Showing posts with label Anirudh Ravichander. Show all posts
Showing posts with label Anirudh Ravichander. Show all posts
Shah Rukh Khan is like a godfather to me-Anirudh Ravichander
4:41 PM
Vinay MR Mishra (BOMBAY TIMES; April 17, 2026)
Composer Anirudh Ravichander has been a part of the south music industry for over a decade, but he entered the Hindi music space only recently. “I was always waiting for a banger debut in Hindi. Obviously, in the south, we’re doing a lot of films,” he says.
That moment arrived with Shah Rukh Khan’s Jawan. “It’s always a dream for any musician to work with him. That’s something on our bucket list. And I was glad that it happened. My Bollywood debut could be nothing bigger than Sir’s film,” he says.
'I became a part of Shah Rukh Khan's family'
What followed was not just a successful collaboration but a relationship that continues to shape his journey in Hindi cinema. “The rapport that we built, and the kind of sessions that we had with respect to jamming, was really very special. And he took me into his fold. So, I became part of the family now. Sir’s been one of the kindest and sweetest people. And he’s almost a godfather to me here,” he shares.
Since then, Anirudh has also composed for Shah Rukh's son Aryan Khan’s directorial debut The Ba***ds Of Bollywood (TBOB) and is currently working on the actor's upcoming action film King.
'We want to celebrate King Khan'
With King already shaping up to be one of next year’s most anticipated releases, expectations around its music are naturally high — especially following the success of Jawan and The Ba***ds Of Bollywood.
Addressing the pressure, Anirudh clarifies, “Sir makes sure that you don’t feel that (pressure). We just want to celebrate him. We just want to make sure that he gets the best. Sid (Sidharth Anand, director) and him have worked a lot on the film because they took some time, right, to start the film. They worked a lot on the film to make sure that it’s a banger. So, with respect to the music as well, we are giving our best. So hopefully, whenever it’s out next year, it’s another memorable time in our life.”
'Ed Sheeran was just an idea'
Talking about King’s music, there has been speculation around international singer Ed Sheeran making his Bollywood debut with the album. Ask Anirudh about it, and he says, “That was just an idea. It hasn’t been executed yet, so we can’t say that it’s going to be out. That hasn’t been finally done where… it was an idea where we should do something like that, but it’s not been done yet. But it will happen. I think it should. Either that or something big is on the cards.”
When music isn't just about the note but about 'notes', too
9:38 AM
Music is emerging as a valuable asset class with singers and composers launching their own labels to make more in royalty payments
Rajesh N Naidu (THE ECONOMIC TIMES; February 27, 2026)
Mumbai: In a shift mirroring a long-established trend in Western markets, a growing number of Indian composers and singers are launching their own music labels, signalling that music is increasingly being viewed as an asset class by both artists and investors, executives at independent labels, music licensing platforms and industry analysts said.
Most recently, Tamil composer Anirudh Ravichander launched Albuquerque Records, his own music label.
Over the past six to seven years, at least eight prominent artists have set up similar ventures, including Salim Merchant, A R Rahman, Badshah, Armaan Malik, Sanjay Leela Bhansali and Arijit Singh. The move reflects a broader push by artists to retain control over intellectual property and capture a larger share of long-term revenue streams.
“Over the past four to five years, India’s music industry ecosystem has become fairer and more transparent. Singers and composers have realized that music has genuinely become a very valuable asset class which they can monetize in different ways,” explained Gaurav Dagaonkar, co-founder and CEO of Hoopr, a leading platform for music licensing.
A favourable revenue structure involved in functioning as a label is a key reason why artists are launching their own labels.
“It is a great time to be an independent artist. Today, seven out of the top ten songs on audio streaming platform Spotify are non-film songs, which shows the growing importance of independent artists in the music ecosystem. By launching a label, an artist gets the share of labels in royalties. They also own perpetual rights to their creations. This is a much better deal for them,” said Shivansh Jindal, CEO, Merchant Records, a label launched by music composer duo Salim-Sulaiman.
Apart from streaming, publishing, licensing platforms, YouTube and other digital avenues, music labels earn revenues from royalties (from audio streamers as well). The revenue structure of royalty payment is as follows: 50% goes to labels, and the remaining 50% of royalty revenues is equally shared by composers and lyricists. Singers earn revenues from payments either by composers or labels and from concerts. So, when composers or singers launch their own labels, they earn 50% of the royalties earned by labels, in addition to their own share of earnings.
