During the recent Pakistan-India conflict, like thousands of other countrymen, I began to unconsciously gravitate towards listening to patriotic songs. Shuja Haider’s Main Urra and Shaukat Ali’s Saatheo Mujahido were on repeat in my playlist. Inundating the listeners with not only a medley of pride and love for the country, this genre of music also strengthens their resolve to stand tall and united with the country’s armed forces. Simultaneously, it serves as an instrument for soft power and a psychological operations tactic to demoralise the adversary.
In Pakistan, the tradition of listening to and producing martial music is not new. Noor Jehan’s poignant yet powerful voice helped soar the nation’s spirit during the 1965 war through timeless renditions of Har Lehza Hai Momin and Aye Watan Ke Sajile Jawano. The 1971 war saw the release of scintillating tunes and lyrics such as Jeevay Jeevay Pakistan and Sohni Dharti Allah Rakhay, which were transformed into prayers for Pakistan’s longevity and inspired unity. The release of national songs has not been limited to wartime. Dil Dil Pakistan and Hai Koi Hum Jaisa have helped foster patriotism in Pakistanis as they revisit them during times of tribulation and celebration to find solace.
Music is one of the oldest companions of human beings for expressing emotions. In every part of the world, people use it to cherish the goodness of life and as a coping mechanism in times of distress. It also provides a medium to fulfil the innate human need to celebrate one’s belongingness. Historically, agrarian societies had a profound affinity for their caste, clan, land and its bounty, giving rise to festive occasions like Baisakhi and celebrating them with music. However, the Great Transformation, marked by the Industrial Revolution and urbanisation, drastically changed society. It led to a great vacuum, as the objects of affection in an agro-based living were no longer found in new capitalised and urbanised societies. This void in human emotions was filled by new symbols of belongingness, of which the nation-state was the most powerful. Thus, in every part of the world, people adopted national symbols like flags, national heroes, and anthems that evoke a sense of national pride. Since then, patriotic music has served as a manifestation of nationalistic sentiments.
These compositions also function as part of military psychological operations, partaken by states worldwide, targeting the adversary in a non-kinetic manner
National songs have an unmatched ability to seduce, inspire, and liberate their listeners. Laced with patriotic invocations, they celebrate the bravery of a nation’s armed forces. During the crisis with India, Pakistan’s national songs rendered an implicit warning to the enemy: the nation is prepared to fight and sacrifice for the motherland. This was overtly expressed through ISPR’s Tayyar Hain Hum – Allah Hu Akbar to let India know, in the wake of their ill-fated Operation Sindoor, that the nation stands by its armed forces like an impenetrable wall. Pakistan’s musicians furthered the nation’s commitment to giving a befitting response to Indian aggression at the time, place, and methods of its choosing, the echoes of which still reverberate throughout the world.
Indeed, these goals were accomplished by the Pakistan Air Force, as it emerged victorious in one of the largest air battles in modern history. The resounding success translated into the release of Yalghar Hai, to honour the triumph of the armed forces and showcase the inherent dedication and sacrifice of valiant soldiers.
In addition to the narration of resilience, dignity, and capability of the country’s forces, these patriotic anthems also play another vital role. They counter the misconstrued image of Pakistan disseminated through Bollywood. Music’s soft power and public diplomacy cannot be undermined due to its transcendence across borders and reach to global audiences. Support was extended to Pakistan during the crisis from many countries, ranging from Türkiye to China, Syria, and Azerbaijan. The comments such as “Love from China… Long Live Pakistan-Türkiye friendship” underneath the YouTube videos of these songs are an illustration of this solidarity.
Moreover, these compositions also function as part of military psychological operations, partaken by states worldwide, targeting the adversary in a non-kinetic manner. ISPR released the song Bara Dushman Bana Phirta Hai after the 2014 Peshawar school massacre. Its soul-stirring words shredded the terrorist’s legitimacy as the video showed the determined faces of children returning to school—an illustration of the failure of the terrorists’ aim to spread terror. Instantaneously, the entire nation rallied behind the armed forces and lent support towards their counterterrorism operations.
Art becomes a powerful weapon in difficult times, especially during war. The songs released by ISPR in May 2025 were an amalgamation of heartfelt lyrics and powerful visualisation. They showcased Pakistan’s military strength and capability and yet again united the country by inciting patriotism and confidence. Portraying a positive image of Pakistan abroad, they gave a compelling message to its adversaries: Pakistan is a formidable nation capable of defending itself.