Sonia Lulla (MID-DAY; March 1, 2021)

In the midst of the Coronavirus pandemic, Hariharan and Bickram Ghosh set out to study the less-explored parts of Kolkata. The city has held a special place in the hearts of the musicians, whose recent album, a collection of love songs, is brought to life against its backdrop. In an interview with mid-day, they discuss the album’s making. 

In the midst of the pandemic, Hariharan and Bickram Ghosh set out to study the less-explored parts of Kolkata. The city has held a special place in the hearts of the musicians, whose recent album, Ishq - Songs Of Love, a collection of love songs, is brought to life against its backdrop. In an interview with mid-day, they discuss the album’s making. 

Edited excerpts from the interview:

What were the challenges in showcasing the city of Kolkata in new light across six different videos?
Ghosh: Kolkata has incredible locations. Since we were operating during the pandemic and couldn’t travel frequently, we chose a city with incredible and diverse locations, and filmed with a small crew. Several places in Calcutta are unexplored. There are no similarities between any two videos. Some songs were shot in villages. One track, called Radha, was shot in a jute mill. The city’s variety worked to our advantage. Also, our director has worked in Calcutta and was familiar with various locations, as was the crew, which was also based in the city. 
Hariharan: We shot extensively. We filmed at the Metro, the Howrah Bridge, and at an amazing place called Hati Bagan, which has colourful houses and funky architecture. Since our songs are [melodious] and touching, we needed warm locations [to showcase them]. Also, the music that we were creating needed to be represented via Indian locales. 

How do you introduce variety in your music when making songs on one theme, in this case, the subject of love?
Ghosh: Since I knew that someone as versatile as Hari ji was going to be part of this project, I knew we needed spice in the music so that he could be challenged. When he finished rendering the songs, I went back to the [drawing board] to revisit the arrangements. I noticed what he had done, and the nuances that he had added, and then worked on the arrangements. There is so much versatility. We’ve used the tabla, mridangam, sitar, sarod, kanjira, and flute, and none of it is electronica.  

The album makes for easy-listening. But if you listen to it multiple times, it opens up. Each time that you listen to it, you’ll notice a certain expression in the voice, or in the arrangements. We have only released one video, and will release a new one every Monday. You will see that the variety you hear in the songs also extends to the videos. You will be transported to Calcutta. 

Hari sir, you have another album on the subject of love in the pipeline. Can you talk about that?
Hari: It includes ghazals. My style of composition is different from that of Bickram. My son [Akshay] is arranging the album, and the tonal quality and gayaki is different. This [album with Ghosh] is like singing a story. Ghazals are like being in conversation [with another person]. When you sing a geet, you sing to people; ghazals are about interacting with one person. It involves a different style of singing. I am also doing a fusion song. He is into electronic dance music, and sees classical  music through [that lens]. 

Are you noticing an increasing number of mainstream music listeners gravitate towards independent music styles? 
Hari: It is certainly happening. Music made for [cinema], is made for a situation, and is not actually music. In the ’90s, we had the support of channels and radio stations. That stopped after some time. But the digital platforms have allowed non-film genres to reach a wider group of people. 
Ghosh: Some non-film songs are garnering more hits than film songs. So, the traction they get is encouraging. Eventually, filmmakers will come to [independent artistes] to buy [our] song.