At the recently concluded 2025 Women's Cricket World Cup on Sunday, the Indian team emerged as champions, and the celebrations at Navi Mumbai’s D Y Patil Stadium were electric. Adding to the excitement, singer Sunidhi Chauhan took the stage to sing the National Anthem and perform a medley of her popular hits.

The 42-year-old, whose performance featured a stunning special fireworks display, said the experience was incomparable: “Nothing can beat that platform. I was singing for the women of our country. Before I sang the National Anthem, I glanced over at the players and could see how charged they were. I had to hold back from bursting into tears, and thankfully kept strong throughout the performance. The stadium was packed, and seeing such a large crowd cheering for our girls made me emotional.”

Reflecting on her past experiences, she added, “I’ve had the opportunity to perform at matches like the men’s India vs Pakistan game earlier as well, but nothing can compare to this feeling. I can proudly say this one will go down in history.”

While the plan had to be tweaked because of the rain, Sunidhi is glad her performance went off without a glitch. She recalls, “The weather forecast kept us on our toes. Everything was on standby in case it started raining. I was supposed to interact with the players and commentators, which couldn’t happen, but I’m glad I saw our girls watching me perform in between the innings. The best part was that I got to interact with (cricketer) Sachin Tendulkar before the match, which was an impromptu moment.”

The singer couldn’t watch the winning moment in the stadium, but she managed to catch the win at home. “It was a close contest, and the win was a sigh of relief. I was ecstatic!” she ends.

In a candid, no-holds-barred moment that echoes the growing calls for gender equity across creative industries, singer Jonita Gandhi pulled back the curtain on a troubling pattern in Hindi film music - female voices being reduced in songs otherwise dominated by male leads.

Responding to a pointed question during an exclusive interview with Bombay Times, about the recurring trend where even top-tier female vocalists are often handed just a few lines sandwiched between a male-dominated melody, Jonita didn’t mince words. “Honestly, they can do better,” she said bluntly. “I don't think there's a reason why we only need to give four lines to the girl in a three- or four-minute-long song.”

Jonita’s critique cuts deep into the creative choices made by composers and lyricists who continue to sideline the female narrative in music. “Why not just make the song a male solo, if that's the case?” she asked. “If you're including a female voice, give it space, give it meaning. Not enough effort is made to flesh out the female perspective.”

Her comments shine a spotlight on a longstanding issue in the Indian music industry, where male-led songs dominate both screen time and sonic space. Even when renowned female singers are roped in, their presence is often tokenistic, just enough to check a box, rarely enough to make a statement.

“We're talking about incredible talents — Sunidhi Chauhan, Shreya Ghoshal — we all know they're phenomenal. But what's the point of bringing them into a song just to hand them two or three lines? It’s a waste,” Gandhi asserted.

She also acknowledged the bind many female artists find themselves in: accept a minimal part or miss out entirely. “It’s not in our control. You either do it or you don’t, and someone else does. And sometimes these songs are just too beautiful to pass up,” she admitted.

Yet, the bigger issue, she says, is the scarcity of female-centric songs that could serve as a counterbalance. “It’s not happening,” she said.

Jonita’s response to this disparity is carving her own path. “That’s also why I’ve started focusing more on my own music. Because in my own songs, I’m the star!” she signed off with a smile.

“When I read the script of Mrs, I could see myself in it,” said actor Sanya Malhotra, during a recent edition of HT City’s Stars In The City.

As she gears up for the upcoming release of Mrs on Zee5, the actor opened up about what drew her to the films and its themes of gender equality and patriarchy. In a candid conversation with Sonal Kalra, Chief Managing Editor, Entertainment and Lifestyle, Hindustan Times, Sanya explained, “I haven’t faced the same challenges as my character Richa, but I have seen her in my mother, my sister, and in women around me. I’m hoping after watching it, people will realise that some things need to change.”

Would the film’s message then be unfair to men who are supportive of the women in their lives? Sanya asserted, “People keep forgetting that feminism includes both men and women. Patriarchy also puts a lot of pressure on men. When we were prepping for Mrs, my co-actor Nishant Dahiya was empathizing with his character Diwakar (Richa’s husband in the film) — that irritated me. But I realized we are all products of our conditioning and patriarchy. I could understand aadmiyon pe kitna pressure hota hai; uss chakkar mein apne emotions bhi baahar nahin la sakte.”

On a lighter note, how could we not ask the actor about her recent song Aankh with singer Sunidhi Chauhan?

As the audience cheered at the mention of the viral track, Sanya replied, “I am very keen on pursuing this glamorous side along with acting. As an actor, I like doing character-driven movies like Mrs, Pagglait (2021) and Kathal (2023). But bachpan se toh maine yahi dekha hai, actors ko dance karte huye, woh bhi bada pasand hai.”

