In recent days, the Valley has once again found itself at the crossroads of conflicting narratives. The latest controversy surrounding Sonu Nigam’s concert in Kashmir highlights how certain radical elements continue to exploit every opportunity to deepen social and ideological divides. Ironically, while millions across the country enjoy Sonu Nigam’s songs on radio, television and mobile platforms without objection, the same artist’s live concert in the Valley has become a target of unwarranted outrage. This selective outrage raises an important question: Are these objections truly about cultural expression, or are they part of a larger attempt to hinder the region’s journey toward peace, progress and normalcy?
Following the tragic Pahalgam terror attack, the idea of organizing Sonu Nigam’s concert was more than just an entertainment event — it was a powerful and symbolic gesture. The concert represented hope, healing and the collective will to rise above the shadows of violence. It was a step toward reviving tourism, rejuvenating the local economy and sending a strong message that Kashmir remains a place of beauty, culture and resilience. Unfortunately, this noble intent was met with a wave of resistance from certain quarters — including self-proclaimed local influencers, religious figures and social media handles, many of which operate from outside the region. They amplified the #BoycottSonuNigam campaign, using misinformation and emotional manipulation to provoke public sentiment.
Most of these campaigns have little to do with genuine local concerns. Instead, they stem from radical ideologies that thrive on creating discord and polarization. These elements feed off controversy, deliberately opposing initiatives that bring communities together. Their aim is simple: to maintain a cycle of unrest and suspicion that prevents social and cultural integration. What is particularly worrying is the growing sophistication of their methods — using digital platforms, short-form videos and selective messaging to target impressionable minds, especially among the youth. The narrative war, once fought on streets and in political debates, has now shifted to the virtual space, where half-truths and emotive content can shape perceptions faster than facts.
The opposition to Sonu Nigam’s concert is not an isolated episode; it is part of a broader trend where every attempt to promote normalcy in the Valley is viewed with skepticism or hostility. Be it sports tournaments, cultural festivals or tourism initiatives, there is always a section that resists them under one pretext or another. Such resistance is not just regressive but harmful to the social fabric of Kashmir. Culture, art and music are universal languages that transcend religious, ethnic and regional boundaries. They bring people together, foster dialogue and create shared experiences that build trust. Denying the people of Kashmir these opportunities only strengthens those who want to portray the region as closed, intolerant and trapped in perpetual conflict.
It is crucial to understand that the battle being fought today is not just territorial or political — it is a battle of narratives. The ideological and information warfare has become a potent tool in shaping the image of Kashmir, both nationally and internationally. Unfortunately, this is an area where we continue to lag behind. While radical voices use online platforms to project Kashmir as a land of extremism and alienation, the majority of peace-loving citizens find themselves outnumbered or drowned out. The silence of the moderate majority often gives space to the loud and aggressive minority that thrives on negativity. The result is a distorted narrative — one that misrepresents the aspirations of ordinary Kashmiris who simply wish for peace, prosperity and progress.
The danger of allowing such divisive narratives to grow unchecked cannot be overstated. These self-proclaimed influencers and religious preachers often behave as if they hold unquestionable authority to dictate cultural and moral boundaries. They issue moral decrees, promote intolerance and attempt to shame anyone who dares to think differently. This mindset is reminiscent of monarchical or theocratic systems where personal freedoms and social plurality are sacrificed at the altar of dogma. In a democratic society like ours, such behavior not only undermines constitutional values but also weakens the spirit of inclusivity that defines India’s unity in diversity.
The recent trends echo past incidents such as the misinformation wave during Operation Sindoor, where false narratives and anti-national propaganda spread rapidly across social media platforms. Those same actors are now leveraging their digital reach to oppose cultural and entertainment events under the guise of protecting religious sentiments. In reality, their campaigns are carefully crafted to erode confidence in governance, create mistrust among communities and discourage initiatives that symbolize normalcy. The tragedy is that many young people, unaware of the deeper motives behind such propaganda, fall into the trap of online radicalization and echo these sentiments without questioning them.
