Showing posts with label Hariharan interview. Show all posts
Showing posts with label Hariharan interview. Show all posts
Tu Hi Re has become my Aadhar card-Hariharan
11:17 PM
Debarati S Sen (BOMBAY TIMES; April 10, 2026)
Few voices in Indian music carry the emotional depth and versatility of Hariharan. From timeless film melodies like Tu Hi Re (Bombay), Roja Jaaneman, Ay Hairathe and Bahon Ke Darmiyan to his work in ghazals, the singer has been an inspiration to many. As he celebrates 50 years of ghazal singing with his new album Jaan Meri, the legendary vocalist reflects on iconic songs, creative droughts, the revival of ghazals and the explosive growth of India’s concert culture. Excerpts from a conversation with him during his visit to the Bombay Times office.
You’ve lent your voice to many unforgettable Bollywood melodies. Which songs remain closest to your heart?
There are quite a few. Jhonka Hawa was a song that told a story, and I enjoyed the way it unfolded musically. Pachai Nirame in Tamil is another favourite. And there’s an A R Rahman song, Tum Ho Meri Nigahon Pe from Kabhi Na Kabhi, written by Javed Akhtar. I always feel it didn’t get the recognition it deserved. It has a beautiful symphonic quality.
Your song Tu Hi Re remains one of the most-loved romantic tracks in Indian cinema.
(Cuts in)… Tu Hi Re has become my Aadhaar card (laughs). Wherever I go, people immediately connect me with that song. It has travelled across generations and still holds that emotional power.
There was a phase between 2008 and 2012 when you were less visible in the music space. How do you look back at that period?
That wasn’t a great phase for me creatively. During that period, I released only one album, Waqt Par Bolna. I was touring a lot with Rahman then, and we would record songs with musicians wherever we travelled around the world. Another reason I didn’t record much was that I didn’t have my own studio. The moment I opened my studio in 2012, I suddenly had so many tunes in my head waiting to be recorded. I had already sung so much for films, and there was also Colonial Cousins, my band with Leslee Lewis. Sometimes the best thing is to remain silent and just let the phase pass. Creative droughts happen to every artiste.
You recently released the album, Jaan Meri, which celebrates your 50 years of ghazal singing. You have also been doing ghazal concerts recently. Do you think that the genre is seeing a revival?
Absolutely. There is a clear resurgence. Many youngsters are listening to ghazals and even singing them. The beauty of a ghazal is that it sits right in the middle of the road as a form. It is pure poetry, with a matla, sher and maqta. Each couplet can talk about a different subject. One verse might be romantic, while another might reflect on society. Because the poetry is so lyrical, it lends itself easily to composition.
You come from a musical family. How did that environment shape your journey?
I was born in Matunga into a family of classical musicians. My father was the principal of Shanmukhananda Sabha. My mother has taught more than 1,500 students Carnatic music. People often ask me why I don’t teach music, but teaching requires incredible patience. I don’t think I have that. We lived near Ruia College, and I went to Don Bosco School, Wadala, where I began singing rock music. I even had a school band and sang songs like It’s Been A Hard Day’s Night. For me, singing Western or Indian music was never a big transition, I was simply a singer who loved to sing in any language.
The live music scene in India has exploded in recent years. How do you view this concert boom?
It has grown tremendously. In my entire life, I have never done so many concerts as I do now — not just me, but everyone. It’s almost four times more than earlier. People want to go out and enjoy music. It’s a healthy thing. Music heals; it intoxicates you without side effects. All of us have rhythm — after all, we have a beating heart. When audiences come to concerts and immerse themselves in music, it’s a beautiful experience.
With such rapid growth in the concert circuit, do you think there’s a risk of saturation?
Maybe. Maybe after I retire from music (laughs).
Enjoy remixes, but don’t get carried away by trends-Hariharan
10:07 AM
Debarati S Sen (BOMBAY TIMES; October 10, 2025)
Hariharan’s career spans multiple genres and languages. In an exclusive conversation with Bombay Times, the playback veteran calls music 'a sacred, meditative pursuit' and reflects on the shift from cassettes to streaming, the 30-second attention span of modern listeners, and why good songs outlast changing formats. Excerpts...
Your journey spans genres that have shaped generations. How do you reflect on the role music has played not just in your career, but in shaping your inner world?