The actor, who is a trained dancer, added, “For this song, I practised a lot for two weeks. I have never looked like this on screen, so it was a big step for me. The song was incredible, and the choreography was insane!”

Taking the energy up a notch, Sanya also shook a leg with fans and participated in a hook step challenge, busting out some flawless moves as she danced to chartbusters such as Chikni Chameli (Agneepath, 2011) and What is Mobile Number (Haseena Maan Jayegi, 1999).

As the actor talked about drawing inspiration for her character from women around her, we asked, what about becoming a ‘Mrs’ in real life? However, Sanya, who has been rumoured to be dating sitarist Rishabh Sharma, played it coy: “Nahin, I don’t have the time. Yahaan chhutti lene ka time nahin hai!”

On the work front, some of Sanya’s films, Ludo (2020), Love Hostel (2022) and now Mrs, have headed straight to OTT. She shared: “My films have done really well on OTT, so there is no concern whatsoever.”

This year saw many international artistes performing in India, including Dua Lipa, Ed Sheeran, Bryan Adams and Maroon 5. While these concerts took the Indian music scene several notches higher, singer Sunidhi Chauhan, who released her single Aankh recently, and has been touring, believes that it has made things more challenging for Indian artistes.

“Now, we have to live up to the standard set by these international concerts; that has made things tougher for Indian acts. We can’t say, ‘Those are international acts’ anymore, as the playing ground has become the same. We have to be at par with them. We will have to put in a lot more [effort] because the comparisons will be direct,” she says.

In recent times, many artistes, including singer-actor Diljit Dosanjh and singer Monali Thakur have criticised the infrastructure for live shows in India. Chauhan views this as an opportunity to improve: “The potential to improve is immense as there is ample money to invest. But you can’t hide or escape anymore, you will have to up your game. I want to go to an Indian artiste’s concert and say, ‘Ab mujhe aur kuch nahi chahiye’.”

Chauhan has emerged as a pop icon with her performances at her live shows. Mention this and the 41-year-old says, “I never did anything with the idea of starting something new. To this day, my go-to popstars are (singers) Alisha Chinai, Remo Fernandes, Shweta Shetty, and Colonial Cousins (singer Hariharan and singer-composer Lesle Lewis).”

Adding to it, she continues, “Indian pop music was lost for a while because film music overshadowed it, but thanks to social media, non-film music now has an audience. I have sung more film songs, but how I perform those songs on stage is seen as pop by the audiences. When they see me perform them, they don’t think of the actor it was picturized on because it sounds and looks different.”

It wasn’t until Sunidhi Chauhan welcomed her son Tegh in 2018 that she found merit in a statement that had often been said to her. “They’d say, post-pregnancy, a woman acquires a body that seems new; one that can be moulded as she desires. Back then, I did not believe it.” Her stage shows, social media posts, and press outings, however, suggest that Sunidhi 2.0, as internet users have dubbed her, was able to pull off a physical transformation that is inarguably enviable.

In her most recent musical piece, she got Sanya Malhotra—easily among the fittest actors of the industry—to rub shoulders with her in a glamorous dance number that had Chauhan, 41, and Malhotra, 32 sport bikini-like attires that put their svelte frames on display. Sure, it is their physical appearance that was most talked about, but Chauhan can’t help but celebrate the multi-fold benefits she has derived from her new routine.

“While shooting that song, I recall that I could dance for hours without tiring. The other dancers were getting tired, and would ask for breaks, but I could keep going for as long as three hours. [My choreographer] would say, ‘I’ve never seen a person like you. While others want a 30-minute break after a 30-minute rehearsal, you only need one for five minutes.’ I was shocked to notice that I had more energy when I was eating less. Eating right is so important!”

In a bid to establish her “commitment to routine”, her fitness trainer Viraj Sarmalkar, seated beside us, chimes in to share that Chauhan had shed five kilos in 10 days to film the song. It is one among the multiple statements he makes in this conversation that take us by surprise. “She can lift 90 kilos, squat with 70 kilos on her back, and can pull off a few unassisted pull-ups. At one time, she completed a five-kilometre run in 25 minutes,” he shares

While these statistics may seem incomprehensible for the layman, they’re certain to make a fitness buff sit up and take note. Sure, these achievements couldn’t have been possible if it wasn’t for the commitment that Sarmalkar previously elaborated on.

The singer reveals that even during her recently conducted Australia tour, she’d often return to Mumbai and pack in sessions with him. “Often, I’d train with him virtually while I was in Australia too. I’ve been fit before, but there’s something different now. Maybe it’s the kind of clothes that I’m wearing now; it was not like that before. Perhaps it’s the social media boom, or maybe it’s simply the fact that I am [carefree] after becoming a mother.”

