Paying tribute to a legendary singer with an 80-year career spanning nearly 45,000 songs is no easy task. Yet, that is precisely what Shreya Ghoshal achieved at her concert Letters To Lata Didi held at Jio World Garden on Saturday night. The evening was unlike the typical large-scale concert spectacle. There were no confetti bursts, fireworks or pyrotechnics; only pure music, delivered straight from the heart. With no costume changes and no breaks, she sang non-stop through more than 50 songs, each unfolding like a musical letter to the timeless legacy of Lata Mangeshkar, whose voice defined generations of Indian cinema and music.

She opened with a traditional Ganesh vandana, followed by the classic Aayega Aanewala. Setting the emotional tone for the evening, Ghoshal addressed the audience

“Aaj ki yeh shaam mere liye sabse khaas, most important, sentimental and emotionally close to my heart evening hai. And main shayad kitni bhi tayaari kar loon, aaj ke din ki tayaari poori nahi hai. I think you will sense my vulnerability my emotion today. We are all here celebrating the legacy of Maa Saraswati, hamari pyari Lata Didi. This tribute is from all of us fans, from me and the musicians and isko sametne ke liye humne yeh ek zariya apnaya hai. Didi ko hum itna upar rakhte hain, unka jo sthan bhagwanon ke jagah hai. Hum sab fans ke taraf se hai yeh show and iss legacy ko celebrate karne ke liye aap sab saath mein gaiyega zaroor. I am sure Didi is smiling upon us from the heavens.”

The evening’s narrative unfolded through music interspersed with audio-visual segments featuring messages and memories from people who knew and worked closely with Lata Mangeshkar. Tributes from Nitin Mukesh, Anandji Shah (Kalyanji-Anandji), Prasoon Joshi, Sachin Tendulkar and Prakash Peters added a deeply personal dimension to the concert. Shreya also shared memories of how Lata Mangeshkar’s voice shaped her own musical journey since childhood.

“Uss choti si ladki ko zara bhi andaza nahi tha ke yehi woh awaaz hai jo uska haath thaamkar usse uske aane wale kal ki oor le jayegi. I was too young but Lata Ji ke awaaz ne mujhe iss tarah khincha ki maine music se pyaar karna shuru kar diya. We formed a spiritual bond, that’s the asar of her voice. Karodo Bharatiyon ki tarah maine unhe sunne se zyada mehsoos kiya. Aur inn jazbaaton ko hum sabne jiya hai, lekin shayad unhe poori tarah jata nahi sakein. Toh aaj ki yeh shaam unhi unkahi baaton ko inn khaton ke zariye aapko samarpit karte hain.”

The singer also recalled her first meeting with Lata Mangeshkar in 2005. “I was recording in her studio and she came there. I ran down to meet her and when she saw me, unhone mujhse kaha, ‘Tum Shreya ho na?’ Main unhe kuch bhi nahi bol payi. I was so stunned, meri bolti bandh ho gayi. Uss din main unse mil nahi rahi thi, mujhe uss din Lata Didi ke darshan ho gaye the. Uss waqt kuch nahi sujha, main thank you bhi nahi bol payi. Aaj mujhe Didi ko thank you bolna hai, for the soul, music you were for me.”

Selecting songs from Lata Mangeshkar’s vast repertoire proved to be one of the biggest challenges confessed Shreya. “Today, we are trying to cover all the eras of Lata Didi’s blockbusters,” she said. 

“There are songs with so many composers including S D Burman, Laxmikant-Pyarelal, Kalyanji-Anandji and so many hit duets with the likes of Mohamad Rafi, Kishore Kumar. She worked with Laxmikant-Pyarelal for around 35 years and sang around 700 songs with just them. There are so many eras of her songs, her repertoire is simply massive. Ek se ek behtareen gaane hain unke. Main kya chunu? Finally, we just had to pick chits of which ones to sing!”

