He was seven or eight years old when he wrote his first poem.
There was no notebook. He wrote it on a white chart, in a child’s careful hand, and then — with the fearless confidence only a child possesses — he hung it on the wall of his own home for everyone to see.
The lines were about a storm:
Samandar ka kinara toot gaya toofan se,
Ret ke zarre bikhar gaye toofan se.“The shore of the sea was broken by the storm,
the grains of sand scattered by the storm.”
His father — a Christian high school teacher — read it and was amazed. Not merely because his young son had written something, but because of what he heard in it: the lines had rhythm. They had meter. They moved. A boy who had studied nothing about poetry had produced two lines that carried a beat, and an image of a storm strong enough to break a shoreline.
His father’s joy that day settled something in the boy that never left him. This was a gift, and it had come from God.
The Rooftop Years
In Pakistan, families sleep on the roof when the nights are hot. And that flat rooftop, under an open sky, became the first sanctuary of a songwriter.
Long after the household slept, a boy would lie on his back and look up at the stars — and sing. Not performing. Not practising. Searching.
He was searching for God. He was searching for purpose. He was asking the questions that every serious soul eventually asks, and he was asking them in the only language that seemed large enough for them: melody.
The songs came on that roof. Words first, then a tune to carry them — melodies unlike anything he had been taught, because nobody had taught him. He simply heard them, and they were his own.
Hundreds of Songs, Kept in Silence
Here is the part of the story that surprises everyone who hears it.
He wrote hundreds of songs. He composed melodies for them. And for most of his life, he told almost no one.
They were not written for release. They were not written for a stage, an album, or a name. They were written because something inside him could not stop writing, and because the writing itself was a form of prayer. So the songs stayed — in notebooks, in memory, in the private space between a man and his God.
Some songs he carried for ten years or more before he considered them finished. A line would be right but the next one not yet; a melody would be almost true, but not quite. So he would leave it, and return to it years later — sometimes a decade later — and finish what the Holy Spirit had begun.
That patience shows. The songs that finally emerged have touched thousands of lives, and they carry a quality that hurried writing never produces.
The Songs Themselves
The catalogue reaches across the whole life of the church:
- Christmas geet — songs for the season when the Pakistani church sings loudest
- Easter songs — the Cross and the empty tomb
- Sunday School songs — for children, so that the Word enters young hearts through a chorus
- Evangelism songs — written to be sung where the Gospel is not yet known
- Revival songs — for the meetings where God moves
- Songs of forgiveness and of prayer — the quiet ones, written for the wounded
They come from different seasons and different sorrows, but they share one thing: they were written from the heart, with the help of the Holy Spirit, not assembled to a formula. They belong to the wider tradition of Urdu Gospel songs and masihi geet that the Pakistani church has carried for generations.
“God Wants Me to Write”
There is an unusual discipline in how these songs reach the world.
Rev. Dr. Naeem Nasir sings — but almost only when he is creating. The melody arrives through his own voice; that is how a song is born. Yet when the song is finished, he does something most songwriters find nearly impossible.
He gives it away.
He prefers to hand his songs to other Gospel singers — to let another voice carry what he wrote. Over the years, music directors have urged him repeatedly to record his own songs himself. You should sing these. This is your voice. His answer has been consistent:
“God wants me to write and to compose, for now.”
He does believe a day will come when he sings publicly. But he has never forced that day, and he has never let the desire for it interrupt the work he believes he was actually given. In the meantime, other singers have found their calling through songs he wrote and never performed — which is its own kind of ministry, quietly practised for decades. It is the same conviction behind Gospel Voice of Pakistan: that the gift matters more than the name attached to it.
Why the Songs Waited So Long
There is a simple reason so much of this remained unheard: the man was busy building other things.
He is the Founding President of Good Samaritan Ministries Pakistan, established in 2009 — a ministry that has distributed more than 150,000 Bibles across Pakistan, trained over a thousand church leaders, and built the Maranatha school, which educates hundreds of children from the poorest Christian families. He serves as Senior Pastor of Good Samaritan Church of Pakistan, as President of Revelation Bible College & Seminary, and as President of Revelation TV Inc. in the United States.
He is also the founder of the Urdu Church App — the largest Christian app ever built for Urdu-speaking believers, carrying the complete Urdu Bible, hundreds of sermons, Bible college programs, free education, and worship for believers in Pakistan and across the world.
Bibles to distribute. Leaders to train. Children to educate. A church to shepherd. An app to build for a whole community.
And through all of it, in the margins of an overloaded life, the songs kept coming — and kept waiting.
Why They Are Being Released Now
Urdu Worship exists to open that vault.
The songs written on a rooftop under Pakistani stars, the ones finished after ten years of patience, the Christmas geet and the Easter songs and the children’s choruses — they were never meant to stay in a notebook. They were written for the church.
So they are being recorded, sung by gifted Gospel singers, and released one by one, freely, for anyone who wants to worship in the language of their heart.
The boy who hung a poem about a storm on his wall could not have known where those two lines would lead. But his father heard the rhythm in them, and God had already put the gift in place.
The storm scattered the sand. The songs remained.
Listen to the songs at Urdu Worship — and subscribe to our YouTube channel, where every new masihi geet is released. You can also read more about the songwriter.
Find Urdu worship songs, the Zaboor, and the complete Urdu Bible free in the Urdu Church App — search “Urdu Church” on the App Store or Google Play.
“O sing unto the LORD a new song: sing unto the LORD, all the earth.” — Psalm 96:1