Increasingly, labels fetch attractive valuations in the long run, music licensing players said.
“Today, private equity investors and HNIs are interested in music assets. They want to now invest in intellectual property. And music is good for long-term monetization," shared a CEO of a leading platform for music licensing. "Also, labels, when acquired by private equity investors, can generate 10 to 25 times returns on investments. Emerging labels are good candidates for acquisition by large labels as well,” he added.
“Beyond the acquisition of music IPs, these strategic investors have realized that music assets provide almost consistent revenues from various digital avenues available in the music ecosystem. One must also bear in mind investing in labels can be a way of portfolio diversification for these investors,” he explained.
In launching one’s own label, artists gain creative freedom under their own labels. “A label frees artists from the constraints of film music. They can create music the way they want to. Independent artists also nurture new talent through their labels. So, in a way, they give back to the industry what they have rightfully earned through their labels,” said Aditya Kalia, an independent music business professional.
The Journey to Launching Music Labels:
- On average, singers generally earn between 2 lakhs to 10 lakhs a song
- Singers earn from concerts—a strong revenue source.
- Royalty Revenue Structure: 50%--labels, 25%--composers, 25%--lyricists
- In launching labels, composers gain more than singers as their share goes up to 75% in royalties.
- Singers gain 50% of royalties in launching labels apart from perpetual rights to creations
- Globally, more composers than singers launch labels.
- Film Music fraught with uncertainty as stories do not demand songs and films flop
- Young artists reinvest money earned from concerts and digital avenues to launch labels
I know the audience will be coming for Dua Lipa, but I hope to leave a lasting impact-Jonita Gandhi
8:06 AM
Roopa Radhakrishnan (BOMBAY TIMES; October 15, 2024)
Jonita Gandhi is thrilled to be opening for Dua Lipa’s upcoming concert in Mumbai. In a chat with us, she reflects on her journey so far, as she touches upon everything — from fashion to difference between performing in an A R Rahman’s and Anirudh Ravichander’s concert.
ON BEING THE OPENING ACT FOR DUA LIPA’S UPCOMING CONCERT...
I’m excited, nervous... I don’t know how to feel. I have been following Dua Lipa’s music for years; she’s an artiste I look up to. Her growth has been inspiring to watch. Her voice is powerful, and her music is infectious; it brings people together. I know the audience will be coming there for Dua, but I hope to leave a lasting impact with my performance so that the audience ends up seeing me as well.
On the difference between performing with ARR & Anirudh...
I am grateful to perform at the concerts of these two incredible artistes. Rahman sir’s and Anirudh’s music and audience demographics are very different, and as a performer, I get to experiment differently in both their concerts. I take both opportunities seriously, and I adapt and mould my performance style accordingly. But it’s more about the repertoire I’m singing than the artiste I’m accompanying. For instance, if it’s a semi-classical or soft song, I may choose to dress and perform it with more grace.
‘I FELT THAT VIDA KARO WAS SPECIAL WHEN I SANG IT, BUT I HAD NO IDEA HOW MUCH AUDIENCES WOULD LOVE IT’
I feel blessed to have sung Vida Karo. The song is extremely unique; it was appreciated for being a breath of fresh air at a time when no other music like that was releasing. I felt that the song was special when I sang it, but I had no idea how much audiences would love it. I was pleasantly surprised to see the song do so well. Celebrating the success of the Chamkila soundtrack, we had a gathering of singers, and a video of us singing the song went viral. It was a beautiful experience to have such incredible musicians singing along with me.
‘I’VE BEEN ABLE TO USE FASHION TO EXPRESS MYSELF MORE IN THE RECENT YEARS’
I think I do this every day. But an example of how I used styling choices to express themes and culture is in my music video for Love Like That. We intentionally incorporated a mix of Indian and western elements in the styling to reflect the meeting of both worlds in the song. Fashion and style are a big part of everything I do as an artiste. I’ve been able to use it to express myself more in the recent years. There is so much storytelling and depth that we can achieve when we express ourselves through fashion.
ON THE SONG FROM HER DISCOGRAPHY THAT WAS THE HARDEST TO SING...
I think Saajan Aayo Re from OK Jaanu. It is a beautiful and intricate piece with Hindustani classical influences. It was one of my most difficult songs to sing in the studio.
