Bhangra is a generic term that has been adopted to describe modern Asian Pop Music. However it is actually the correct term for the traditional Agricultural folk music originating from the Punjab region in the sub-continent of India. Traditional Bhangra has always played a major part in the life of the people and forms an integral part of the fabric of the society.

Modern Bhangra began in the UK about twenty years ago and has its roots firmly in the traditional folk songs of the Punjab. Musically the traditional rhythms were adapted to modern musical instruments with the traditional Dhol, Dholkee, Tadh, Tumbi, Tabla and Sarangi providing the unique Bhangra sounds. The appeal to the young, first and second generation UK Asians was instant and the now legendary groups like Alaap, Chirag Pechan, and Heera became national household names. Not only did this new music give young Asians a modern dance music it also created a bridge across the cultural divide. This was the time of the Beatles and the growth of the electric guitar and electronic keyboards. In spite of early opposition from the elders its popularity with young Asians quickly overcame the objections. The growth of this modern music led to a revival of interest in traditional Bhangra amongst young Asians. Today there are traditional Bhangra Groups performing throughout the UK and they all have large numbers of young Asians in their number.

Within a short space of time the modern Bhangra music spread to all parts of the UK and then inevitably throughout the rest of the world. The UK is still today recognised as the centre of excellence for Bhangra Music. Within the UK the groups from the Midlands proved more resilient and today the vast majority of the top groups come from this area.

Whilst the Groups dominate, mainstream musical developments and technology have seen the emergence of artistes such as Apache Indian, Bally Sagoo and Taz of Stereo Nation (formerly Johnny Zee). The first two of course have had a major impact on the mainstream music scene.

There are probably about twenty to thirty active groups in the UK, mostly all male with the exception of Sangeeta, Najma Akhtar, and Sabeena. They rely on the publicity from the albums they produce to generate bookings for weddings and live shows.