They appeared to be extremely well composed about the whole ordeal unlike other newer bands who seem to be easily shaken by their band-members’ missing notes or the like.

This was not only evident of their excellent chemistry as a band, but also reflected their professionalism. Tanseer had an extremely bad throat [though it didn’t deter him from making phone calls to all and sundry] and Assad's guitar string broke at the near end of their set, but there was not a frown to be seen. Perhaps that is the reason why they are called one of the best live acts around, despite the fact that we rarely get to see them perform.

Karavan delivered an amazing performance - they started off with Rakh Aas and went into Beqarar. Assad's distorted,wailing guitar riffs brought the house down, especially when they did Aaja Mere Paas Aaja..

Next up were their accoustic songs, all done extremely well. The pounding drums, the stellar bass and the brilliant guitars were a delight. Karavan performed a number of songs including Jhoom Zara Jhoom and Dil Ki Pyaas and were right in the middle of Yeh Zindagi Hai when Assad's guitar's string broke.

Undeterred, the band then went on to perform two more numbers on the electric guitar, the crowd pleaser/youth anthem Aagay Hi Aagay and ended their set with what I think is Karavan's best song ever - Gardish, performed so well by the band that.

It actually felt like the studio was spinning around. Dedicated to the managers of their site karavanonline.com and their fans, Gardish performed live made all the waiting and tiredness worth it.

The band distributed autographed posters to their fans, posed for pictures and thanked everyone personally (what a relief after all the ego maniacs around in the music industry) for coming all the way to attend the gig.

What happens when a band with seasoned artists decides to present a live and plugged performance to a small crowd at a secluded place? The place gets kicking!

Sharp sound, a relaxed secluded environment, and a great band with one of the best guitarists in the country, is definitely more than a treat. That is exactly what Café M Live offered on the eve of Dec 30th, 2003, when Karavan performed live, a selection of the songs from their three albums.

The show began promptly at 2100 hours (nose grows 6 inches long). 2230, 2100 what difference does it make, what matters is that once the show began the wait became inconsequential. The music was so engaging that crowd instantly became a part of the ambience. Or perhaps it was Asad Ahmed’s transparent guitar (Yamaha mute guitar) that enchanted the crowd.

Rakh Aas, the title track from Karavan’s debut album kicked things off, ironically enough beginning with the drummer missing his cue. The song failed to have its impact as the vocals were drowned out by the rest of the instruments. The same problem prevailed

Karavan are one of the few rock-based acts to break big, though mass appeal is something that has always eluded these seasoned musicians. However, with the release of Gardish, the band’s much delayed third record, that barrier may also be borden.

Gardish is quite an electic collection of varied forms and textures. Man Kahe Aaja marks a return to the clear, crisp from perfected on Safar. The slinky guitar slides through the firm foundation of the band’s tight rhythm section.

Record buyers must be quite familiar with Agay Hi Agay, as it has been doing the rounds on music channels. The tune has a pulsating funk groove to it, as the loose, elastic guitar riff is cushioned by synthesized horns.

An abstract soundscape introduces Gardish, the title track. Suddenly, the uneasy vocals, philosophical lyrics, steady beat and monster Zep riffs all converge and implode, as an apocalyptic atmosphere prevails.

Intezar is a ballad, but thankfully, it is free of all the cheesy clichés that plague this format. It is a light tune, but not sparse, as the programmed strings and brief key board flourishes provide sustained sonic layering.

This album strikes a commendable balance between love songs and the more cerebral staff, as is showcased by Mavarayee Dunya. The tune kicks off with a driving acoustic rhythm coupled with last electric lead.

The Sabbathish lyrics question the purpose of it all, as Daar beckons the listener into a utopian idyll. Intense, but not over the top. Saadgi is another tune that channels Jimmy Page, as a rich, No Quarterish progressions work through this track that’ll require you to put your thinking caps. The stoned, swirling rhythm of bass, tabla and drums provides a fluid background.

Shoure is a stunning rocker that evokes memories of Beqarar – but this time with more punch. Asad’s spirited solo tethers off as Alan’s controlled kit keeps thing in check.

This track is the zenith of the album. Yeh Zindagi Hai is a driving redux of the Barbarian’s standard. Sameer’s relentless bas on this is the high point. The vocal effects added on for good measure keep things lively.