For the longest time, people said that I couldn’t sing-Shilpa Rao
8:18 AM
Debarati S Sen (BOMBAY TIMES; August 31, 2024)
Shilpa Rao first sang for the Hindi film music industry over 17 years ago and since then, has had hits like Khuda Jaane, Kalank, Subhanallah, Bulleya, Ghungroo, Tere Hawaale, Chaleya and Besharam Rang among others to her credit.
In a conversation with us, this Grammy-nominated singer talks about creating a space for herself in the music industry despite her voice being termed unconventional at the beginning of her career. Excerpts:
Initially, your voice was termed unconventional. Did you face challenges to get a break in the music industry because of that?
Throughout my childhood, people said I couldn’t sing, and I believed them. Back then, I was learning to sing because I liked music. I never thought I’d be a musician. I wasn’t very goal-oriented, in that sense. Even now, I am learning music because it brings me happiness. Also, today, I don’t think much about what people say. I just believe in working hard. People can say whatever they want, but we must filter out the comments that are not relevant. If someone like Rashid Khan sahab would say something to me, I would listen and see value in it, but not from everyone. It's important to use your own mind, pick things that you're passionate about, work hard on that and listen to people who are wiser than you. Like, if Pritam tells me something, I will think hard.
How did you manage to find your voice even after facing criticism at a young age?
I think it helped me when people said I couldn’t sing (laughs). On a serious note, my parents instilled in me the idea of having my own voice and opinions, which shielded me from being too affected by others’ opinions. My dad always believed in learning music because it enriches your life, and I still hold onto that outlook. My voice was nurtured by my parents, who were big fans of artistes like Begum Akhtar, Prabha Atre ji, and Parween Sultana ji. I was fortunate to have seen some of them perform live as a child. Listening to Farida Khanum was also common in our house. My parents instilled in me the idea of having my own voice and opinions, which shielded me from being too affected by others' opinions on my singing abilities. My dad always believed in learning music because it enriches your life, and I still hold onto that outlook. Attaching happiness, love and good energy to my songs translates to the audience, and that’s important to me.
You’ve sung numerous popular Bollywood songs in the past few years. What’s your process when it comes to singing?
For me, it’s about approaching each studio session as if it were my first. Every recording is a fresh opportunity to connect with music, like a child in a chocolate factory exploring new flavours. For instance, when I was first told about Kaavaalaa (Jailer, 2023), I wondered why Anirudh (composer Anirudh Ravichander) chose me for it, as it was unlike anything I had sung before. However, trusting the composer and director’s vision is crucial. With Besharam Rang (Pathaan, 2022), Siddharth Anand was confident about me singing it. That meant a lot to me. People have told me how much they have loved the song. Sometimes, it’s not just about singing for a movie, it’s also about the emotional attachment people form with the song. So, having faith in what you do is essential.
During recording sessions, is your input as a singer considered?
Yes, always. Artistes who have been in the industry for a long time, whether it’s Pritam, Vishal-Shekhar or Mithoon, are always open to inputs from singers. They’re willing to listen to ideas and suggestions because they understand that it can only enhance the work. I enjoy collaborating with new people as witnessing their spontaneity and energy in the studio is amazing. There’s a unique dynamic that emerges when you bounce off ideas and energy, and often, something magical happens when they listen to your input.
You'd said earlier ‘Kalank’ took three months to complete. Which other song has been challenging for you?
Every song requires dedication and hard work. But if I had to pick, Mudhi Mudhi Ittefaq Se (Paa, 2009) was particularly challenging. I worked with Ilaiyaraaja Sir for that song, and he is known for his discipline and perfection. Impressing him wasn’t easy. Gustakh Dil (English Vinglish, 2012) was also tough because it conveyed complex emotions. Bulleya (Ae Dil Hai Mushkil, 2016), too, posed its own challenges, depicting a unique relationship dynamic.
And are there any songs that you breezed through?
I’d say "Manmarziyan" was definitely one of those songs. It felt tailor-made for me, and Amitabh (Bhattacharya) and I wrapped it up in just 30 minutes. It's quite rare for things to come together so seamlessly like that. Initially, it wasn't even called Manmarziyan, but as soon as I sang the first line, Amitabh immediately named it. Another quick recording was Chaleya. We finished the recording in just 20 minutes because we were both (composer Anirudh Ravichander) present, making decisions swiftly and bouncing off each other's energies. It really does make a difference when you have multiple perspectives in the room, including the composer, lyricist, and sometimes the director. When you're alone, it's challenging to navigate all those possibilities.