Prod her about the most vital lessons she’s learnt about fitness, and Chauhan speaks of the importance of discipline, consistency, and commitment. “And keep your mouth shut,” says her trainer, “as far as the food is concerned,” she completes his sentence. Chauhan, we learn, is indeed keeping her mouth shut, and, according to Sarmalkar, consuming less than 1,200 calories a day. He makes a case for a calorie-restricted diet, as Chauhan reveals she adheres to the principles of intermittent fasting.

“The motivation to fast was to not only lose weight, but also give the intestines rest. [Our ancestors] would hunt and eat, and even go without food for days. With evolution, we adopted the pattern of eating three times in a day. It was never a requirement. All the snacking that we do is not good. At times, when I’m travelling, or shooting long hours, I’ve [gone without food for] 24 hours. I would never be hungry because my work would [keep me occupied]. Today, [fasting for] 16 hours is [not tough]. I get better sleep, and have better concentration.”

Chauhan begins her day with eggs, and, when she’s permitted, a slice of sourdough bread. “Ideally, you must break the fast with protein and fat. They are more important than carbohydrates. If I am hungry, I grab a meal. I only crave food at around 5 pm. In the interim, I may have nuts, which keep me full for another three hours. On the days that I lift weights, which is twice or thrice a week, I also have a protein shake. My last meal is at 7.30 pm.” 

In a world where the use of semaglutide drugs like Ozempic are considered the easiest way to beat obesity, Chauhan enjoys the rumours linked with her name. When she heard that individuals within her industry were claiming she had undergone surgery to shed the 21 kilos she gained during her pregnancy, she was elated.

“It’s the best compliment I could have got,” she smiles, going on to add that her battle with the bulge is one she has waged on more occasions than one. When she first met her trainer in 2008 at the behest of her singer-friend Aditya Narayan, she recalls having shed 15 kilos in six months. Over the years, she has subsequently gained and lost weight, with each effort making her certain that she could always find her way back to her original fitness levels. “Training is part of my system now,” she says, adding that a statement shared by her trainer has stayed with her over the years.

“He says, [exercising] is like paying rent. It’s an ‘everyday’ thing. When I am fit, I find a notable difference in my performances. I feel light, and can stretch myself a bit more. Today, before a show, regardless of how I am feeling, and even if I am unwell, I will always do a bout of cardio. It makes me deliver better.”

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.

They have always been pitted against each other and it makes them “have a good laugh”. Singers Shreya Ghoshal and Sunidhi Chauhan have sung multiple film songs in the past, including Imaan Ka Asar (Dor; 2006), Hum To Aise Hain Bhaiya (Laaga Chunari Mein Daag; 2007) and Om Shanti Om title track (Om Shanti Om; 2007), and now the “besties” have come together for an independent number for the first time.

The singers have recorded a single, titled Chhaila, for composer duo Salim-Sulaiman’s independent music initiative Bhoomi 2024, which will see them “in a different avatar”. In a tête-à-tête with HT City, Ghoshal and Chauhan talk about their bond, motherhood and all things music.

Shreya: People somehow derive pleasure from painting an image about women artistes and feeling that they are in competition or in some kind of battlefield (laughs). Sorry to disappoint everyone but Sunidhi and I are besties. I wonder how male artistes are never pitted against each other.

Sunidhi: Our choices may not be alike, but our souls are. That defines our friendship.

Sunidhi: We catch up very often over a coffee and chat endlessly. In fact, even when we are in the studio together, we have so much fun that a three-hour session turns into a six-hour one. We also give each other constructive inputs, which helps hone the final product. For instance, Chhaila will see Shreya rap for the first time, and while she was recording, I suggested her to try out a couple of things, which she did. I love Shreya.

Shreya: We always look for excuses to spend time together. Besides music, another commonality between us is that both of us are mothers to boys. I remember when I was pregnant, I would reach out to Sunidhi for anything and everything. I remember calling and asking her: ‘Which diapers should I buy for my baby?’

Sunidhi: Oh, we had a blast. We would have so much fun at the studio that Salim-Sulaiman had to wait endlessly for work to happen (laughs). It gave Shreya and me so much time together that when the song was done and the music video was shot, I started missing her from the next day. We had become so used to seeing each other daily. To feel that kind of love and to work on the song that showcases us in such a different avatar was gratifying.

Shreya: I never thought I’d rap in a song ever. But the way the rap jugalbandi unfolds between me and Sunidhi in the song is amazing. We had so much fun doing that. I’m sure it’s the kind of liberty only non-film music can offer. Both of us are also dancing and grooving in the music video. Prepping for it was so fun.

Sunidhi: Oh, I’d love to. I really hope someone conceptualizes that and reaches out to us.

Shreya: Yes, we really hope to tour together someday. I would jump at the opportunity.