Introducing the song Aa Jaan-E-Jaan, she noted with a smile, “This was probably the only cabaret that Lata Didi ever sang. If you listen to this song you will realize that even in a cabaret there can be so much divinity, spirituality and itna apnapan and pyaar, even though it is a seduction song.” The evening featured several Lata Mangeshkar duets performed with singers Javed Ali and Kinjal Chatterjee.

Speaking on the eve of International Women’s Day, Shreya highlighted Lata Mangeshkar’s enduring influence beyond music. “Lata Didi has always inspired us. Woh sabse badi feminist hain and tomorrow we are celebrating Women's Day. She has inspired us not just as a musician but also as a human being, living by her own terms. She gave us a sense of purpose. Aisi kitni auratein thi 40s, 50s and 60s ke daur mein jinhone kitna kuch iconic kiya.”

More than 40 musicians performed live on stage, including the UAE Philharmonic Orchestra and a choir, recreating the grand orchestral feel of the golden era of film music. Praising the ensemble, Ghoshal said, “Aaj lag raha jaise Lata Didi ke recording studio mein sab kuch live hota tha, waise hi hum conductor ke haath pe tike hue hain. I feel all this energy is very much missing in today’s film music.”

Among the distinguished guests present were members of the Mangeshkar family, Nitin Mukesh, Anandji Shah and Shantaben, Sonu Nigam, Prasoon Joshi, Kumarmangalam Birla, Dr Neerja Birla, Virender Sehwag and Anjali Tendulkar.

After the concert, Usha Mangeshkar was invited on stage and blessed the singer. “Aaj mere samne sirf Didi dikh rahi hai aur uski awaaz aa rahi hai mere kaon mein. Bachpan se main Didi ke saath recordings mein jaati thi, aakhri gaane tak. Ek ek cheez yaad aa raha hai. Bahut accha gaya Shreya. Bhagwan aapko hamesha Didi ka ashirwad zaroor denge!”

As the evening drew to a close, Ghoshal performed songs such as Lukka Chuppi, Ae Mere Watan Ke Logon, Naam Gum Jayega and Rahein Na Rahein Hum.

For the final song — which she described as “a hug from all of us to Lata Didi” — the audience switched on their phone flashlights as she sang the immortal Lag Jaa Gale. Overcome with emotion, Ghoshal teared up on stage as the crowd rose to its feet in a standing ovation.

Javed Ali has been constantly travelling for his concerts in the last couple of weeks. But there’s a sense of calm and focus when he meets us for a chat. The singer slips between anecdotes and musings, occasionally humming a phrase to make a point, as he talks to us about making choices and how to keep things interesting for himself and the listeners.

​The first listen matters more than the banner or the buzz around a film for Javed. “This instinct has kept me anchored,” he says. From the soft romance of Jashn-e-Bahaara, Tum Tak and Saudebaazi, to the playful energy of Tinku Jiya, Nagaada Nagaada, Kajra Re, and the spiritual depth of Arziyaan and Kun Faya Kun, the singer’s discography is varied. “I don’t belong to a particular genre. For me it’s all about versatility,” he adds.

​The conversation inevitably turns to the current playback landscape and the singers defining it. When Arijit Singh’s name comes up, Javed speaks with both admiration and caution about the singer’s decision to step back from playback singing.

“I am sure Arijit must have made this decision after giving it good thought. I don’t think this is something he decided on a whim, especially at the peak of his career.”

The Kun Faya Kun singer adds, “I don’t really think he should have done this. He is a brilliant singer and one of my favourites. I’m sure his fans everywhere must be disappointed.”

​Bringing up the song Aashiqon Ki Colony from the upcoming O'Romeo as an example of how songs travel today, Javed shares, “The song has gone viral. At the same time, I feel that the virality is not just about the audio. One of the big reasons that song has become so popular is Shahid Kapoor’s hook step.” 