In an industry where most songs are male dominated, Tere Hawaale from Laal Singh Chaddha was one of those rare ones where male and female voices were given equal weightage. How did this song come about? How involved were you all?
Tere Hawaale is an ideal duet. The film is not just about one character; it's about the parallel lives of Laal Singh and Rupa, intersecting and drifting apart. The song reflects this journey, where they finally acknowledge their need to be together. It took a lot of time to perfect. We started working on it before COVID in 2019 and experimented with different ways of singing the two lines, and then the final recordings were done. Aamir Khan sir felt that the last part should be from Rupa’s (Kareena Kapoor Khan’s character in the film) perspective to conclude the song properly. It was truly a collaborative effort.
After Kolaveri, we realized language is never a barrier-Anirudh
8:08 AM
M Suganth (BOMBAY TIMES; July 12, 2024)
Ever since he burst on to the scene with Kolaveri (3), in 2011, Anirudh has bcome one of the sought-after composers in Indian cinema. In 2023, he made his Bollywood debut with Jawan, and this year, his slate is filled with films featuring big stars, with Kamal Haasan-starrer Indian 2 being the first of those. In an exclusive interview, the composer opens up to us on the challenge of composing for a Shankar film, how he chose to deal with the pressure of comparisons to A R Rahman’s work in the original film, his learning from Jawan and more...
‘THE MAIN CHALLENGE WITH INDIAN 2 WAS PSYCHOLOGICAL’
Any sequel comes with extra expectations. More so if it is that of a cult film like Indian. So, the main challenge was to psychologically let go of such thoughts and enjoy the process. Contrary to popular belief, I find it very difficult to make dance numbers; I take the longest time to make them. Shankar sir’s vision is so huge that we have to match it sonically, which was a wonderful challenge to face.
‘SHANKAR SIR AND I JAMMED LIKE TWO FRIENDS’
It was a dream for me to even make music for one film. Being a ’90s kid, I always looked up to Shankar sir. So, when he told me I’d be his music director, it was indeed a special moment. The characteristic that differentiates him is that he already has a clear vision of what every song should speak about, and more so, how every frame of it will look. All the songs had specific themes even before we started composing them. Most of the songs of both Indian 2 and 3 were composed in 2017/18. In fact, all our sessions together were just like two friends jamming in my studio.
ON HANDLING THE PRESSURE OF COMPARISON WITH AR RAHMAN’S WORK IN THE ORIGINAL INDIAN...
Magic can never be recreated; one must create his or her own. From Day 1, it was a conscious decision to not take that pressure to heart and enjoy the process. Every film comes with the pressure of delivering bigger chartbusters than our previous outing. And we enjoy that pressure. It’s that pressure that makes us push the boundary every time. With respect to Indian 2, it was a series of enjoyable jam sessions with Shankar sir. Again, the emphasis was on different genres for different audiences. Fans of the original Indian’s patriotic soundtrack would appreciate Paaraa and Neelorpam. Kadharalz and Comeback Indian, on the other hand, were aimed at dance reel makers.
‘WITH JAWAN, I LEARNED LARGER-THANLIFE FILMS NEVER GO OUT OF FASHION’
Whether the film is made in Bombay or here in Chennai, the music comes out of Alwarpet (the Chennai locality where he has his studio). So, the experience with Jawan was similar to that of working on every other film. The takeaway was the happiness of entering a new market with such a big success. I’m ever thankful to SRK sir and Atlee for trusting in me. Working on the film, we learned that larger-than-life films will never go out of fashion. In fact, they will always be the most celebrated.
‘LANGUAGE BARRIER IS BEING BROKEN MORE AND MORE EVERY DAY’
Many composers and indie artistes work on a Bollywood film. Then, the score is done by someone else. So, that’s a pattern that works there. Here, we still have one composer who lives with the whole film. That said, immediately after Kolaveri, we (he and his team) realised language is never a barrier. And that barrier is being broken more and more every day.
‘SUCCESS COMES WITH TALENT, BUT THE REAL GAME IS SUSTAINING’
If one is talented, there will be a time that success beckons. But the real game is sustaining. And that is possible only if you update yourself with the times. Maybe I was today’s generation when 3 was released. But now, I know there’s a generation after me, and I make sure to keep myself updated. In fact, I am the eldest on my team. So, getting with the times is pretty organic and enjoyable.