Shreya: Of course, a lot of times. I often ask myself, ‘Am I doing enough?’ To say goodbye to Devyaan (her son) on days when he wants me around but I’m obligated to step out due to a professional commitment feels excruciating. But I try to balance out each role, from being true and dedicated as a musician to waking up in the morning and making breakfast for my little one before dropping him to school.

Sunidhi: I feel you, Shreya. Tegh is a little older now, but the moment he says, ‘Mumma, mat jaao’, my heart melts. I feel an inexplicable pain of being torn between both my loves — my work and my child. However, motherhood is so empowering, it teaches you a lot. I think Maa Durga helps us understand how we can multitask and fulfil all our responsibilities.

Shreya: Motherhood has helped me better my efficiency. I am able to manage my time well and deliver way more than what I used to earlier. Sometimes, I wonder, ‘What was life like before having Devyaan?’ It is unimaginable.

Sunidhi: Having Tegh has made me more grounded. I feel I used to be all over the place earlier, but now I know, no matter what I do or where I go, I need to return home to my son. In fact, as we talk, I remember I need to buy a pair of scissors and glue for his school project (laughs). I love this phase of my life and wouldn’t miss it for the world. I know everything can come around due to the circle of life, but once Tegh grows up, I’ll never have this phase again.

For the average concert-goer, a flying bottle, students dancing on barricades or throwing water during fests is a common sight. The recent incident at SGRR University in Dehradun, where Sunidhi Chauhan dodged a bottle while performing on stage, is yet another in the line of instances that singers have faced at fests. “Fests mein aisa hota hi hai, woh thode scary toh hote hi hain,” singers tell us.

During Sunidhi Chauhan’s recent concert (May 2) in Dehradun, a bottle was flung at her.  “The bottle came flying towards me and hit the mic. Mere saath aisa pehle kabhi nahi hua tha, so I was taken aback. I was not hurt, and I continued singing. I realized that it was not done intentionally,” the singer told us.

It happened a long time ago with me at a college in Faridabad. I think it was a plastic cup or something but a couple of them were hurled on stage. It didn’t really hit my face. These things happen. I am not so surprised and I feel in a crowd of five to six thousand people, there are always a few odd ones but because of those, others should not suffer and miss out on the musical experience that they are having. You should just ignore and let it pass like Sunidhi did.

In 2014, we were performing at a DU college and there was some ego tussle within two university student groups. Excitement was at its peak and all of a sudden, there were a lot of lathis and so many sharp objects were thrown in the crowd. Palak jhapakte hi kuchh log stage tak aa gaye. Humko protect kar diya wahan ke management ne, lekin kuchh log wahan chadhke narebaji karne lage. Phir humne dekha kisi ka sar phoota hua hai, humko toh jaake car mein baithna pada. Kuchh logon ko photos chahiye issliye jhagda hua. Hum car mein baithe, toh ek banda car ke peeche bhaaga aur bola, ‘Bhai chahe mera haath toot jaye, main toh haath nikalunga nahi gaadi se’. Matlab mohabbat bhi hai, pyaar bhi hai, lekin aisa scary pyaar? Toh DU aur yeh college fests mein aisi cheeze hote hain yeh thode scary hai. Woh energy bhi alag hoti hai.

This has happened tons of times at my shows too, particularly in Delhi colleges. I was initially oblivious to it while performing, and then my bandmates told me that during several of our shows, bottles, oranges, and other random objects had been thrown around both in the audience and on stage. A bottle almost hit me once. It’s really sad and scary that people can get like this during concerts. It can cause accidents to both them and the people on stage.

This has never happened with me in all of my performing career. But people have said nasty or borderline nasty things sometimes. And back in the day, I was too chicken to reply but now I am not. So that’s one change I have brought in myself to handle situations like these. But honestly, I don’t know how I’d feel if someone would throw a bottle or something else on stage. As an artiste, that is devastating and that’s not why you display your art and talent in front of people. You want to be loved, appreciated and respected. If something like this happens, I think what Sunidhi did was absolutely praise-worthy. She handled it with utmost grace and so beautifully with a great presence of mind and I think I would like to salute her for it. Some artistes can be temperamental, call off a concert. One can shed a tear, one can get angry, there are so many ways to handle a situation like this, but what she did was incredible.

I was in Dar es Salaam, Tanzania, it was a private party and the host got really drunk and I think he had a pattern of getting violent after having alcohol. He threw a glass with alcohol on the stage angrily which ended up hitting almost the right eye of my keyboardist. The injury was so bad that he had to get 12 stitches on his eyebrow. There was blood all over the stage, we were helpless because we were in a foreign country. And when someone invites us, you really can’t do much about it.

A video from Sunidhi Chauhan’s show at Shri Guru Ram Rai University’s annual fest Zenith 2024 in Dehradun, where a bottle was hurled towards the stage, has gone viral.