The visual, he acknowledges, can push a song into people’s feeds, and from there into their playlists.  “There are benefits to songs trending on Instagram because they reach more people,” he says. But he draws a line at letting it define creativity. “I don’t think artists should take a lot of pressure for that, though. A song has to work beyond a 30-second reel,” he adds.

​Javed says that technology, if wielded appropriately, isn’t a threat, but an advantage. For him, AI in music is a new space to explore. “When AI is used properly, like the way Sonu Nigam did by bringing Rafi sahab’s voice alive for a duet recently, it can be a great tool for music. I will probably do something like that too,” he says.

Singer Javed Ali, who is best known for his soulful songs, feels the holy month of Ramzan brings out the “best in me”.

“I tell people that you should record me more during Ramzan,” the 42-year-old muses. Ask him why, and he explains, “The texture of the voice changes after one consumes food. So, when we fast during Ramzan, there is a very different roohani (soulful) connection. Kaam aur zyada accha hota hai. I have noticed a kind of freshness in my voice while recording during Ramzan.”

He says it is no coincidence that some of his hits were recorded while he was observing roza: “I recorded the title song of Ishaqzaade (2012), Tu Jo Mila (Bajrangi Bhaijaan, 2015) and Kuch Nahi (Tubelight, 2017) while observing roza. Aur dekho, unn gaano ka kitna asar hai!”

A religious person at heart, Javed tries to observe roza at any cost, even while he is travelling. Though he admits that he faces some challenges while doing so, he takes it all in his stride: “After iftar, when you consume food, your stamina drops. But you have to manage.”

Dwelling on what the holy month means to him, Javed reflects, “It’s tough to define Ramzan ka mauhal aur khushi in words. Many feel we are hungry throughout the day, but it’s nothing like that at all! In fact, we gain more power and control. I feel all rozedars enjoy fasting and doing iftar with family and friends at the dastarkhān with amazing food.”

Amit Trivedi appears to be having a lot of fun, and here's why this fact isn't to be taken lightly. Sure, Trivedi isn't one to disappoint with his compositions, but there's something magical that follows those phases when his interactions with fans and media are markedly playful. Speaking about his upcoming album, Azaad Collab, Trivedi appears delighted and nervous in equal measure. With a bevy of popular faces putting their might behind the project, he admits to having his hopes pinned on this pop album that presents the "music icons of India" in new light.

Fans of Trivedi will agree that his four-year-old label, AT Azaad, is a goldmine of music that is both innovative and appealing. Evidently then, this latest 14-track offering is being welcomed with open arms. In this interview, he discusses the response to the first song, Jubin Nautiyal and Hansika Pareek's Rangeeni, and crafting an entrepreneurial journey as an artiste. Edited excerpts from the interview:

The [reason] behind creating the label wasn’t to be the next T-Series or Saregama. It is an artiste-led label. I should have the upper hand [when it concerns] what I create. I am putting in the work and money. I should have the freedom to make what I want. If I was signed on by a label, I’m not sure if I would have had that liberty. There would have been a lot of restrictions and clauses that may have been in their favour. I wanted to avoid the hassle.

I launched it in April 2020. So, it’s been four and a half years. I’d say, the label isn’t doing that great, nor is it doing too poorly. There is a lot of scope for improvement. I need a song that can really do well. [Some] songs become popular, but those that do [very well] are made rarely. I would say, of the 10 lakh songs that are released in a year, only 10 to 15 do that well. Not every song becomes a [banger]. I was lucky that my first song, Moti Veraana, did that well, and so did the following ones, Lagan Laagi Re and Madhubala. But, for a label to function regularly, we need at least one song per year to do that well. That hasn’t happened in the past two years. I’m hoping that changes with Azaad Collab. I have 14 more songs to go. So, let’s see how it does. It’s up to the audience.