‘COMPARING ERAS IS A WASTEFUL EXERCISE’
I feel we are blessed to be in an age with so many new composers. Not just now, but from the time we started, there has been an influx of wonderful musicians all around the country. And I listen to everyone. Most of them are my buddies; we even share our softwares and instruments. Comparing eras is a wasteful exercise. As I said at the audio launch of Indian 2, nobody can be the next someone. We should aim to carve our own niche.
Anirudh on his 2024 films:
- Vettaiyan is a strong, rooted story with Superstar Rajinikanth. Fans can expect an earthy soundscape.
- Devara (starring Jr NTR) is a period seabased tribal film, which is also a new space for us.
- Vidaamuyarchi (starring Ajith Kumar) is a travel-based whodunit set abroad, so the sound of that would be more international.
On both Jawan and Indian 2 straddling the vigilante space:
Jawan was the next big step in my career, which we (he and his team) were patiently waiting for. And I’m ever thankful for the astounding success of the film and its music. Yes, both Jawan and Indian 2 straddle the vigilante space, but the vision of both directors was different, both storytelling-wise and music-wise.
Indian thatha is like Superman. I’m against restricting him inside boxes like age-Shankar
8:57 AM
M Suganth (BOMBAY TIMES; July 9, 2024)
For the past three decades, the name Shankar has been synonymous with grandeur and big-budget commercial films. The filmmaker, who has been working on two high-profile films — Indian 2, the sequel to his 1996 blockbuster Indian, and Game Changer, his first Telugu film — almost simultaneously, talks to us about why he reunited with Kamal Haasan for Indian 2, why corruption is an issue that needs to be addressed, opting for Anirudh over AR Rahman, the criticisms directed at him and more. Excerpts:
‘INITIALLY, EVEN I FELT THAT I MIGHT BE REPEATING MYSELF IF I DID INDIAN 2’
After 2.0, I was thinking of doing another sci-fi film. It didn’t demand a big star. It’s a film in which the character was more important than the actor playing it. Like, say Spider-man. But its budget demanded a big star, so I had to drop it. That is when the idea of Indian 2 struck. You come across news about corruption constantly. It has not been possible for us to eradicate it. So, what if Indian thatha were to return now? That thought was interesting for me. But even I felt I might be repeating myself as the idea for a film did not form within me. But once I started thinking about what all I shouldn’t be doing for the sequel to not seem repetitive, I started getting ideas for angles that might be novel and true to life.
‘IF NO ONE CONSIDERS CORRUPTION TO BE A SERIOUS ISSUE, DOES THAT MAKE IT RIGHT?’
Why would there be news about corruption if people have moved on from considering it a serious issue? So, the problem still exists. Just a few think that it’s no longer an important issue. Also, if no one considers corruption as a serious issue, does that make it right? In fact, that’s when the need to create awareness becomes bigger. If it has become an issue that people have gotten used to and are not shocked about, it becomes a necessity to remind them again of its evils.
‘I CONSIDER INDIAN THATHA TO BE A SUPERMAN-LIKE CHARACTER’
I consider Indian thatha to be a Superman-like character. I’m against restricting him inside boxes like age. I see him not as an old man but as a superhero who happens to be old. Also, Indian thatha is the collective form of all our anger — from a teen to an 80-year-old — against a social evil. Does anger have an age?
Kamal sir actually wanted us to do a sequel right after Indian as he felt there were more messages that could be given through this character. But at that time, I didn’t have a story to take this character forward and I had told him I’d reach out once I got a premise. When this idea struck, I went to Kamal sir, and he, too, loved it. Frankly, neither of us went into an exploration of what the character’s age would be in the present. Because if we begin to obsess over details like age, we’ll miss out on the chance to see a character that’s a representation of our anger.
‘I DIDN’T WANT TO BURDEN RAHMAN WITH THIS FILM AS HE WAS WORKING ON THE BACKGROUND SCORE OF 2.0 THEN’
I’m interested in working with many composers. Each one has their own, unique flavour. Fortunately, I’ve a great rapport with Rahman. In this film’s case, I’d completed the shoot of 2.0 but had to wait for a year for the VFX work. So, during this time, I almost finished scripting Indian 2. Kamal sir, too, was ready to shoot. But Rahman had a heavy workload with the background score of 2.0, so I did not want to burden him by asking for songs for this film. I enjoy the kind of music that Anirudh is coming up with, so I decided to get him on board. His songs are catchy, and his background score is also good. He gives a variety of songs, from melodies to fastpaced dance numbers, so I felt he’d be apt.
