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When Kashmir and Hasan Raheem announced ‘Jana Hai Wahin’, expectations were understandably split between indie-rock sincerity and playlist-friendly pop gloss. What the collaboration ultimately delivers is somewhere in the middle — a track with an interesting sonic idea, some genuinely cool guitar work, and vocals that serve the song as a connective tissue rather than becoming its emotional engine.

The music video, though, is far more confident about what it wants to be.

Set during an animated intergalactic space mission, it opens with a blunt distress message flashing across a cockpit screen: “Objective Orb has been obtained. Stranded on a deserted planet. Requesting backup!” From there, we’re dropped into a surprisingly tender sci-fi narrative where the four Kashmir band members, bruised and scattered across different planets, struggle to get their barely functioning spacecrafts off the ground.

There’s something quietly affecting about watching them try — and fail — repeatedly. Controls light up with hopeful “take off” signals, only for the engines to cut out moments later. In one sequence, Bilal Ali seems to finally get his ship working, only for it to stall again, like the universe itself has decided he’s not going anywhere just yet.

That’s when Raheem enters the story, not physically but as a holographic projection that appears to each of them, guiding them as they repair their crafts and slowly reunite. It’s a neat narrative choice, positioning Raheem as both collaborator and catalyst that pulls everyone back into the same orbit.

Even when they finally spot a glowing portal back to Earth, the video refuses to go easy on them. The opening starts shrinking, panic sets in, and they launch themselves towards it anyway. Just as things seem to be working out, one band member’s ship explodes, leaving him drifting helplessly in space — until another abandons his own escape to rescue him.

They make it through together in the end, waking up sprawled on grass, finally grounded after all that cosmic chaos.

Musically, ‘Jana Hai Wahin’ feels like it’s still negotiating with itself. The production is interesting, no doubt, and the guitars — especially that fuzzy riff simmering in the background — are easily the track’s strongest feature. There’s a version of this song where Kashmir lean fully into that rock texture, and it absolutely works.

Instead, the track keeps flirting with being electronic and indie-rock all at once, without fully committing to any of them. The rock element ends up carrying most of the emotional weight, while the rest feels more like aesthetic layering.

Vocally, the song never quite finds its centre. Bilal Ali’s first verse is easily the most engaging moment, grounding the track before it drifts off again. Raheem sounds fine, but his presence feels more functional than transformative here — pleasant, but not particularly memorable. For a collaboration that should ideally feel like a meeting of distinct musical personalities, the vocals end up feeling like filler between the instrumental highs.

Still, there’s something quietly likeable about the attempt. Even when it doesn’t fully land, ‘Jana Hai Wahin’ carries enough sincerity — and enough genuinely cool guitar — to make it worth sitting through, especially when paired with a video that understands the emotional story it wants to tell.