While reports suggest that the incident left the singer shocked and upset, Chauhan tells us, “I had no idea that the video has gone viral. It’s the first time something like this has happened with me and I don’t think it was done intentionally. I was performing my second last song and the crowd was having a blast. They were hurling bottles in the air and one came towards the stage. When I said, ‘Yeh kya ho raha hai? Show ruk jayega,’ they requested me to continue. I performed for another five-eight minutes.”

Chauhan adds that she’s glad she wasn’t hurt. “It hit my microphone with a lot of force. Of course, if the mic was closer to my mouth, I could have got hurt and would have perhaps responded differently. But aisa kuch hua nahin. Having said that, I am aware of some instances, when people deliberately misbehaved with the performers and threw things at them, aur woh galat hai. I strictly condemn that,” she ends.

Sunidhi Chauhan is content with the current phase of her life, both personally and professionally. While the singer juggles film and independent music, she also gets to spend quality time with her son, Tegh. 

Crediting the five-year-old for making her “a sane person”, Chauhan says, “Motherhood changed me for good. I had a terrible routine until I became a mother. Time management was a huge issue. But thanks to Tegh, I’m a sane person now. I wake up on time, finish my morning routine and do all that I want to do through the day. He has brought a routine and discipline into my life. I have experienced its benefits in terms of my overall mental and physical health.”

The 40-year-old recently came up with a single, Tum Kehte Ho, which revolves around shunning societal beliefs and prioritising one’s emotional and mental health. Speaking of the latter, did she experience mother’s guilt when she returned to the recording room just three weeks after welcoming her son in 2018?

“Maine uss department mein thodi cheating kar li,” she tells us, adding, “I made him travel with me for all my recordings and shows. He was 28 days old when I took him for the recording of Thugs Of Hindostan (2018). I placed Tegh in a room next to the recording room. I’d finish a few lines and check up on him. Phir mujhe iss cheez ki latt lag gayi. Mujhe laga yeh toh best hai. I don’t have to worry about him being at home while I was out for work. I performed my first show when he was five months old, and he travelled with me.”

However, Chauhan stopped doing that almost eight months ago “because I don’t want him to live my life”. She adds, “He’s got school and his friends. But, he wants to be on the stage with me (laughs). My team has a tough time stopping him in the wings. He says, ‘Mumma, mujhe bhi gaana hai’. So I tell him, ‘You have to earn it’.”

In a world where music evolves at an unprecedented pace, legendary playback singer Asha Bhosle stands as a timeless testament to the enduring power of melody. As she prepares to grace a Broadway-style concert in Dubai, Bhosle sits down for an exclusive conversation with us, offering her perspectives on the contemporary music landscape.

“Main sach bolu toh main aaj ke gaane sunti hi nahin hoon. If I have to listen to songs, I hear (late vocalist) Bhimsen Joshi’s songs, classical songs and ghazals as I get to learn and simultaneously, polish and practice my songs better through that. Because of this, my capability of singing gets better and I improvise and sing better,” she says, adding, “I don’t really find songs with excellent lyrics today, but I listen to them occasionally, and sometimes I come across good songs by (singers) Rahat Fateh Ali (Khan) and Sunidhi (Chauhan), so yes, I do find some of them good, but I rarely listen to music. If I have to, then I listen to the old songs.” 

Having lent her dulcet tones to an array of timeless compositions, Bhosle’s melodies have been re-imagined through numerous remix versions over the years, such as the iconic Dum Maro Dum (Hare Rama Hare Krishna, 1971) and Yeh Mera Dil (Don, 1978).

When asked about her perspective on this trend, the 89-year-old remarks, “Nowadays, everyone does it, but it has been going on for years, so it’s not anything new. However, I feel that even if the remix versions come up, no one forgets the original music or the artiste. It [remix] is akin to sharing my phone number today, which you might forget by evening unless you save it on your device.”

Sunidhi Chauhan’s recent show at London’s iconic Wembley Arena left close to 5,000 music aficionados stunned and impressed — not just because of the power-packed performance by the singer, but also because she pulled off the show with half her crew present.

“Performing at Wembley has always been amazing. But my latest gig is the most memorable one. Half of my troupe didn’t get the visa. So, we were contemplating if we should go ahead with the show at all. The drummer and my backing vocalist weren’t there, so hitting the stage seemed impossible. We had prepared an amazing set and practiced it for over a month. I decided to not cancel the show as it’d have been unfair to all the people who’d bought the tickets. So, I went ahead, though I was really scared,” shares Chauhan, who performed a 2.5-hour set.

The singer belted out some of her iconic tracks including Saami Saami (Pushpa: The Rise, 2021) and Sheila Ki Jawani (Tees Maar Khan, 2010). “We started off well and after a few songs, I realised that people were not missing anything at all, despite me mentioning at the beginning of the show that it’s not the same set that we were supposed to perform. The turnout was amazing and it was heartening to see everyone, including the security personnel, groove throughout the show,” Chauhan ends.