‘I DON’T START WITH TECHNOLOGY, AND DON’T LOOK AT WHAT SOMEONE ELSE IS DOING’
I believe in my imagination. Everyone’s imagination is their own. I don’t see what someone else is doing. I just think of what I need to execute to bring my imagination to life. In fact, 2.0 had a huge budget and scale. After that, I didn’t think of doing a film that was bigger than it in terms of budget and scale. I focus more on the thought that I have after a film. If that thought demands a bigger scale, then the film will be of the required scale. I only look at what I feel I should do next, the idea that I’m excited about, and what the audience is expecting from me. I try to find a story that satisfies all these factors and work on it. I don’t start with technology. I never think, ‘Oh, this technology is available today, so let me create a couple of scenes that might need it.’ It’s the story that demands all that.
‘Game Changer is my way of returning love of Telugu fans’
Thanks to producer A M Rathnam, who dubbed every single film of mine from Gentleman till Boys in Telugu, many people in the Telugu states have been following my work right from the beginning. I feel I owe something to that audience, and I have been wanting to do a film in their own language. Projects like a film with Chiranjeevi sir and a Telugu remake of Nanban didn’t materialize. With Game Changer, I finally got the opportunity to do a Telugu film. It’s my way of returning the love that they have been showing me. It’s a mass film that will have all the elements that audiences expect from my film.
On his writing process...
Once I arrive at an idea, I start thinking it over and expanding it. Later, I discuss with my assistants and turn it into a screenplay. Then, I bring in the dialogue writers. They read more than us and write in an even more detailed manner, in a language that’s powerful. So, even if we write a script, when our thoughts go through a writer’s mind and come out, they get a new flavour. But we have to rework it to use it for a medium like cinema. So, I do a rewrite, which is a huge process that can take 200-240 days. I begin this simultaneously as we start preproduction work and somehow manage to finish it right before we begin shooting.
‘Social media criticisms don’t bother me’
I do follow social media. Earlier, we used to look at newspapers, radio and then TV for feedback. Now, you do that with social media. Since it’s also part of this particular story, I had to keep track of it. But like everything else, this medium, too, has both good and bad. So, we have to pick and choose what’s constructive and ignore the rest. You just have to go to the profile of the person posting a negative comment to get an idea about the person, so you can easily ignore it if you find it not constructive. So, criticisms on social media don’t bother me. The criticism about me highlighting a specific caste also doesn’t hold. But some people want to view my films only through the prism of caste. With both Gentleman and Anniyan, the story decided the Brahminical milieu, which served as a contrast to the actions of the protagonists. I never want to be for or against any particular community. My films are made only from the common man’s point of view.
Check out the first look of the song 'Zinda Banda' from Shah Rukh Khan's Jawan
8:37 AM
After Jawan’s preview, SRK-Atlee to kick off promotional run with song Zinda banda, which was shot over five days with 1,000 dancers
Mohar Basu (MID-DAY; July 26, 2023)
What was the most striking part of Jawan’s preview? Shah Rukh Khan’s bald avatar, most will agree, with the action sequences coming a close second. Having caught everyone’s attention with the teaser, the superstar and director Atlee are ready to up the ante—instead of unveiling the film’s trailer, the duo will first launch the song, Zinda Banda, this week.
mid-day got a sneak peek into the dance number that sees Khan shake a leg with over 1,000 dancers.
We hear the track is designed as a massive celebration number. A source reveals, “Atlee wanted a song mounted on a grand scale that does justice to the leading man’s aura and endless energy. He roped in music director Anirudh Ravichander to compose and render a foot-tapping number. Anirudh and choreographer Shobi then imagined Zinda Banda, which was shot over five days in Chennai, with over 1,000 dancers flown in from Hyderabad, Bengaluru, Madurai and Mumbai. It is produced on a whopping budget of over Rs 15 crore.”
With the first song, the team will kick off the promotional run of Jawan, leading up to its September 7 release. The actioner not only marks Atlee’s Bollywood debut, but also sees Tamil stars Vijay Sethupathi and Nayanthara foray into Hindi cinema.
Kaavaalaa has blown out of proportion. I never expected it to become this big-Shilpa Rao
8:35 AM
Sugandha Rawal (HINDUSTAN TIMES; July 24, 2023)
Kaavaalaa, the song featuring actors Rajinikanth and Tamannaah Bhatia, has taken social media by storm with countless reels and versions being made on it. Singer Shilpa Rao, who debuted in the Tamil music industry with the track, is overwhelmed. “It has blown out of proportion. I never expected it to become this big,” she exclaims.