If these elements are not identified and countered effectively, their influence will continue to grow, shaping public discourse in dangerous directions. The responsibility, therefore, lies not only with the government or security agencies but also with civil society, media and the common citizen. Social media platforms, while offering a voice to everyone, also demand responsible usage. It is the collective duty of content creators, influencers and community leaders to ensure that their platforms are used to promote harmony, not hatred; dialogue, not division. The youth of Kashmir must be encouraged to participate in positive storytelling — to use art, music and technology to project the Valley’s true identity as a land of culture, beauty and resilience.
Equally important is the role of institutions in nurturing cultural confidence. Organizing concerts, film festivals and art exhibitions should not be viewed as trivial entertainment, but as crucial components of psychological and social recovery. Such events create spaces where people can come together, forget divisions and celebrate their shared humanity. They send a message that despite differences in faith or ideology, the people of Kashmir stand united in their desire for peace and progress. When artists like Sonu Nigam perform in the Valley, they are not merely singing songs — they are helping heal wounds, bridging divides and reminding everyone that music and love are stronger than fear and hatred.
Kashmir’s story is not one of perpetual conflict; it is a story of resilience, hospitality and coexistence. For centuries, the Valley has been a meeting point of cultures, a place where poets, mystics and musicians found inspiration. That spirit must not be allowed to fade under the pressure of divisive ideologies. Those who oppose concerts, sports events or tourism drives in the name of faith or identity are, knowingly or unknowingly, contributing to a narrative that benefits none — not the people, not the region and certainly not the spirit of Kashmiriyat.
The opposition to Sonu Nigam’s concert is, therefore, not just an attack on an artist but an attack on the idea of Kashmir returning to normalcy. It is an attempt to keep the wounds of the past open and prevent the healing process from taking root. The best response to such negativity is not confrontation, but continuation to keep organizing, participating, and celebrating life. Every song sung, every match played and every festival celebrated is a statement of defiance against those who want darkness to prevail over light.
In the end, the real victory for Kashmir will not come from silencing critics or punishing dissenters, but from outshining them through unity, creativity and confidence. The youth must lead this change, reclaiming their narrative from those who seek to control it. By embracing art, culture and modernity, Kashmir can send a powerful message to the world: that it is not a land of conflict, but a cradle of peace and promise.
If these elements are not identified and countered effectively, their influence will continue to grow, shaping public discourse in dangerous directions. Responsibility lies not only with the government or security agencies but also with civil society, media, and citizens. Social media, while offering a voice to all, demands responsible usage. Content creators, influencers, and community leaders must use their platforms to promote harmony, not hatred; dialogue, not division. Kashmir’s youth should be encouraged to engage in positive storytelling — using art, music, and technology to project the Valley’s true identity as a land of culture, beauty, and resilience.
Equally important is the role of institutions in nurturing cultural confidence. Organizing concerts, film festivals, and art exhibitions should be seen not as trivial entertainment but as essential components of social recovery. These events create spaces where people can forget divisions and celebrate shared humanity. Artists like Sonu Nigam do more than perform; they help heal wounds, bridge divides, and remind everyone that music and love are stronger than fear and hatred.
Kashmir’s story is not one of perpetual conflict; it is a story of resilience, hospitality, and coexistence. For centuries, the Valley has been a meeting point of cultures, inspiring poets, mystics, and musicians. That spirit must not fade under the pressure of divisive ideologies. Those opposing concerts, sports events, or tourism drives in the name of faith or identity contribute to a narrative that benefits none — neither the people, nor the region, nor Kashmiriyat.
The opposition to Sonu Nigam’s concert is not just an attack on an artist but an attempt to prevent Kashmir’s healing and return to normalcy. The best response is not confrontation but continued engagement — organizing, participating, and celebrating life. Every song sung, match played, and festival celebrated defies those who want darkness over light.
True victory for Kashmir will not come from silencing critics but from outshining them through unity, creativity, and confidence. The youth must reclaim the narrative, embracing art, culture, and modernity to show the world that Kashmir is not a land of conflict but a cradle of peace, promise, and enduring resilience.