LAHORE: Like a musician’s fairytale, his story begins under a tree in the interior city of Lahore. The young Mohammad Ahsan Papu was practicing his flute in the shade, when a man on his way to work overheard Papu’s mesmerising music. That man turned out to be a music director. Fast forward to forty years later and Papu Sahib’s hypnotic melodies have graced classical performances, qawwalis, and rock concerts around the world.

You may or may not have noticed Papu Sahib in music videos or receiving awards, or on billboards or in magazines. This is not because he is forgettable. This is because he does not fit the stereotype of a rock star.

His clean-cut look, humble smile and elegant posture could be enough to throw you off. After 40 years of struggling in an industry which is as misunderstood as it is neglected, it is the air of contentment and tranquility on his face that make Papu Sahib look like a visitor strolling through the chaotic jungle that is Pakistan’s music industry.

Interestingly, the calm on his face masks a chaotic early life of intense struggles.

“There was a time when I would practice up to 20 hours a day trying to perfect my skill,” admits the flute-master. “I was about 15 years old when my father died. My family had no income. My uncle took me under his wing and told my mother he would train me in his art to support the family.”

And it was under these strenuous conditions that the young Papu found tremendous motivation. “It was the desperation to support my family. Three of my brothers were studying in college and they were 10 mouths to feed at home. Perhaps if I was from a comfortable household I would not have been so focused.”

Fortunately for Papu Sahib, there were few well-established flutists in Pakistan in the ’70s. The music circuit in Punjab is small. And word of mouth helped pave a path to Papu Sahib’s future.

After recording with some of the most esteemed music directors in the Pakistan film industry, Papu Sahib made his first international trip to the UK in 1986, on tour with Attuallah Khan Essa Khailvee.

A few years later he made his way to Faisalabad. Nusrat Fateh Ali was looking for a flute player and Papu Sahib’s reputation earned him the opportunity to work on Nusrat Fateh Ali Khan’s debut album. From there on out Papu Sahib was a permanent feature in all Nusrat Sahib’s local recordings, working on some of his initial projects in India as well.

Papu Sahib continued recording with a multitude of artists. “I had been recording at Mekaal’s studio with different acts when Mekaal was looking for classical instrumentalists to launch a new style of sound. He wanted to compose a style that would blend traditional instruments and classical poetry for rock and jazz listeners.”

In 2000 it seemed like an interesting and innovative idea. But the impacts of Mekaal’s style have taken the South Asian scene by storm.

And so came Papu Sahib’s entrance into the rock scene, as a member of the Mekaal Hassan Band.

Pakistan’s leading jazz-rock band is defined by its smooth and intricate blend of soft traditional sounds with jazz and progressive rock beats. Harmonising sounds of the bamboo flute, electric guitar and drums to compose a style that has captivated millions. International media mentions the band as one of the finest contemporary music outfits in the world. Al Jazeera reported that rock musicians across the Muslim world “cite Hasan as an inspiration.”

The Mekaal Hassan Band is where Papu Sahib has found his platform as an internationally recognised rockstar. The band is infamous for sweeping the music category at award shows in Pakistan. Simultaneously, Papu Sahib has garnered international recognition for his flute playing, receiving accolades in countries like Norway, the UK, Australia and New Zealand. Along with western recognition, Papu Sahib says one of his most unforgettable moment was in India. In a country that prides their flute playing as a divine art form, Papu Sahib was humbled when asked by leading flutists to teach his technique in India.

But while all the fame and professional success is gratifying to the ears and the heart, it does not amount to much monetarily.

Papu Sahib has travelled the world, mastered his art form and has been applauded by millions. But that does not mean he has achieved financial security for his family.

“There is no financial security in this field, I got into it by God’s design and he has been taking me through and he will continue to do so. As long as I can find a way to keep my kitchen running and guide my children to a better future, I have no complaints,” says the optimistic musician.

Pakistan’s music industry was never considered a lucrative business. Record sales do not pay much and concerts are the main form of revenue. But suicide bombings and terrorism have debilitated the music scene to an unbelievable degree. Due to security issues, live public shows are becoming less and less frequent. Most concerts are simply private functions. Musicians are keeping the business of music alive by doing concerts internationally. But unfortunately the difficulty in obtaining visas for a Pakistani citizen makes this opportunity open to very few. In the lucrative days a popular band could be playing ticketed concerts every month. Those days seem like a distant memory now.

Presently, most of the industry is dependent on corporate sponsorships. Many believe if it were not for the “corporate social responsibility” projects of the multi-national companies, Pakistan’s music industry would be non- existent.

Pakistan’s music scene, like all arts in Pakistan, is driven by passion and love-a desire to survive through the art and to survive for the art. This is probably why musicians like Papu Sahib are found mentoring up-and-coming musicians in their free time. His students cover singers and flute players from all over Pakistan. But in the crumbling infrastructure that has now become our nation, many popular artists, while continuing to struggle for the art, are finding it unrealistic to survive through the art.

Which is probably why Papu Sahib encourages his own children to look beyond music to earn a living. “My children have grown up with music and it will always be a part of them but I would like them to find more stable ways to earn a living. My son wants to be an engineer. I do not really know much about the field but I have promised him as long as he works hard, I will find a way to make it happen.”