The Anirudh Ravichander composition is a part of the film Jailer’s soundtrack. Rao says she wanted to be very sure of her Tamil music debut. “This is my first Tamil song and I wanted to do it right, so that it sounds convincing. It has gone beyond everyone’s expectations, not only in India, but also abroad. We have been ecstatic about the love it has received,” says the 39-year-old.
The singer credits the composer for helping her get the song right. “Anirudh helped me with every word and line. From getting the right pronunciation to being on point with the rhythm, he helped me with everything,” says Rao.
Having seen some viral videos on social media, the Besharam Rang (Pathaan) singer gushes, “It’s amazing how a piece of music can bring people together. It only shows that music knows no language or bar.”
I recorded Brahmastra's song from my hotel room in USA-Jonita Gandhi
8:02 AM
M Suganth (BOMBAY TIMES; February 24, 2023)
Her Tamil hit Arabic Kuthu went viral last year, and Jonita Gandhi believes the song has broken the language barrier. The singer tells us about what the song has done for her and how the pandemic has helped indie music. Excerpts:
How have things changed after Arabic Kuthu?
Arabic Kuthu is my highest streamed song. I think it must also be the most-viewed song of mine on YouTube. It has helped put a face to my voice even with those who already knew me as a singer. It’s a hit in all my shows. Another big thing is that it transcended the language barrier. People in the north do know about the song. So, I think it did make a big difference, and I’m grateful to Anirudh (Ravichander, music composer and co-singer) for trusting me with this one.
How have things changed for singers after the pandemic?
We’ve realised that we can do things remotely and still have a solid song. These days, when I’m travelling for shows, I take my portable recording setup along. When I sang for Brahmãstra: Part One – Shiva, I was in the middle of the A R Rahman tour in the USA; I recorded that from my hotel room. Independent music is also growing now. A lot of films were stalled during the pandemic. So, that was also an opening for indie music to shine. There’s more love and appreciation coming now towards artistes for their indie music, not just film music.
Wisdom and love are what we all need at this time of #CoronaCrisis-Kamal Haasan
7:55 AM
Suganth M (BOMBAY TIMES; April 23, 2020)
Many musicians and celebrities have come out with songs during the ongoing lockdown. And today, Kamal Haasan is all set to release the Tamil song, Arivum Anbum, which will be “a song of hope, positivity and love in these testing times”. Kamal has written and sung the song, apart from directing its video, which features several South Indian artistes. We talked to the actor-director about why he chose to make this track, composed by Ghibran. Excerpts...
As a politician, you have been vocal in expressing your views about the Coronavirus pandemic. So, what made you make a song as well?
There is a certain psychiatry in music. We, as children, are trained to become peaceful with music, and this starts with the mother’s lullaby. It might sound funny, and at times, it doesn’t even have lyrics, but it instills peace and calm in the child. It lulls them into calmness and that is the idea of the song.
What does the song address?
It will tell you what we can be, what we have already been… it’s a reminder and an anthem of hope. We need it now because we are worried about what will happen next. Things are going to change and we will have to convince ourselves that we can adapt. The song is a reminder of what we are capable of. This virtual collaboration has made me proud of my tribe, not just locally, but internationally... the tribe of artistes who are doing so much. And this is just the beginning.
At a time when the less-privileged are facing an existential crisis, do you think that it is possible to spread positivity and hope through a song?
I have my own way of calming my people, who have been neglected. This may definitely not feed them, but in case they are lonely and living in dire conditions, somewhere, this piece of music will help them stay positive.
Is the title of the song, Arivum Anbum, your way of saying that love and wisdom will be constant in the face of such a calamity?
I believe in the ‘meme’ — not what you see in trolling, but memory. Genes might get diluted over a span of generations, but a sincere saying/thought will live for thousands of years. Hence, Arivum, meaning wisdom and intelligence, and Anbum, meaning love, which are all-encompassing words, are what we need at the time of such a crisis.
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KAMAL’S COLLABORATORS
The celebrities who have collaborated on this song include Anirudh, Ghibran, Shruti Haasan, Siddharth, Shankar Mahadevan, Yuvan Shankar Raja, Andrea Jeremiah, Bombay Jayashri, Sid Sriram, Mugen Rao, Devi Sri Prasad and Lydian Nadhaswaram.
