Nabihah Iqbal

The Norfolk and Norwich Festival have put on two of my favourite women of Pakistani heritage this year at the festival: Arooj Aftab (who I had the pleasure of seeing at the Norwich Cathedral with her soaring and gossamer vocals and who had another Pakistani musician - Wooly Aziz - supporting) and Nabihah Iqbal. Two very different artists but both bring out elements of spoken word and morph together multiple musical styles; bringing a certain gentility to their performances. 

Far different from the Cathedral’s reverent atmosphere, Nabihah was set up at the Spiegeltent in Chapelfield Gardens. Having played at the festival in 2021, it felt like an appropriate venue for her to make a reappearance with a close-knit crowd inside and outside the tent. Those sitting outside by the fire pits were surely vibing to a more blasted echoey hearing. When entering the tent, I was expecting to hear a support act but never got one. Perhaps the first time this has happened to me at a gig. Without an introduction, Nabihah and her band went straight into playing a shoegaze track with all the sounds maxed out to full effect - whirling guitars, animal pre recorded sounds, popping synth, swooning harmonising, punchy drums. Before looking at the stage, I’d assumed this was the support act, and then I saw Nabihah with her large red scrunchie like a tulip behind her head, swaying her hips from side-to-side. A mysterious entry as if I was tuning into one of her NTS radio shows, going straight into an underground discovery. 

With no new releases since her stunning 2023 album DREAMER, much of the set drew from this work. Early on came the haunting “Is This Where It Ends” and the shimmering title track. Watching her manipulate an array of pedals at her feet was a highlight—one moment the sound was drenched in dreamy haze, the next snapping to lo-fi textures or grooving with an 80s dance flair. Her emerald green electric guitar added a live melody groove that kept the set dynamic and engaging.

When Nabihah finally spoke, she expressed her love for Norwich – “the medieval capital of England” – complete with a playful horn blast from the keyboard for emphasis. She praised the city’s 52 churches, Loose’s Emporium, and its thriving independent shops, declaring Norwich her favourite city outside London. Having lived here for nine years, I’d have to agree: Norwich is indeed “a fine city” as the slogan says, quietly proud and full of hidden treasures.

The set moved into “Sunflower,” a lush, swooning invitation to meet beneath the golden petals, continuing with a post-punk-inflected pulsating with driving beats. What I particularly enjoy about Nabihah’s work is how her repeated spoken-word phrases – often just three or four words – pull you in with their hypnotic rhythms. While her singing might not be the central draw, her command over rhythm and mood is undeniable. A new song she played didn’t quite captivate me, but that’s a small quibble.

The energy soared with “The World Couldn’t Keep Us,” layers building into a rich electronic tapestry that felt reminiscent of New Order. Nabihah’s literary influences were made clear, with this track inspired by Thomas Hardy’s Tess of the D’Urbervilles, and she also referenced John Keats’ letters as creative fue for another track. As an English grad, these literary references added a thoughtful layer that deepened my connection to the music. I might have been one of the few who felt this way though.

When she shifted away from post-punk to full-throttle electronic dance tracks, the music shed its ethereal veil and demanded movement. The surge hit its peak during ‘Gentle Heart,’ where ghostly melodies and ticking rhythms pulsed through the tent, compelling the crowd to move with it.

In sum, Nabihah Iqbal’s set was a compelling journey across soundscapes and styles, marked by poetic lyricism and fearless experimentation. Her pure electronic moments shone brightest. It was a genuinely memorable festival gig – intimate yet powerful, blending moments of quiet introspection with bursts of vibrant energy. The audience was fully absorbed, carried along by the shifting textures and rhythms, making it clear that Nabihah is an artist unafraid to challenge expectations. I’m eager to see where she takes her sound next.