I do a lot of film work. A film’s soundtrack usually has only four to five songs. In a rare case, we may have 10 songs. But to arrive at those five songs, we create a lot of music. If I have created 25 songs, and only five are chosen, what should I do with the rest? They are all great songs; ones that I believe in. Maybe they didn’t work for the filmmaker, but that does not imply that the song is bad. So, many of the songs are those that were made for films. Rangeeni was one such song. It was made for a film, but it [wasn’t used]. But, people are loving it today. Then there are some songs that I pro-actively create, keeping the album’s structure in mind.

It has 22 collaborators, including artistes of all [calibres]. We started off with Jubin Nautiyal and Hansika Pareek. There are songs with Neha Kakkar, Sunidhi Chauhan, Armaan Malik, Neeti Mohan, Nikita Gandhi, Shahid Mallya, and Javed Ali, among others. They are all playing 'front'. They are called playback singers, but now they are playing front. They are starring in their own videos, and in those of this album too. They are all out there, dancing, acting, performing, and grooming themselves well. Look at Armaan, Sunidhi, and Neeti—they are like rock stars, both on and off the stage. They are our country’s musical stars.

Also, Jubina and Hansikar have never been paired before. I don’t think I’ve heard them before together. That’s [a pattern] I’ve tried to retain across the album—create [a pairing] and a video that the audience has not seen before. Javed and Shahid have never been heard together before, and neither have Neeti and Asees Kaur. I’m trying these new combinations.

Every collaborator is special in their own way. Each singer has been amazing, both in the studio and on the set, while we were shooting. The shoot lasted 14 hours, and they were accommodating. I’m genuinely blessed that these artistes have agreed to do this for me. [The album’s genre] is pop, mostly. There is folk, and Sufi music too, but it’s all in the space of pop music. There are no sad, intense, or hard-hitting songs. It’s my first season. If this works, it will encourage me to do the next season in which I can experiment more. This one is smooth, easy, and colourful.

We are in a democratic situation. Everybody and anybody can showcase their content easily. You simply need to record and upload it on YouTube. At our time, it was very tough. But the drawback is that today, there is no filtration process. There are a lakh singers and composers, and all are making music. Creating a song is like throwing a grain in a room full of grains. They all look the same. Only the audience will decide which one will stand out. Either it grows organically, or you will need to pump in a huge amount of money.

So, I don’t know if this boom is good or bad; it may be good for the artistes. But, to truly thrive, the artiste has to have talent, and must not be dependent on anything.

That’s a vision. These days, I can’t talk about film music. I don’t know what’s going on. I only notice that things are not working very well. I have not seen such a downer in the Hindi film industry in my entire life. In the '80s, I heard there was a lull. But that too was not as bad as this is. Till 2019, things were good; we had a lot of work. After the pandemic, things haven’t picked up. Various factors would be at play. We are seeing a different side to cinema; people are not going to theatres, and OTT has also become saturated. So, where are people consuming content? Creators are putting in a lot of money, but their effort and money are going to waste. It’s sad to see that. Maybe it’s a phase; I believe it will come back up. 

There are exceptionally talented people in the industry today. I’m happy to hear about some of the work that people are doing. But, right now, the pie has been divided among too many people. Earlier, only a handful of people were operating in films. Today, there are 20,000 composers working for films alone. So, there share has been divided. It’s a strange place that we find ourselves in. For a track to work, you must pump in money, or [hope] it can organically grow, like Hanumankind’s song, or Gulabi sari did. It’s pure luck, sometimes.

If you are a fan of Mohammed Rafi, you’re in for a treat. It’s the late music legend’s 100th birth anniversary in December next year, but the celebrations have started this year itself. His grandson, Fuzail, tells us that a string of special shows are being planned in his grandfather’s memory. “I always wanted to do this. It’s been my dream for my dada. Plus, it being his 100th birth anniversary, so we are really excited. A lot of surprises have been planned,” he says.