Indian musicians Jonita Gandhi, King and Anuv Jain opened for American rapper Post Malone at his recent Mumbai concert. An Indian musician opening for an international artiste is a common phenomenon, but it doesn’t happen the other way around. However, singer Sunidhi Chauhan says if one is in music for the love of it, they would never feel small about opening a show for someone. “I think if I had to open for somebody who I love, somebody like Beyoncé, I would do it,” she says.

The singer, who will set off on her I Am Home series of concerts soon, adds, “But, I would not expect Beyoncé to open for me. In fact, I would not like anybody to open for me. I want to have it all. I want those 15 minutes to myself. I love my fans and they should only see me perform.”

Meanwhile, Chauhan, whose song Saami Saami from Pushpa: The Rise (2021) became a global rage, doesn’t feel the pressure to deliver a hit as big as the song that featured actors Allu Arjun and Rashmika Mandanna. “I have never been under pressure. I just do music for the love of it. I don’t care if a song does well or not. But if it reaches people, that’s great,” says the singer, who has a lot of uptempo numbers to her credit.

Ask what she feels about the trend of remixing old numbers, and Chauhan says she’s all for it, as long as the final product sounds good: “If a remix is done properly, I feel uss gaane ki life aur bhi badh jaati hai. But unfortunately, most remixes take the fun out of the original.”

Mumbai: Veteran film actress and one of India’s earliest and best loved talk show hosts, Tabassum, died after suffering two successive cardiac arrests on Friday. The artiste, whose career spanned almost 75 of her 78-year lifespan, anchored Bombay Doordarshan’s most popular talk show ‘Phool Khile Hain Gulshan Gulshan’ from 1972 to 1993.

Born Kiran Bala Sachdev in Bombay in 1944, she made her debut as Baby Tabassum in 1947. She was married to Vijay Govil, brother of actor Arun Govil. Her son Hoshang reportedly said she passed away at 8:40 pm in hospital where she was admitted for a gastrointestinal ailment. Tabassum had tested positive for Covid earlier in April.

Audiences caught an early glimpse of the voluble child artiste in two Dilip Kumar-Nargis classics. The first was ‘Jogan’, followed by ‘Deedar’ featuring the evergreen horseback song ‘Bachpan ke din bhula na dena’ with another child artiste Parikshit Sahni. In both films, her large emotive eyes and clear speech marked her as an actor of promise.

Sahni said, “Her death is such sad news. I was a novice during ‘Deedar’, she was a child star by then though she was younger than me. But what a nice person! She had a strong command over Hindi and Urdu even at that early age.”

Her other films are ‘Mera Suhaag’ (1947), ‘Manjhdhar’ (1947) and ‘Badi Behen’ (1949). Her last film appearance was ‘Swarg’ (1990). Her noteworthy songs ‘Rekha O Rekha’ (‘Adhikar’) as well as ‘Dekho bijli dole bin baadal ke’ from ‘Phir Wohi Dil Laya Hoon’, where she played Asha Parekh’s impish friend, are still popular. ‘Pyar Ka Mausam’ and ‘Heer Ranjha’ are also memorable.

Tabassum passed away even as Bombay Doordarshan is celebrating its golden jubilee. Former DD colleagues mourned the end of an era. Manmohan Singh Rawat, who was assistant director in ‘Phool Khile. . . ’ from 1984 recalled Tabassum as a “fine human being, cheerful with an impeccable command over Hindi and Urdu”.

He said, “She had her own performance troupe ‘Tabassum Hit Parade’ which launched the careers of Johny Lever and Sunidhi Chauhan. She even wrote a joke book.”

Former programme executive Anita Rai of ‘Chhayageet’ fame said, “We had a long beautiful relationship. We used to produce ‘Phool Khile...’ where she interviewed famous film personalities with ease and confidence. She was a kind-hearted and jovial person. Tabassum ji respected every person and had an amazing memory. She used to call everyone in the unit by name even if she met them after a gap. Kids used to enjoy her company in a programme titled ‘Story Time’.”

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Hindi cinema has lost its smile. Veteran actor-television host Tabassum, whose association with the screen was as long as India’s Independence, has passed away. Tabassum died on Friday following a cardiac arrest. She was 78.

“She was admitted to a hospital due to gastro problems. She suffered from two cardiac arrests in an interval of two minutes and passed away around 8.40 pm,” her son Hoshang Govil said, adding that the funeral took place on Saturday. Her family has organized a prayer service scheduled for Monday to “celebrate her legacy and beautiful smile”.

At a young age, Tabassum entered the industry with the screen name ‘Baby Tabassum’ in the film Nargis (1947). Her screen presence ensured that she soon became the first choice for younger versions of then prominent actors like Nargis (Deedar, 1951) and Meena Kumari (Baiju Bawra, 1952). Tabassum took a gap from the screen and then returned in the ’60s as an adult actor.