I’ve sung in eight languages, across genres, and most of my living moments have been immersed in music. It gives immense joy. Music is infectious; it catches on and lives beyond the moment. For me, it’s Nadopasana, a sacred pursuit where frequencies and swaras become your breath. Singing demands total concentration. It becomes meditative, like pranayam. It has made me spiritual and focused, cleared my mind.
What do you think has changed the most in the way we create and consume music today?
Everything is digital now, from sound production to how we listen. Songs are consumed on phones, laptops, Bluetooth speakers. This has altered the soundscape, and even voices have adjusted to this bandwidth. Today, listeners give a song 30–40 seconds. Music is no longer about deep immersion; it’s about grabbing attention. The goal has shifted from crafting lasting melodies to retaining fleeting attention.
Do you feel today’s music is losing depth, or are we just listening differently now?
Music has changed, structurally, sonically, and emotionally. A lot of it loops around a hook, rather than moving horizontally. But that said, there are still very good songs being made. Film music has its constraints; it depends more on the director’s vision than the composer’s. But outside that, non-film music, bands, Sufi, ghazals, they're thriving. So yes, music has evolved, but good music always stands out.
From cassette tapes to streaming, how has the listener changed over the decades? And how have you adapted your artistry for them?
In the cassette era, we had analog recordings, live instruments, a certain warmth. Today, everything is digital, and the sound has adapted. The bandwidth is different, the instruments are different. This changes the very personality of a song. Over time, listeners’ ears evolve too, what sounds full and rich today might feel dated a decade later. But a good song, analog or digital, always resonates. The medium changes, but musicality endures.
If you had to introduce a Gen Z listener to your work, which three songs would you pick and why?
I’ve seen 18-25 year olds connect with my ghazals like Kash Aisa Koi Manzar Hota. Then there’s Tu Hi Re and Bahon Ke Darmiyan. Romantic songs speak to every generation. And Krishna by Colonial Cousins remains timeless in both message and melody.
In a world full of remixes and reels, how do you stay rooted in meaningful music?
Enjoy remixes if you like, but don’t get swept up in trends. If you only make what others want, you’ll eventually feel hollow. Put out music that you love. That’s how you stay grounded and creatively fulfilled.
What advice would you offer to young musicians seeking to discover their unique sound?
Soak yourself in music. Listen, learn, practise endlessly. Then switch off the noise and ask yourself, what do you want to create? You can't chase trends. Fill your subconscious with knowledge, so your conscious mind can create with clarity. Your music should reflect your personality, whether you're a singer, composer, or arranger.
Remixes are fine, but we shouldn’t live in nostalgia-Hariharan
8:56 AM
(L-R) Harshdeep Kaur, Meghna Mishra and Hariharan
Debarati S Sen (BOMBAY TIMES; June 21, 2025)
What binds three generations of musicians together? A shared passion for authenticity, artistry and emotional connection. Today, on World Music Day, voices from three generations – the legendary Hariharan, the soulful Harshdeep Kaur, and the young talent Meghna Mishra – converge for an exclusive conversation with us. They speak about their love for monsoon melodies, how they stay rooted in an ever-changing soundscape and the magic of meaningful music in a remix-heavy world. The pretty backdrop of Powai Lake, along with a light drizzle, set the rhythm for this special interview.
Do you feel music and monsoons have a connection? What are your favourite rain songs?
Hariharan: Absolutely! O Sajana Barkha Bahar Aayi, what a song! I remember sitting and listening to the song at a park in a Parsi colony, in Matunga, near my old family home. It was playing on the radio in one of the homes. The memory of rain, music and scent merging into magic is so vivid. Then, Colonial Cousins had the song Indian Rain in our first album. Another favourite track is Sawan Barse Tarse Dil (Dahek).
Harshdeep: There’s such a beautiful connection between music and monsoons. Indian classical music even has ragas like Megh Malhar that evoke the spirit of the rains, expressing love, longing and joy. One song that hits home for me is Nahin Samne Tu (Taal) by Hariharan ji. Another favourite is Ab Ke Sawan by Shubha Mudgal ji.
Meghna: Music is deeply connected to nature, it’s a language of emotion. One of my all-time favourite rain songs is Megha O Re Megha by Hemlataji. The first time I heard it, tears flowed uncontrollably.
