The heartbeat of Qawwali has always been family, a tradition passed through generations like sacred scripture. Rizwan and Muazzam Ali Khan, the nephews of the legendary Nusrat Fateh Ali Khan, embody this legacy with their latest offering, At The Feet Of The Beloved. It’s a record that both honors the past and reanimates it, charging forward with an undying devotion to the art form.

Steeped in a lineage of over 600 years of Qawwali, the Pakistani brothers were seemingly destined for this path. But their journey was not without its twists. Their father, Mujahid Mubarak Ali Khan, initially resisted teaching them music, hoping they’d prioritize their studies. Yet fate had other plans. Unbeknownst to their father, they entered and won a school music competition, making headlines and earning the respect of their community. Only then did the elder Mujahid relent, realizing their gift was undeniable. They trained under both their father and their iconic uncle, setting the stage for where they find themselves today.

Tragedy struck in the late ‘90s when both their father and uncle died in quick succession. Yet, Rizwan and Muazzam refused to let the music fade. Their first major break came in 1998 at the WOMAD Festival, the same event that had once introduced their uncle to a global audience. Their debut album, Attish: The Hidden Fire, followed soon after on Real World Records, the very label that now shares their first official release in nearly two decades.

At The Feet Of The Beloved is a masterclass in contemporary Qawwali, allowing tradition to marry innovation. The album’s four tracks, two in Urdu and two in Punjabi, capture the essence of spiritual yearning. “Meherban,” an Urdu ghazal, sets the tone with its hypnotic interplay of tabla, dholak, and harmonium, its lyrics painting a picture of devotion and surrender. “Ja Mur Ja,” a Punjabi piece rooted in folklore, revisits a classic from their father’s repertoire with a renewed intensity, warning of the perils of all-consuming love through the tragic tale of Sassui and Punnu. The third track, “Saqi Ik Jaam,” is a swirling, intoxicating ode to divine love, its cascading vocal flourishes mimicking the dizzying effects of spiritual inebriation. Closing the album is “Yaar Da Muhallah,” where harmonies rise and fall like waves, carrying the listener into a trance-like reverie of devotion and ecstasy.

Unlike many Qawwals who merely rework Nusrat’s catalog, Rizwan and Muazzam are forging their own path. Their mentor’s influence is undeniable, but this album is not about imitation - it’s about continuation. As their longtime manager Rashid Din puts it, “They are the only two brothers who are truly following in Nusrat’s footsteps, while also carving out something new.”