Fuzail adds that singer Sonu Nigam, a huge admirer of Rafi, would also be a part of the initiative. “When you hear of Rafi sahab, Sonu ji’s name comes first. I met him in Atlanta recently. Even today, when he does his riyaaz in the morning, he does it in front of Rafi sahab’s photograph. So, he is definitely a part of this. Javed Ali (singer) too. We cannot reveal more names currently. We will start announcing more towards the end of the year,” says Fuzail.

The shows will be spread out over a year, across countries. “Besides India, we will also cover the Middle East, India, Canada and the US,” he says.

Ask why he didn’t take his grandfather’s legacy forward by becoming a singer, and Fuzail says, “I am musically inclined. But I didn’t get into singing as I was worried people would compare me to my dada. There’s nobody in this world who can even touch him (his legacy), and I didn’t want to do anything to mess with that.”

Bholaa’s teaser indicates that Ajay Devgn’s directorial venture comes with a heavy dose of action. Now, mid-day brings the first look of the film’s track, Nazar Lag Gayegi, which releases today. The romantic song, shot in Varanasi, sees Devgn sharing screen space with south actor Amala Paul, who makes her Bollywood debut with the actioner.

Devgn says, “Nazar Lag Jayegi showcases the emotional aspect of the film. Irshad Kamil ji, Ravi Basrur and Javed Ali have beautifully brought out the characters’ emotions with their lyrics, composition and rendering respectively.”

The March 30 offering is an adaptation of Lokesh Kanagaraj’s Tamil thriller, Kaithi.

The romantic ballad Jashn-E-Bahaaraa from Jodhaa Akbar (2008) marked singer Javed Ali’s first collaboration with composer A R Rahman. “It was always a dream to work with him and when I got a call from his team for Jashn-E-Bahaaraa, I was ecstatic. I was told that the song was shot already, but it wasn’t composed, written or recorded,” recalls Ali, who was amazed, but also overwhelmed with the experience of working on the track.

The singer adds that around that year, uptempo party numbers were in vogue. So, he was skeptical about how Jashn-E-Bahaara would fare. “The song picked up in no time and didn’t just win the hearts of music lovers, but also got me several awards. The song gave me a new identity and played a huge role in boosting my career,” says Ali.

Sharing how he got on board for the love song, he adds, “I was told that the way Ustad Bade Ghulam Ali Khan saheb (late ghazal legend) sang a bandish in Mughal-E-Azam (1960), Ghulam Ali Khan saheb (ghazal singer from Pakistan) was being considered for Jashn-E-Bahaara. But, Rahman sir and Ashutosh (Gowariker; filmmaker) sir thought my voice was apt for it. We recorded the song in Chennai in about one-and-a-half hours.”

Veteran composer Lalit Padit’s son Rohansh, 20, makes his debut as composer with Say No To War, a track that aims to highlight the importance of controlling thoughts, not nations, to bring about peace in the world.

Rohansh, who says his institution has always been his father’s studio, tells mid-day, “I have been learning from my dad for several years. The idea behind the track stems from the graphics that we see on our cell phones and televisions. With these images, war has come into our living space. I couldn’t hold myself from presenting this thought.”

Rendered by Javed Ali and Andrea Jeremiah, the track was launched by Javed Akhtar, days ago.

“Only months ago, I was [marvelling] at their work in Pushpa, and three months later, I had Javed Ali and Andrea Jeremiah render my song. I never imagined that I would be able to collaborate with them. I will always be grateful for having them [sing my first song.].”

Rohansh picked up the piano at the age of eight, and subsequently went on to play the guitar. While he may not have been part of a music school, he says he continues to learn classical music under his father’s guidance.

“My father doesn’t interfere in my career too much, but I always seek his advice. However, I believe composition is not something you can learn. As far as the art is concerned, you can only depend on yourself. While my dad does help me, and I turn to him for advice, I like to create my own compositions.”

His admires his father’s ability to remain a student of music. “He is still accepting of new ideas, and it is [noteworthy] that a man of his stature is capable of doing that. I’d like to imbibe that.”