What’s the one change you’d like to see in the Indian music industry?
Harshdeep: Listeners often complain about the kind of music being released, but they also have the power to shape the industry. It is their responsibility, too, to encourage clean and good music. Support artistes who are genuine, who’ve dedicated their lives to music. That makes a difference.
Hariharan: We need more originality. Innovation and expression are crucial. If you create music for the joy of it, it elevates the listener. A song without visuals lets the imagination soar, like reading a book versus watching a movie. Remixes are fine, but we shouldn’t live in nostalgia. An artiste becomes relevant when they create something new, that’s when magic happens.
If the three of you collaborated on one genre-blending track, what would it sound like?
Hariharan: Harshdeep has a deep, spiritual tone, while Meghna’s voice has a beautiful innocence. I’d create a track blending swaras, aalaaps, sargams, a pop-style bandish, and even shlokas. Leslee Lewis would be perfect for composing and writing this genre-fusing piece.
Harshdeep: An indie-folk song with classical textures, something rooted and melodic. Someone like Shankar-Ehsaan-Loy or Rahman sir would be perfect to compose it.
Meghna: I’m currently tripping on South Indian music. It would be amazing if the three of us could do a South Indian track composed by AR Rahman sir, M Jayachandran sir.
In a world full of remixes and reels, how do you stay rooted in meaningful music?
Hariharan: Enjoy remixes if you like, but don’t get swept up in trends. If you only make what others want, you’ll eventually feel hollow. Put out music that you love. That’s how you stay grounded and creatively fulfilled.
Harshdeep, how do you balance adapting to changing trends while preserving your unique identity?
It’s important to evolve with changing sounds, but never lose your roots. I treat my voice like an instrument, constantly experimenting with tone and style depending on the song. Soulful music will never go out of style. Life is chaotic — people seek calm, and music is one of the best ways to heal.
Meghna, what’s something you’ve learned from watching artistes like Hariharan and Harshdeep Kaur that no classroom could teach?
Performance. Every artiste has a unique style, and I’ve learned so much by watching them live – how they improvise, produce, and most importantly, how they connect with the audience. That connection is what sets a performer apart.
Is there a song of yours that you feel was underrated and deserved more love?
Harshdeep: Waah Sajna, a Sufi song I released in 2023.
Hariharan: My ghazal album Waqt Par Bolna, which I think is one of my best.
Meghna: Ki Bas, a ghazal composed by Sanjay Kumar Mishra and written by the late Aziz Ghazipuri ji.
Rapid fire with Hariharan, Harshdeep and Meghna
One song you wish you’d sung?
Hariharan: Tu Jahan Jahan Chalega
Harshdeep: Lambi Judai
Meghna: Kaash by Hariharan ji
Riyaaz in the morning or midnight jams?
Hariharan: Riyaaz in the morning
Harshdeep: Both
Meghna: Riyaaz in the morning
Classical ragas or unplugged gigs?
Hariharan: Classical ragas
Harshdeep: Unplugged gigs
Meghna: Classical ragas
Describe music in one word
Hariharan: Spirituality
Harshdeep: Oxygen
Meghna: Life
My kind of songs have reduced-Hariharan
8:34 AM
Music maestro talks about working with young music directors and his sporadic work in the Hindi film industry these days
Vinay MR Mishra (HINDUSTAN TIMES; February 25, 2022)
He captivated the minds of several generations with his soulful renditions, But, in recent times, his innings in Bollywood has been sporadic. Music maestro Hariharan believes that his kind of music is diminishing. He elaborates, “My kind of songs have reduced and the octave now used is very high in comparison to my kind of songs. Yes, I do sing songs on those scales, but that is not my way or choice of singing. But, I am singing several songs for Bollywood currently.”
It is axiomatic that he is working with music directors who are younger than his 45-year-old career. “Whether it is the younger generation or not, every music director is the captain of the ship. We need to give them the same respect as we gave our contemporaries or seniors,” says the 66-year-old.
He adds, “I tell my music directors to not get carried away or be stressed by my presence. I remind them that they are free to take retakes and ask for what they want since it is their choice and view on how they envision the song.”