But her relationship with the big screen wasn’t the same anymore. That’s when Tabassum took to television, which was at its nascent stage in the country. She loved movies, not the medium. So, in 1972, Tabassum began hosting Indian TV’s first talk show, Phool Khile Hain Gulshan Gulshan, which featured her interviewing film stars.

Anil Kapoor, who featured alongside Tabassum in the 1986 comedy Chameli Ki Shaadi, which was also among her last film appearances, shares he and his family were big fans of her talk show that they named their 1978 production starring Rishi Kapoor and Moushumi Chatterjee after the show. “That was the impact of her show. She was a lovely lady, always cheerful and positive, smiling and laughing, vibrant, and full of energy. She was one of the pioneers of hosting shows,” Kapoor says.

It was a moment of honour for dancer-actor Sudha Chandran to feature alongside the yesteryear actor in her film, Nache Mayuri (1986). Chandran claims she grew up watching Tabassum’s Phool Khile Hain Gulshan Gulshan. The actor shot for Tabassum Talkies (her YouTube channel) a few days before the veteran actor’s sudden death. “Age was just a number for her. She had so many anecdotes to share and was always full of life and cheer. For me, it was like a dream come true to sit and talk to someone with [such an illustrious] career. Although it was 35 years ago that we worked on Nache Mayuri, but I remember being so young and star struck at that time. I couldn’t take my eyes off her. You could listen to her endlessly because she had a great command over language and an unexpected innocence.”

Popular television actor Indraneil Sengupta, who played her grandson in the show Pyaar Ke Do Naam: Ek Raadha Ek Shyaam (2006), remembers her as his grandmother even after the director said cut. While it is common for senior actors to wear a sense of seriousness in their demeanour, Tabassum always carried a child-like glee, says Sengupta. “She was fond of me and Barkha [Sengupta, his wife and co-star]. She never had the aura of a senior [actor] and was always like a grandmother showering you with love. There are many good people, but rarely do you find someone, who exudes positivity 24/7. Tabassum ji was that person,” he says.

Unlike most actors of yore, Tabassum always moved with the times and sought relevance. She was also a connoisseur of cinema, which made her seek a new audience in both old and young. In 2015, she launched her YouTube channel Tabassum Talkies, where she shared untold stories of iconic film artistes.

- Nargis (1947)

- Deedar (1951)

- Baiju Bawra (1952)

- Phool Khile Hain Gulshan Gulshan (1972)

- Mughal-e-Azam (1960)

- Tum Par Hum Qurban (1985)

- Naache Mayuri (1986)

- Pyaar Ke Do Naam: Ek Raadha, Ek Shyaam (2006)

- Ladies Special (2009)

- Tabassum Talkies

Gajendra Singh, creator of music reality shows like Antakshari, SaReGaMa, Music ka Maha Muqabala, Sur Kshetra and more, recently conceived and directed the show, Nam Reh Jayegaa, a musical tribute to the late Lata Mangeskhar.

Talking about taking the show to Lucknow, he said, “Lata Mangeshkar had a unique association with Lucknow. Several music directors from there helped her with her Hindi and Urdu diction. So Lucknow ka ek final celebration and tribute toh banta hai Lata ji ko.”

Ganjendra, who started the trend of reality shows in India, says he is not happy with the dramatisation of the concept for the sake of TRPs today. He says, “Back then, reality shows were all very real. There was no added drama in them. We did not add any artificial script to a reality show. The reason why makers are doing it today is because they lack content. Channels don’t want drama, they want numbers and this can be achieved without drama. Makers of reality shows need to work on their content more — they would not need the support of drama then. The side-effect of drama in reality shows, especially singing ones, is that people remember the stories of a contestant, but they don’t remember their voices, the way they remembered Sonu Nigam, Shreya Ghoshal, Shaan and Sunidhi Chauhan. All the reality show singers of the past are remembered for their voices, try recalling their drama and you will not have a single memory because tab drama tha hi nahi. Reality shows unfortunately are fiction shows today.”

Gajendra says that he is trying to bring back one of his most remembered shows, Antakshari. He says, “Yes, talks are on with the channel and of course, the host Annu Kapoor, to bring Antakshari back in the same format, but with a new flavour. I had ended Antakshari because I wanted to move on then. I wanted to sign off on a high note. If all goes well, the show will soon go on floors,” he said.

Bollywood singer Shilpa Rao’s collaboration with composer-sitarist Anoushka Shankar last year, on the album Love Letters, got her a nomination in the ‘Best Global Music Album’ category for the 63rd Grammy Awards last year. The singer who has given chartbusters like Ghungroo (War), Meherbaan (Bang Bang!), Khuda Jaane (Bachna Ae Haseeno), Ishq Shava (Jab Tak Hai Jaan) among others, recently received the Grammy certificate.

