kˈɑːnz pˌɑːpjʊlˈæɹᵻɾi ɪnðɪ ˈɪndiən sʌbkˈɑːntɪnənt lˈɛd tə ðɪ ɪmˈɜːdʒəns ʌv fjˈuːʒən ʒˈɑːnɹəz sˈʌtʃ ɐz sˈuːfi ɹˈɑːk ænd tˈɛknoʊ kɔːwˈɑːli ɪn sˈaʊθ ˈeɪʒən pˈɑːpjʊlɚ mjˈuːzɪk pˌækɪstˈæni pˈɑːp, ɪndˈaɪpˈɑːp, bˈɑːliwˌʊd mjˈuːzɪk ænd bɹˈɪɾɪʃˈeɪʒən mjˈuːzɪk ɪnðə nˈaɪntiːnhˈʌndɹɪd nˈaɪnti z wˌɪtʃ kəmbˈaɪn ðə tɹɐdˈɪʃənəl tɹˈænslˈaɪk zˈɪkɚ hˈɛdbæŋɪŋ ʌv kɔːwˈɑːli wɪð ˈɛlɪmənts ʌv mˈɑːdɚn ɹˈɑːk, tˈɛknoʊ ɔːɹ dˈæns mjˈuːzɪk, wˌɪtʃ hɐz əkˈeɪʒənəli bˌɪn mˈɛt wɪð kɹˈɪɾɪsˌɪzəm ænd kˈɑːntɹəvˌɜːsi fɹʌm tɹɐdˈɪʃənəl sˈuːfi ænd kɔːwˈɑːli sˈɜːkəlz.
Khan's popularity in the Indian subcontinent led to the emergence of fusion genres such as Sufi rock and techno qawwali in South Asian popular music (Pakistani pop, Indi-pop, Bollywood music and British-Asian music) in the 1990s which combine the traditional trance-like zikr headbanging of Qawwali with elements of modern rock, techno or dance music, which has occasionally been met with criticism and controversy from traditional Sufi and Qawwali circles.