While his aim is to make a mark in Bollywood, Rohansh says the independent music scene is an exciting space. “I’d like to explore both worlds.”

The love song from Pushpa: The Rise - Part 01 (2021), Srivalli, featuring actors Allu Arjun and Rashmika Mandanna, has become quite the rage on social media, with Indian and international celebs recreating Arjun’s hook step in Instagram reels.

While the original Telugu track has racked up millions of views, the dubbed Hindi rendition, which was supposed to be titled Srivedi, by singer Javed Ali, has also set records. “I never thought Srivalli would become such a rage,” an ecstatic Ali tells us, adding, “I’m getting so many more offers now.” 

Not only is he receiving messages from the USA, the UK and Kuwait, he also shares that he is being appreciated by seasoned vocalists such as Richa Sharma and Sujatha.

The singer shares, “It’s a trend today to measure the success of a song through the number of views it has received and the reels that are made on it. But success is also about music experts calling you up and appreciating your work. I’m happy to be receiving both.”

Ali confesses that he is “seeing this kind of madness over a romantic song after years”. He elaborates, “There are item songs that are still being made, but we listen to them only till a certain point. Par jab romantic songs ka nasha chadhta hai, woh bahut der tak rehta hai dil aur dimaag mein.”

The 39-year-old says this is the first time that he “experimented so much in one song”. “I included a bit of aggression in some stanzas because that’s the signature (to) Allu Arjun sir (his role in the movie). I also modulated my voice and incorporated three different textures,” concludes the singer.

When curating a Children’s Day playlist, the most obvious selections are Lakdi Ki Kathi (Masoom, 1983), Nani Teri Morni Ko Mor Le Gaye (Masoom, 1960), Nanha Munna Rahi Hu (Son Of India, 1962), Hum Bhi Agar Bachche Hote (Door Ki Awaaz, 1964) and many others such classic tracks, that have remained a constant favourite with kids (and adults too!). Then came Chak Dhoom Dhoom (Dil Toh Pagal Hai, 1997), Chhota Bachcha Jaan Ke Hum Ko (Masoom, 1996) and Bam Bam Bole (Taare Zameen Par, 2007).

Once an essential part of Bollywood movies, the number children’s songs has gone down considerably in films, and the ones that are there could never match the popularity of songs like Lakdi Ki Kathi or Aao Tumhe Chand Pe Le Jaye. “There can never be a replacement for these old favourites,” says singer Udit Narayan, who has sung popular tracks like O Mere Papa The Great (Papa The Great, 2000) and Oh I Love You Daddy (Akele Hum Akele Tum, 1995), adding, “The reason is that the writing of those songs and the composition was so good that it connected with the audience of every age group, every generation. It is difficult to find those kinds of songs today.”

Udit Narayan adds that when we talk about children’s songs in films, it is impossible not to talk about child artistes who would be an integral part of film plots earlier. But over time, as the role of child artistes in Bollywood stories reduced, songs specific to children were no longer needed.

Music composer and singer Salim Merchant adds, “Even the projection of kids has changed. Take the example of movies like Dangal or Bajrangi Bhaijaan, both of which features kids in prominent roles, but the storyline was communicating something that is not specific to only kids. So children’s songs today do not really fit in most of the stories that we are narrating in our films. There are fewer stories or situations which would demand such a song.”

Lyricist Raj Shekhar, who made his Bollywood debut with Tanu Weds Manu and has written children’s stories, says that in films he grew up watching, kids were an important part of stories. “What I liked was that they were treated as an important character, not a supporting element in the film, and even the songs were written keeping this in mind. If you take the example of the song Hum Laayein Hain Toofan Se Kashti Nikal Ke (Jagriti, 1954), the song is addressed to children. When that scenario changed in films over time, even writing for kids reduced, which I think is sad. We are failing in giving the present generation music that is written exclusively for them,” he says.

