Today, when hit music in Bollywood has become synonymous with rap and pop, there are only a handful of artistes who believe in the power of melody. Papon, who rose to fame with the heart-rending Jiyein kyun a few years ago, is one such singer. He returned to floor audiences in 2015 with Moh moh ke dhaage. As his new song Titli is gaining popularity, we engage him in a quick chat. Excerpts:

On what basis do you choose a song?
The tune, the melody, the lyrics everything has to be balanced. A song's success depends on the right mix of every element. Be it the com position itself or its production, everything plays a key role in how it shapes up. People often have melody but don't know how to use it well. However, the most essential element for me is the lyrics. If the words don't make a great story then nothing can save the song.

Did the lack of a filmi lineage ever feel like a disadvantage?
It is not just in this industry where people are skeptical about those they don't know. It happens everywhere. People in this industry want to try fresh talent but sometimes they think twice. Likewise, there are some who don't lap up known people easily. However, someone from the fraternity will get an easier access.

In what genre does your forte lie?
I think Moh moh ke dhaage is a semi-classical ghazal whereas Jiyein kyun is rock. Love songs, irrespective of any genre, are my forte.

Your voice doesn't fit into the mould of quintessential playback singing.
I have been told my voice is nashili. I feel blessed with it. But mostly, it is the approach towards music that defines a singer. My focus is always on the song. I never pre-plan but lose myself in the melody. With experience, I know how to play my voice to strengthen the song. Now more than ever before, there is a greater involvement of my voice and its texture in enhancing each song. Only one element cannot make a good song. A good mix of lyrics, melody and music make songs that touch your heart. Eventually, it is only those compositions that live on. Singing from the heart is my only goal. I close my eyes, paint a mental picture and the track is my narrative. I live in that moment.

You come from the land of Bhupen Hazarika. Did he inspire you when you were growing up?
More than Bhupen Hazarika, I have been a fan of my father, Khagen Mahanta. He was a legend in Assam and was called the Bihu Samrat. He was inventive and gave Bihu a contemporary twist. The earthiness in my voice comes from him while the classical base comes from my mother.

The North East is so rich musically but there aren't many singers from there in Bollywood. What do you think is the reason?
There is a lot of awesome music in that region. It is a good confluence of Mongolian and rock music. Almost everyone plays some instrument or the other. But people, over there, don't want to step out of their comfort zone. On a lighter note, I feel they are too lazy. They don't want to cross all the rivers and the hills to come here. (laughs) There are many Assamese musicians who are promising but somehow they don't want to crossover to mainstream. People don't have the aggressive survival spirit.

Do you think it is this laidback quality that makes their music better?
Perhaps. People are so happy there that the same vibe reflects in their music. They are in love with what they are doing and don't want to explore more.

You are essentially an independent musician. Do you prefer that over playback?
At heart, I am an independent musician. I love to do my own production. I do a lot of indie albums especially in Assamese, some of which have got cult status back home. I like that side of me but I am enjoying playback. Singing for others pushes you out of your own comfort zone. Finding magic in someone else's magic can also be very satisfying. It is novel. I love the fact that I am discovering newer things about my own work. It also helps in reaching out to places and people whom you can otherwise never reach.