybe the latest Coke Studio resonates more with Gen Z, which is the future. I’m not against the current format, but personally, I don’t prefer music videos for my songs. Sometimes, a bad music video can kill a good song or shift the focus away from the singer.

With so many singers emerging through various mediums, it is hard to put a face to a name. When a music video is made, it should do justice to both the song and the singer. After all, a song is a singer’s battlefield, and I believe the impact gets diluted only when visuals start overshadowing the music.

On what really moves her in music

My playlist is a mix of everything. Like I said, I don’t always go for the popular tracks. For me, the musical instruments used matter a lot. I listen to different languages, and I’m driven more by melody or tune than lyrics, even though my job is to sing the lyrics. It’s the melody that catches me first.

From Bollywood to retro, from Mehdi Hassan Sahab to Noor Jehan Ji, to Side B tracks that are mostly hidden gems, I enjoy them all. Sometimes I do feel left out when the world is catching up with AP Dhillon or Karan Aujla, but I like only some of their songs and appreciate their music. Still, I remain loyal to the tracks that truly resonate with me. Lately, I have been listening mostly to instrumentals, especially the hand-held ones played by Maltin, because they keep me creative and energised. Instrumentals are not dependant on the language and thus feel more universal to me.

On behind the scenes: performance prep and Riyaz

I used to take a lot of precautions before performing and would always worry about my vocal cords. I’d avoid certain foods and gargle regularly to keep them in good shape. But over time, I realised that much of it's mental control. Now, my ritual is to say a prayer before going on stage. Once the sound-check and rehearsals are done, I just relax backstage, talk to people, and trust my muscle memory.

As for riyaz, I do more passive practice than active. I spend a lot of time listening. I even got validation for this approach from Shilpa Rao in one of her interviews where she said you can learn just as much by focusing on listening. I’m not a trained singer, so I rely more on my subconscious and sing instinctively.

Though I wish I had an ustad, my experience wasn’t very rewarding. Many tried to change my voice, which I wasn’t willing to do. Instead, I learned a lot being part of the ensemble ‘Sounds of Kolachi’ led by my mentor Ahsan Bari, which beautifully blended ragas with western music.

On music’s deep bond with pain

I believe pain is something you can’t fake. It’s one of the most common and genuine emotions we all experience. Humans connect because, deep down, we’re each battling our own demons. Some conquer them, some are still fighting, and some have sadly given up. We’ve all been through this struggle.

Pain drives us to express ourselves more deeply and often becomes a way to heal. Historically, people tend to gravitate toward melancholic or slow songs rather than heavier, more upbeat ones. The songs that linger longest are usually tied to the loss of a loved one or a memory that’s hard to let go.

There is a line in one song: “Dard jab hadh se guzarta hai toh ga lete hein.” Truer words were never spoken.

Sadiq Saleem is a UAE-based writer and can be contacted on his Instagram handle @sadiqidas.

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