Daboo Malik admits he is on a quest to achieve his “unrealised musical ambitions”. As sons Armaan and Amaal grow from strength to strength as singer and composer respectively, Malik says a fair share of introspection encouraged him to revisit his skills. “I was encouraged to launch my label because I understood that the kind of songs I had made [in the past], didn’t fit into [the mould] of commercial cinema. We recently made a song with Sunidhi [Chauhan], and it was shot at a place where I have spent my childhood. The song came from a personal space, and began to seem like a tribute to my father, and subsequently, my journey. I didn’t want to pitch it to another label and decided to take full onus. That is when I went through the legal process, and set up my label,” Malik tells mid-day, adding that he has a collection of 30 to 40 numbers that he is eager to share with listeners, through the platform.

The latest release, Doondhne Main Jo Chala, draws from his experiences to chronicle the journey of fathers. “It feels like yesterday that I was walking on the beach, holding my little sons, with dreams in my eyes. I was wavering between extreme moments of happiness and sadness. I am presenting this song with the hope that my silences are heard. I have poured my heart out.” 

If Armaan emerged to be among the most successful Indian singers to conquer international audiences with his track, Control, Amaal has been appeasing consumers of both, independent music, and commercial cinema. It is only fitting then that Malik Sr would turn to his sons to seek advice on listener tastes. “They both have the [ability] to [connect] with their fans. Often, they force me to create [tracks] with the tonality that they believe is relevant. They have an understanding of production [techniques] that are in demand, and have a finger on the listener’s pulse.”

While the father is happy to bow down to their suggestions when creating contemporary pieces, he prefers to call the shots when working on pure classical offerings. “When I am working on a song [that employs] the tabla and dholak, I make it pure and artistic. We are dabbling in all kinds of genres, including qawwali, and Marathi and Bengali music.” 

A fair share of his prime was spent playing by the rules of commercial cinema. “I fell into the trap,” he says of the decade when composers didn’t enjoy sufficient liberty to introduce variety. “We had to compete with, and abide by all that was happening at the time. Even while creating remixes, like we did in Maine Dil Tujhko Diya, we had to be restrained while being experimental.”

But the current lot, he says, is uninhibited when approaching their craft. “They are free-spirited. When we are in the studio with multiple artistes, we notice that no singer tries to prove a point [by underplaying the other]. Each one simply tries to listen to the notes, and respond to them. One can see that the process is more enjoyable now.” 

In the pipeline for Malik is another classical song with Chauhan, and a single with Armaan. “The latter is crucial since it marks my first independent single with my son. It will be picturised on him. The family is also contemplating creating a song with Armaan, Amaal and me.”