In times when social media hits decide the fate of songs, a lot of effort goes into making music that can be a commercial hit and also gain traction online. “In such a scenario, creating a kid’s song feels like a risk when the movie is not about them,” says singer Javed Ali, adding that out of many songs offered to him, he has barely sung two-three tracks which were for kids. “Not just me, this will be the case with all the singers, as there are hardly any songs being written for kids. These specifics that were once an important part of films — like a Holi song, Raksha Bandhan song or Diwali song — are becoming rare. Even if films have them, most of these songs just come and go.”

“Let’s not forget to talk about the changing preferences and choices of modern kids,” says Salim Merchant, adding, “I have seen kids in my own home and once they grow out of their nursery rhyme phase, what they consume are songs which are for adults. The songs that are created today in films can’t be created for any segment. To make them popular, it is important that they are created keeping in mind the larger audience, which also includes kids.”

- Nani Teri Morni Ko Mor Le Gaye (Masoom, 1960)

- Lakdi Ki Kathi (Masoom, 1983)

- Nanha Munna Rahi Hu (Son Of India, 1962)

- Phoolon Ka Taaron Ka (Hare Rama Hare Krishna, 1971)

- Chanda Hai Tu Mera Suraj Hai Tu (Aradhana, 1969)

- Aao Tumhe Chand Pe le Jaayein (Zakhmee, 1975)

- Hum Bhi Agar Bachche Hote (Door Ki Awaaz, 1964) \ Railgaadi (Aashirwad, 1968)

- Ichak Dana Beechak Dana (Shree 420, 1955)

- Re Mama Re Mama Re (Andaz, 1971)

- Dadi Amma Dadi Amma Maan Jao (Gharana, 1961)

- Bachche Man Ke Sacche (Do Kaliyan, 1968)

- Hum Laayein Hain Toofan Se Kashti Nikal Ke (Jagriti, 1954)

- Chanda Mama Door Ke (Vachan, 1955)

Sonu Nigam is one of the finest singers of our country and by far the finest live singer on stage today. Excerpts from a quick conversation with him.

There was a time when you would sing most of the prime songs. Last one year, you have not sung as much.
I sang for a lot of songs, but they were finally dubbed in voices of other singers. There were songs coming to me where people were told categorically to not work with me. I am fine with it. You understand that you matter. Also, I was ready for it. I am not a child. I became more affirmed about myself and looked at the larger picture as I believe that no one is God over here. If somebody is trying to play God, I don't let that hurt me as I know that uske upar bhi ek baap baitha hai. If a song was not meant for me, then I how can I get it? How can I say that someone has taken it from me? It's not easy to break me down. I am not a newcomer and it's not like I will miss something. It's like sex. You will miss it if you have done it once and then you have not got it in your life. Music is like that too. I have done a lot, so it's not that since I have not sung for six months, then life will come to an end. Also, while I did not sing prime songs, I was doing regional and private music. But yes, I have not done what I could have.

Did you feel bad that even some of your friends were not able to give you songs during this period?
There are no grudges against any body as everyone is taking care of their own interests. There are times in your life when you have to go through this kind of resistance to sort your head out for a cause for which we took a stand. For instance, Sajid-Wajid and David Dhawan wanted to use my voice in Main Tera Hero, but I know that they could not and got my voice dubbed in Javed Ali's voice finally, but that they did not do it deliberately. We have to be rational. Sajid-Wajid have been my friends from pre Deewana days. They were slaves to their circumstance. I know that there were people anti me. And who has not had foes in their life?

Despite having sung for so many years, you seemed so excited when your song Dildara from Tamanchey was released and appreciated.
I actually felt exactly the same way I felt in 1990 when my first song released. I would sit close to the radio set and would record on the cassette and that happened to me last week again when back-to-back my three songs came. I realised that it was such a nice thing that I had not lost that child in me. I was happy in a way to meet the Sonu of 1990. For a long time, when you have everything going smooth, you stop getting that feeling. But I got to meet the same Sonu who was excited about being praised as I was then, on getting a song. It was lovely seeing everyone praising me and talking about my songs, as if I was the new voice in town.