She says, “For somebody who never felt since childhood that she would achieve anything, this was huge. Of course, the Grammy was never on my list, but when I was nominated, I was extremely happy and excited. ”

Shilpa believes it’s persistence that can take an individual a long way. “I think more than talent and hard work, persistence is the key because one has to work hard and never give up even when things do not go your way.”

Shilpa says that she has never looked at her songs as filmi or non-filmi. “Every recording is important to me because I am very emotionally invested in my songs,” she says.

Has the perception of people in the Hindi film music industry changed in any way because she has now got an international recognition? “Well, I have to say that everybody here was quite excited and happy. They were congratulating me from everywhere. Be it Sunidhi Chauhan, Shaan, Vishal Dadlani, Shekhar Ravjiani, Shankar Mahadevan, Pritam...everyone. This means a lot to me because I have worked with them, they are my friends and are a part of my life. We congratulate each other whenever we do things and that means so much to us. When I like a song by another musician, I pick up the phone and congratulate him or her. When people around you are happy to see your progress...that’s a very beautiful way of working,” she ends.

(L-R) Ayanna Witter-Johnson (cellist), Shilpa Rao and Anoushka Shankar

A lot has changed in the mainstream music scene in the past decade. Back in the day, there were only a handful of singers who represented Bollywood music. Today, every new film introduces a new singer. But Sunidhi Chauhan has no qualms about this trend. “New singers coming in every day is actually a healthy development within the industry. We have such a huge population, so why should we bank on just a handful of singers or composers?” asks the singer.

Chauhan believes that the influx of newer talent nudges every musician to put their best foot forward. “The fact that these new voices are doing well, finding recognition and acceptance from diverse audiences is like the icing on the cake. This heightened degree of competition is only making the industry raise its standards, as everyone is working hard in an attempt to make a mark and stand apart,” she elaborates.

The singer asserts that one has to take every change to their stride and evolve with the changing times to remain relevant. “From the time I entered this industry, I made sure that I made even an average song sound better, as that was my job. But I’ve always focused on being adaptable with the times. Even now, I’m trying to align myself with the changing tastes and preferences of audiences,” says the singer, who has belted out chartbusters like Radha (Jab Harry Met Sejal; 2017) and Kamli (Dhoom 3; 2013), among others.

Chauhan adds, “There will always be good, average and bad music. But there’s a lot more good music that’s being made now and brought to the audience. And, a large part of this movement is being driven by newer talent and voices in the industry.”

This year marks the silver jubilee of Sunidhi Chauhan’s musical journey, and she believes “it’s just the beginning”. The singer, who began her career at the age of 11 with the song Ladki Deewani Ladka Deewana (Shastra; 1996), says, “Completing 25 years has given me the confidence to keep doing what I love to do.”

Looking back at her first film song recording, she tells us, “I had five to six cups of tea before singing to calm myself down. I was so excited about singing before a microphone for the heroine of a big film!”

However, Chauhan reveals that becoming a singer didn’t top her bucket list. In fact, as a little girl, she dreamt of becoming a dancer: “I wanted to learn dancing. But my singing was noticed a little more. When people around me kept telling me that I sing well, I realised I wanted to learn it.”

The Maskhari (Dil Bechara; 2020) singer, who turned 38 yesterday, admits that she learnt music by listening to songs. “Kids learnt singing in groups, but I wanted a special kind of attention from my guru. Instead, I started doing shows. Once I started singing in films, I didn’t get the chance to learn music,” she shares.

In 2016, she added a new feather to her cap by starring in Playing Priya, a short thriller. Ask about her acting plans, and she reveals, “I was supposed to start something but lockdown changed the situation. I’m open to acting and look forward to exploring a new side of me.”

The digital boom has helped many emerging musicians flourish with a much-needed boost to original music. While singer Sunidhi Chauhan agrees and admits that the medium has proved to be “a win-win” for artistes, she also rues the dearth of songs composed for female voices.

The singer says, “Since I consume a lot of OTT content, I’m always on the lookout for new talent. If I hear a nice track or background score, I make it a point to find out who may have sung or composed it. It aids in discovering new talent and opportunities.”

But this new talent is not enough for the industry, where songs made for female singers are still scarce.“It’s been this way for a few years now. But, the industry can’t be blamed for that. Songs are conceptualised and composed keeping in mind the cinematic situation and the larger storyline.” The Ae Watan (Raazi; 2018) singer shares and hopes that there are more songs for female singers soon.

Chauhan, who rediscovered indie music during the ongoing pandemic, recently lent her vocals on Ishq Tera Mera, composed by her friends and music director duo Salim-Sulaiman. She says, “I’ve always been a big admirer and couldn’t be happier to collab with them.”