The Padma Shri awardee will return to the stage after a gap of two years. Titled Aaghaz, the ghazal concert will mark his first live show post the pandemic. “I am looking forward to being on the stage and feeling the warmth and energy of the live audience,” he shares.
While Aaghaz means new beginning, Hariharan resonates with the name of the concert that will be held in the city: “It is going to be a new life for artistes, who used to travel and perform throughout the year.” On the magic that being on stage brings, he says, “There is a chemistry between the audience and the artiste. So, for me, there is always a difference between studio singing and singing at a live concert.”
Catch it live:
When: February 25, 7pm onwards
Where: Shanmukhananda Auditorium, Sion, Mumbai
Bickram Ghosh and Hariharan romance Kolkata for their latest album, Ishq - Songs of Love
8:13 AM
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.
I have done so many live gigs in my life that I am not missing it-Hariharan
8:08 AM
Shamayita C (BOMBAY TIMES; February 7, 2021)
Hariharan recently completed the shoot of a music project that he has developed with tabla maestro Bickram Ghosh. In a chat with us, the musician spoke about his current projects, plans for Colonial Cousins and more. Excerpts:
You swung into action even amid the Coronavirus pandemic...
I kept myself busy with masterclasses in the lockdown and even started working on this album, Ishq, with Bickram during that time. There is another album that I’m doing with my elder son, Akshay, who’s a music producer. So yes, I’ve been working a lot lately (laughs!).
And how much are you missing live music concerts?
I have done so many live gigs in my life that I’m not really missing it (laughs!).
So will you be doing only digital concerts now on?
No, no! I’m doing my recordings now. I did a few online concerts, too. What I’m trying to say is that certain things have changed and you don’t feel desperate anymore.
Colonial Cousins did a digital concert after the lockdown. What’s next for the duo?
We are in talks to record an album. The music will be fusion — something that Colonial is known for.
Last year, we lost the legendary S P Balasubrahmanyam. Tell us about your fondest memory with him...
I first met anna in Laxmikant ji’s (of Laxmikant–Pyarelal duo) Mumbai studio. He was recording there. I just went there to hang out and barely anyone knew me back then. Laxmi ji said, ‘Arre baitho. Suno, Balu ga raha hai.’ So, I waited there to listen to his recording. He then came out, smiled at me and I smiled back. And then to my surprise, he said, ‘Hariharan, how are you?’ My jaw dropped. He was a big name then and I was nothing. I couldn’t believe that he knew my name. Then he said, ‘I heard you on a Chennai TV channel. You sing really well. I loved it.’ He then started talking about my music with Laxmikant ji. I have been in awe of him since that very moment. After that, I got several opportunities to work with him. We travelled together for a lot for A R Rahman concerts. We even did playbacks for the same albums in many films.
Do you think that the pandemic has made us more sensitive towards art?
It is not about being sensitive. We all have learnt a lesson and I just hope that we don’t forget this one easily. More importantly, you and I do not make much of a difference to this world. What matters is the 20 per cent of the population who is involved in lawmaking and taking decisions that shape our future, understand the need of the hour, and act accordingly.
What is your take on music being used as therapy and how it is becoming increasingly popular during the COVID-19 pandemic?
Music has a calming effect on your mind and body. It’s all science. Specific combinations of notes and rhythm help. There have been experiments on how certain ragas like Bhimpalasi are very good for us. Music therapy has been there for years. It is just becoming more relevant now because people are spending a lot of time at home.
S P Balasubrahmanyam sir had a mind like a computer-Hariharan
8:23 AM
As told to Sonia Lulla (MID-DAY; September 26, 2020)
As a young singer, I had been called to Mehboob Studios by Laxmikant ji [of Laxmikant-Pyarelal] where SPB sir was dubbing a song. I had never met him, but he turned to me and smiled with a sense of familiarity. I was happy, but surprised as well. He asked me, 'Are you the boy who sang at a youth channel in Madras for 45 minutes?' I said yes. He praised me, expressed his love and told Laxmikant ji that he must give me a lot of [songs].
As a person, he was humble, lovable, and caring. As a singer, he dominated the South Indian film industry for years. He also had a great stint in Bollywood and often dabbled in spiritual [songs] too. Tirupati channel features six-hours worth of music [rendered] by him.