There is a complete change in the voices singing songs today. Does that make you feel insecure?
Past six years, the word 'legend' associated with me always scared me. I am a performer on stage and don't want to be called a legend as it puts you in another category. By the grace of God, my head and feet have always been on the ground and remain so. I haven't lost the 1990 Sonu in me. I felt the same way listening to my songs last week. I never felt arrogant. I felt excited that, 'Oye! Gaana aaya.' Just the way in which I would earlier call my dad when I had sung a song, I did the same thing last week. I used to sing over Kishore da and Rafi sahab's voice earlier, listening to their songs when I started. Today, I try and sing on the voices of Arijit Singh, Benny Dayal or Javed Ali to see if I can hit their notes or not. I practise on everything and have no qualms about admit ting it.

I have known you for many years and can comfortably vouch for your being a principled man. You love to take stands, right?
I sometimes feel that I am too correct to be in this industry. I have always been vocal about the correct things in life, be it my view on marriage, Pakistani singers performing in India, my stand on copyrights and contracts and an artistic stand of singing live in shows.

Talk about each of them?
There was always a lot of hue and cry about allowing Pakistani singers in India. My view was always, why not? I have never endorsed that thought and have openly said that tomorrow if I was to go to the US to perform and what if they were to say that Indians are not allowed to perform there, how would I feel? When it comes to marriage, I feel marriage is now a dated institution. It was made to suit a particular social era. Marriage creates so much familiarity that familiarity breeds contempt. Till the time, people are loving and courting each other, it is great fun as there is insecurity and you know that if you behave badly, the other person will leave you. But once you own that person as a wife or husband, you stop doing those little things you did for that person before and that is the crux of a relationship. Also, it's not that I am an experienced married man. This is my first experience too. If you get a couple of chances, then you can say that, now I know. Basically, marriage needs to be tweaked. Marriage needs to be time-bound. For instance, if marriage was to be for two years, then for the first six months you will make love and go crazy. After some time, your love will go down but then you will remember only six months are remaining, she is going to leave me, and then if you like each other, you will do the best for that person to look after her. So, you will take care of each other. Jab tak insaan ko chootne ka dar nahi hota, uski kadar nahi hoti. I have recently also taken a new artistic stand, where I have requested organisers who make me perform at award functions that they should please make me sing only live as against lip sync. There are many shows when other singers have done lip syncing, whereas I have sung live and I like it that way for myself. On the subject of copyright and contracts, the music companies and all the associations have reached a consensus. Mutually, they are now benefitting each other. I was never ever taking a stand alone. I was merely following what was told to me by my associations (be it Singers Association of India or ISRA) and even now I am doing that. I have never read those contracts and would sign when my association tells me and that is what I am doing. I am happy that the consensus is reached between all concerned and I am back to singing.

What would you have done in a situation if you had been asked to dub on someone else's voice, at a time when he had taken a stand just like you had done?
I would have died before singing his song, as I would not have been able to face myself in the mirror. Javed Ali dubbed my song in Main Tera Hero. I would not have. I got my first award in 1998 for Sandese Aate Hai... I was a nobody then. I had been nominated but Roop Kumar Rathodji, who sung the song with me was not. That particular award organiser told me that I was winning it and that I must come, but I didn't go as I felt I was not entitled to that award alone. Right from the time I started singing, I have recorded the date, time, lyrics, music composer and who was sitting at the time when I was recording each of the songs that I have sung. And everybody would ask me why I was doing that. I would tell all my music composers, 'Ek toh time aayega na jab mere paas gaane nahi honge, main yehi dekh kar khush ho jaooonga.' Last year, I didn't need to see those records, as I knew that I will get to sing again. It is actually only now that I understand achche sur and know that I have never been singing as well as I am singing now.