The rap group has finally established a fully functional studio space after a successful fundraising campaign

 

How Lyari Underground Built a Studio from Scratch in Karachi’s Most Resilient Neighborhood
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By Asfa Sultan

“The seed must grow regardless of the fact that it is planted in stone,” wrote Tupac Shakur in his poem The Rose That Grew from Concrete. That sentiment resonates deeply with Karachi’s very own hip-hop mavericks, the Lyari Underground, who have defied all odds to establish a studio in their neighborhood after a successful fundraising campaign.
I write “all odds” because Lyari knows what it means to be forgotten by the system. For years, its streets have echoed with gunfire, leaving its artists to fend for themselves. And for years, Lyari Underground (LUG) has been at the forefront of reshaping its narrative.

Formed in 2008, LUG is a Karachi-based hip-hop collective co-founded by Asadullah Baloch, known as Danger Baloch, who has served as a rapper, producer, and manager for over a decade. LUG’s lineup has included six members, including Anxiously (Abdul) as the founder and lyricist.
Drawing inspiration from old-school hip-hop, their music addresses social issues and reflects the realities of life in Lyari. Over the years, LUG has performed on Coke Studio, made an appearance during Diplo’s show in Islamabad, and bagged a Lux Style Award nomination in 2018. Through hard-hitting rap and socially conscious lyrics, their breakout anthem ‘The Players of Lyari’ in 2017 was an assertion that their youth had talent.
But for all the positive image-building, they received little to no support when it came to setting up a studio. So as hip-hop pioneers have always done, they built their own.

How it all started
After years of operating from rented recording spaces and a makeshift studio in rapper Asadullah’s home — the latter was lost when his family moved back in — LUG Sounds found itself in a limbo when Covid-19 hit.
“We couldn’t put out anything because we didn’t have a studio, and we were restricted to our homes. Previously, we would all gather at my place to record our music. But once that was taken away, we were left with no choice but to raise funds for a space,” Asadullah explained.
“My cousin helped me set up a funding link so people could support us. I put the word out and thankfully the industry and my friends shared and supported our venture. My friend Ahmer Naqvi also made a documentary in which he talked about our initiative. Soon after, funds started pouring in. Some people also donated equipment.”
Though the response was heartening, raising money was only one part of the battle. “I needed a place in Lyari to set up the studio, not just equipment. Thankfully, I found a place on rent at the Lyari Art Chowk.”

Lack of support
While the success of the fundraiser was a relief, it also highlighted the glaring absence of institutional support for artists like LUG. “We should’ve been supported by the government because they have an allocated budget for art and culture. We didn’t get that,” Asadullah said bluntly.
“I had gotten in touch with a [political] party’s workers too, they came to Lyari to gather votes. We came to a verbal agreement that they would help us establish an institution that would support Lyari artists. But you know politics. The moment the voting process ended, there was complete silence.”
What stung most was the absence of support from their own peers, particularly fellow Lyari native Kaifi Khalil, who worked with LUG before skyrocketing to fame with ‘Kahani Suno’. LUG’s producer, Abdul Wahab Khan, known by his stage name Lil AK 100, played a crucial role in shaping ‘Kahani Suno’ and had hoped Khalil would help support their fundraiser.
“We’ve been supporting artists wherever they are, whether they’re Lyari-based or not. I was really happy and inspired to see Young Stunners, because of how they bring their whole team to the stage, the gigs. And I am equally shocked to see artists who pretend like they don’t even know the people who worked with them on songs that made them stars. It was really hurtful.”
Going forward, LUG is making sure that such an oversight never happens again. “After having had this experience, we will only work on a contract basis,” said Asadullah and Wahab in unison.

About LUG Sounds


LUG Sounds is now fully operational and provides all sorts of services, from recording, mixing, and mastering to commercial jingles and brand collaborations. Asadullah stressed that it was an all-inclusive space for artists from all walks of life, not just Lyari.
“My producer, Lil AK 100, has worked on many songs for Balochi artists, including on ‘Kahani Suno’ with Kaifi Khalil. I’ve been a rapper for Lyari Underground for many years and now I’m the Project Manager at LUG Sounds, and we are open to all kinds of music production. Our studio isn’t just limited to Lyari or Balochi artists.”
Even with a fully operational studio, LUG faces another challenge — power outages. “Load shedding is a big issue in Lyari, we often don’t have power for 18 hours,” Asadullah said. While solar power seemed like an obvious solution, bureaucracy got in the way. “Our studio is in a building, and they’re not allowing us to set up solar panels there. So, we are now aiming to get portable power stations. We’ll once again have to fund this ourselves,” he added.

Bringing Balochi music to the mainstream
Despite these challenges, LUG remains optimistic about the future, especially regarding Balochi music’s growing presence. “Lyari Underground has mostly made Balochi music and represented the Balochi language,” says Asadullah.
“In Pakistan, we are slowly and gradually seeing the rise of Balochi language mainstream music, be it on Coke Studio or independent music being released on streaming platforms. But we still have a long way to go.”
According to Lil AK 100, change is happening, albeit slowly. “Things for Balochi language are changing after Coke Studio gave it a little platform and thanks to independent artists releasing songs in Balochi. We have artists who have raked in 500,000 views on a Balochi song, that too, without any promotion. So, I can sense a change.”

A new side of Lyari
Addressing safety concerns, Asadullah insists that Lyari’s reputation as a dangerous place is outdated. “TV commercial shoots are happening here, artists come and go. I don’t think Lyari is dangerous like before. Whether it’s a female or male artist, anyone can visit our studio without hesitation.”
For those still wary of visiting Lyari, LUG Sounds has a solution. “If someone is still scared, we work smart. They can get their songs recorded from wherever they are comfortable and send them to us. We can work online. We have clients in the UK, US, and Canada, they send us these things via email and we produce for them.”

What’s next for LUG?
With a functional studio now in place, LUG is focused on creating more music, supporting emerging artists, and growing its independent label. “We don’t need funding anymore. If someone wishes to support us, they can work with us. Whether it’s commercial work or music production, LUG Studios will do it all,” says Asadullah.
Anyone wishing to work with LUG can reach out to them via Instagram @lug.sounds or email at lugsounds@gmail.com. Images