We travelled the world while performing in A R Rahman's shows. He would always tell me to be friendly with colleagues and fans. SPB sir had a mind like a computer, and could easily remember tunes. I recall, during a rehearsal, I kept forgetting the tune of a [earlier] song of mine. He would remind me my lines. He was nice to everyone, and that's why he had such a long-running [career].
Akshay was the shy one, Karan was the dramebaaz-Hariharan
8:33 AM
Karan (23), Hariharan (61) and Akshay (29)
An actor, a singer and a composer, the talented Hariharan family appreciates constructive criticism Relative
Kunal Guha (MUMBAI MIRROR; May 22, 2016)
Multiple National Award-winning ghazal and playback singer Hariharan is glad that his sons haven't taken after him. "Their grandmom sings, I sing, so they were both exposed to music at a very young age. But I never forced them into it," says the singer who was one-half of the Colonial Cousins. He adds that he consciously wanted to give his children a "regular childhood". While his elder son Akshay made his debut as a composer in the Marathi movie Kokanastha three years ago, his younger son, Karan, will make his acting debut in the upcoming murder mystery, Missing On A Weekend, starring art house thespian Pawan Malhotra. "If they had taken up singing, comparisons would be natural," says the 61-year-old singer, leaning back on the designer couch of his posh Powai apartment. "I would never dare to sing dad's songs, so I would do covers of Coldplay, Oasis or Bob Marley," says Karan, who has, on occasion, joined his dad in concerts. "We try not to be Hariharan's sons as much our own selves," Karan adds.
Hariharan shares that while growing up, Akshay was the "shy one", while Karan was the "dramebaaz" and both were offered to freedom to pursue their passions. So, could Akshay have been a cricketer, instead? "I nearly was," says Akshay, whose relationship with the sport took a backseat when he moved to Bangalore to continue his IB education. "There weren't many IB schools then. We had enrolled him in one in Panvel, but it shut down within eight months and he had to be shifted midterm," informs Hariharan. Following his graduation, Akshay went on to pursue a course from the LSE. "When he returned and said that he wanted to become a music producer, I was worried because I am an educated musician and I feel that you should know your basics." While Akshay had learnt music, he "hadn't spent as much time with it". "I am a musician but also his father, so I won't suggest a career option if I doubted his capability," says the concerned father.
Today, Akshay regrets having dropped out of cricket and his dad agrees that it could've been a safer careeer option, "When I started out, uss zamane mein paach-dus singer the. Today, there are hazaar. But cricketers are still the same number." Yet the spike in competition is not Hariharan's only concern.
"Entertainment is a difficult business. Everything is abstract here. It is nothing but giving a bundle of emotions to people, through music and art, and you can't quantify that." Akshay agrees, "And you need a USP that people love, which again is not quantifiable." "And people giving you work also don't know any better, so it's a lot of darkness," laughs the patriarch of the creative trio. He regrets that what is calculable, in today's metrics for measuring success, is social media clout. "Your whole life depends on the number of 'likes'."
Having shed the bulk from his 100-kg frame, Karan has already been introduced to the pressures of surviving in tinseltown even before his debut. "I have also taken lessons in Hindi and Urdu and also martial arts," says the graduate from The Lee Strasberg Theatre and Film Institute in LA. Has being his dad's son helped? "The plus side is that my dad is humble, hard-working and honest to his craft and a great role model. The negative is — comparisons are inevitable."
Hariharan picked up on Karan's acting skills early on. "When he was three, he featured in one of my videos (Halka Nasha). At my concerts, he'd come on stage and say 'hello' to the audience." An incident etched in the singer's memory was the music release of a Venus movie, where Shah Rukh Khan was to helm the proceedings. "My entire family was present and when we were to have dinner, Karan refused to eat. He said he wanted to eat with Shah Rukh Khan. On enquiring the reason for his demand, he said, 'I want to discuss acting with him.' He was six then."
Having grown up at a time when their dad's albums rocked the charts, Akshay confesses that all his friends had his CDs. "In school, my classmates would discuss dad. One said, 'Hariharan lives in Chennai', another corrected him, 'Nahin, woh mere building ke peeche rehta hain'."