Coronavirus lockdown: Kamal Haasan set to release anthem, which he has written, sung and directed
8:13 AM
Kamal Haasan on writing, singing and directing a song that features several leading South Indian artistes and will be out on Thursday
Himesh Mankad (MUMBAI MIRROR; April 22, 2020)
Amid the lockdown, Kamal Haasan is doing his bit by providing food, milk and vegetables to those in need, reaching out to even the most remote villages. “I am barred from going out of the house because of my age, but there are people in my party who are helping me take essential items to the needy,” says the 65-year-old actor-turned-politician, adding that he is also keeping his creative side active by “writing a script with a friend of mine,” but refuses to get into the details.
Meanwhile, Haasan has written and recorded a song titled “Arivum Anbum” which talks about hope, positivity and love during these trying times. It is composed by Ghibran and the music video which he has also directed, features actors, singers and composers, including Anirudh Ravichander, Yuvan Shankar Raja, Devi Sri Prasad, Shankar Mahadevan, Shruti Haasan, Bombay Jayashri, Siddharth, Lydian, Andrea, Sid Sriram and Mugen besides him.
“Any artiste sitting idle wants to do something today. I had angst and anger to vent, which led to this song. We wanted to create an anthem,” the Padma Shri and Padma Bhushan awardee states, agreeing that music is important for mental health as well. “It is not just a healer, but also a teacher. It’s easy to remember; there’s a reason why film songs are so popular. Chants assist our memory.”
Dhanush’s private photos leaked by singer, ex-RJ Suchitra?
8:06 AM
MID-DAY (March 6, 2017)
Actor-producer Dhanush has come under the spotlight after a series of photographs, allegedly of him, along with other Kollywood stars, began surfacing online from South Indian singer and former RJ Suchitra’s Twitter account on Friday.
The images follow a series of allegations the singer made against the actor, including that his team had manhandled her in Coimbatore last month, with further reference to a “lousy game” being played on his behalf. Surprisingly, while Dhanush took to Twitter to promote his upcoming film, and also that of father-in-law Rajinikanth, he made no reference to the tweets.
While the singer claimed on the social networking platform, that her account had been hacked, fresh images and videos of actors, including Sanchita Shetty and Anuya, were leaked through the same account yesterday morning. There were also allegations that Dhanush and his music composer-friend Anirudh Ravichander had spiked Suchitra’s drink at a recent party.
This series follows a set of intimate photos of Dhanush, along with celebrities including Trisha Krishnan, Andrea Jeremiah, Anirudh, Hansika Motwani and Divyadarshini that were tweeted from Suchitra’s account on Friday. The singer later deleted them and claimed a private investigator had been appointed to find the hacker.
When asked why she wasn’t filing a complaint, she added that she was home-bound and her life was “under threat”. Soon after the photographs appeared on her timeline, her account was switched to the private mode, further fuelling speculation that the singer was indeed handling her account.
Shruti Haasan croons an edgy track with Kolaveri Di composer; video filmed in Milan
7:41 AM
Avinash Lohana (MUMBAI MIRROR; October 8, 2015)
Shruti Haasan was supposed to record a special song for Anees Bazmee's recent release, Welcome Back, but was unfortunately unable to sing alongside co-star John Abraham, due to prior commitments. But now, the actress has collaborated with the popular "Why This Kolaveri Di" composer, Anirudh Ravichander, for a fast-paced, pepper number.
Shruti, had earlier worked with Anirudh, for her 2012-film, 3, also featuring Dhanush. She also lent her voice for Sivakarthikeyan and Hansika Motwani's Tamil film, Maan Karate.
She recorded this song a few days back and a contemporary-styled video has been shot in Milan. Excited about the edgy song and filming in the popular Italian city, Shruti told Mirror, "I have always liked Anirudh's music. I think he is super-duper talented and I am happy to collaborate with him again, specially on a project like this."
The song will be a part of her upcoming Tamil drama, Vedhalam, in which she will be seen opposite South superstar, Ajith.
In Bollywood, she recorded the slow number, "Alvida" for Nikhi Advani's D-Day and "Joganiyan" for the Arjun Kapoor and Sonakshi Sinha-starrer Tevar. "I am trained in classical music. My father is a classical dancer and singer too. I know I don't have the time to sing full time and pursue a music career, but I love to dabble in it whenever I get the opportunity,"
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