Hariharan claims that his relationship with his sons is that of a friend and that they share everything. "Over time, we've learnt how much to share," sniggers Akshay. While they love their dad's songs, they're also his harshest critics. The Padma Shri awardee remembers the time when one of his sons told him to take a break. "I used to frequent Chennai then and I thought that they were missing me. Later, they told me, 'The last lot of songs was very bad'," he laughs. His sons attempt salvaging this memory with a slew of their favourite numbers by their dad — Krishna, Dard Ke Rishte and Tu Hi Re. Is there a least favourite number? "ABCDEFGHI from Hum Saath Saath Hain," says Akshay blankly. "Yes, I sang that too," laughs Hariharan.
Need for soulful songs doesn't arise in Bollywood films today-Hariharan
7:41 AM
Hariharan, on his ongoing musical journey and classical musicians getting fewer opportunities in Bollywood, in recent years
Srishti Ghosh Shinde (BOMBAY TIMES; March 7, 2014)
By most accounts, one of the most prominent faces of Carnatic music in India, Hariharan has contributed to the classical, fusion and ghazal genres. He’s dabbled in singing in several languages over the years and most recently, in Marathi. From someone so entrenched in Bollywood music to not being “approached for a long time now”, the singer and musician we grew up listening to, has lost none of his charm. We caught up him recently. Excerpts from that conversation...
You recently released a non-film album.
Yes. It's called Hazir 2, a collaborative work with Ustad Zakir Hussain that includes the work of contemporary poets with a different kind of composition. It’s a mix of classical music like Raagdhari, as well as Urdu blues, ghazals and romantic songs. It is a very special album, the first part of which was released 21 years back. It’s a collection of eight ghazals, all unique in character and style. It is a mix of masters and contemporary moods in the form of ghazals. We’ve included raag based, ballet as well as qawwali styles as well. One of my personal favourites is Koi Gila Koi Shikva which is an Urdu Blues style of ghazal, another one being Bekhayali Mein. Jolly Mukherjee has arranged the music for the album, while my son Akshay has arranged the song Koi Gila Koi Shikva. The album lasts for an hour, but gives you a feel of just 15 minutes (talk about relativity of time!). So much so, you feel it’s over too fast and would want to hear it again.
Bollywood-wise, why aren’t we hearing more of you?
My last Bollywood song was Ae Hairat E Aashiqui for Guru. I would love to sing for Bollywood films even today, but I haven't been approached for a long time now. And times have drastically changed. Music, now, has a different feel altogether and people enjoy this kind of music. With every new generation, come new singers and there are songs that suit their voices better. But I would love to sing for Bollywood films, let’s just leave
it there.
But you’re singing for other film industries...
I sing in a lot of Tamil films and one of my songs had been topping charts until a fort night back.
Marathi songs, too, from what we hear...
I’ve ventured into the Marathi film industry recently and it is a very nice place to be. The people here are simple and create nice melodies. After Jogwa, I’ve been doing quite a lot of work with them, my son too has sung a song for the film Kokanasthaand we are doing a lot of work here. There is still a ‘want’ for Hariharan in the Marathi film industry.
Why doesn’t classical music find more of a space in Bollywood these days?
These days, films are more about the script and the story and not about songs. Most Bollywood films today have no soul-searching characters; hence the need for soulful songs doesn't arise. It’s an era of light-hearted films, where classical music doesn’t fit in.
You perform quite regularly. What’s the live music scene like?
It’s great! The number of concerts in India have gone up three-fold. If you happen to visit the airport on a Friday, you’ll find so many artistes flying to perform at places. Singing today has gained mass awareness; it’s no more a class phenomenon, where only a particular section of people enjoyed a certain kind of music. Moreover, the advent of Sufi poetic compositions has changed the face of Hindi film music.
Is classical music dying a slow death?
Not really, there’s a still a lot of classical music happening. I have several classical music concerts lined up, and a lot of community organisations and institutions promote this music. In fact, NRIs love to listen to classical music. However, it needs to be promoted well; especially the government should do something to revive it. Classical music should be played on radios when people are awake. If there are ten rock concerts in the city, there should be at least one classical music concert happening, otherwise there’s no way to promote this genre. In cities, the music culture is modernised, however classical music still holds sway in rural areas.
Looking back at your musical journey, what are your thoughts on past, present and the future?
I have had a very multi-faceted career, I created my own music, I sung for films, released my own albums and did shows and still do a lot of live shows. I think it’s now time to promote alternative music.
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