From Dil Diyan Gallan, Aankhon Mein Teri, Sheila Ki Jawani to Besharam Rang, composer duo Vishal–Sheykhar have shaped the sound of Bollywood for 25 years.

Known for their instinct-driven partnership and genre-bending hits, the two continue to reinvent themselves while keeping the fun, and the music, at the heart of their collaboration. In this conversation with Bombay Times, they look back on their journey, the trust that binds them, and the madness behind their melodies. Excerpts...

Vishal: Absolutely. We do finish each other’s musical sentences. That’s uncannily true about us. But yes, we also have those “commas” you mention. We argue, we debate, we break things down—where a song can go, where it should go, what it should sound like, the beat, the energy—everything is discussed to the bone. And yet, somehow, we always end up on the same page.

Sheykhar: At this point, we know each other so well musically that one of us can easily complete a thought that begins in the other’s head.

Vishal: Honestly, it doesn’t even feel like 25 years. We still have fun doing what we do, we love the process, and we’re always laughing—whether we’re working or just hanging out. There’s a deep respect for each other, and just as importantly, we give each other space. Every person needs an individual identity, even within a partnership, and I think holding on to that individuality has kept us strong all these years.

Sheykhar: At the heart of it, it’s always been about the music—the joy of creating something bigger than either of us. That singular purpose has been the driving force of our collaboration from day one.

Sheykhar: Taking a break usually works best. Stepping away gives us distance and helps us regain perspective. Sometimes, even a really long break has done the trick. As our friend, lyricist Irshad Kamil, once wrote, “Kuch rishton ka namak hi doori hota hai, na milna bhi bahut zaroori hota hai.” That thought has stayed with us. At the end of the day, it’s always about the music, and whatever makes the song better is what wins.

Vishal: Honestly, we don’t really have deadlocks. We don’t see them as conflicts, just as strong opinions. Both of us are secure enough in our partnership to voice what we feel without ego getting in the way. But if ever there was a deadlock, we’d just step away for a couple of days, come back refreshed, and move on.

Vishal: In many long-term partnerships, roles get fixed. Thankfully, that’s never happened with us. Sheykhar is a far more qualified musician, he’s taught me a lot, but our process is symbiotic. Anyone can do anything. If he sings me a tune and I tweak it, he runs with it. If I sing him an idea and he adds a line, that becomes part of it. It’s fluid.

Sheykhar: Life would be boring without surprises. Over time, we’ve both grown individually, and those experiences naturally shape how we collaborate. The ‘rules’ keep rewriting themselves as we go.

Sheykhar: Honestly, every day in the studio or on stage asks something different of us. Each director is unique, every audience responds differently, so our collaboration keeps shifting too. We’ve learned to recalibrate pretty organically—whether it’s composing for a film or performing live. That ability to adapt has kept things seamless for us all these years.

Vishal: If I had to pick one defining moment, it would be the composition of Jo Bheji Thi Dua (Shanghai). That song was pure instinct. I’d been carrying the hook melody in my head for a couple of days, and when I walked into the studio, Sheykhar already had the mukhda. The hook just slipped in there like they were meant to be together.

Sheykhar: I’d definitely describe it as a Mashup.

Vishal: For me, it’s Dus Bahane Karke Le Gaye Dil (Dus). By hook or by crook, you’ll end up loving our music, we’ll draw you in. Our songs are meant to become part of people’s lives, and we want everyone to feel included in that experience. I still remember the first time a car drove past playing Woh Pehli Baar from Pyaar Mein Kabhi Kabhi. It blew my mind! I’ve been hooked to that feeling ever since.

Vishal: And these sessions don’t always happen in a studio. It could be in the car, at a coffee shop, or even on the phone when we’re in different countries. Wherever we are, once we’re in the zone, it becomes a session. It’s unstructured, but it has its own rhythm, a method to madness. Sometimes we begin with a melody, sometimes with words, sometimes by just sitting with a script or listening to a director’s narration. Ideas can spark from anywhere.

Sheykhar: The seed of an idea or melody can come from either of us, but it’s our different perspectives that merge to create something we’re both proud of. Sometimes, even the occasional casual jam has turned into a hit unexpectedly.

Sheykhar: Disagreements and differences are inevitable in any partnership. In fact, some of our best compositions have come out of creative clashes. Even when we don’t see eye to eye, the key is trusting each other’s instincts. If one of us feels strongly about an idea, the other gives it room to breathe. Over the years, we’ve learned when to push, when to pull back, and when to simply listen.

While they have worked together on several Hindi film songs, musicians Sonu Nigam and Vishal Dadlani marked their debut collab for a single, Jaan Le Gayi, last month. The song, which is part of the album Bhoomi 2024 — a brainchild of composer duo Salim-Sulaiman, has been penned by Shraddha Pandit and has almost two million views on YouTube.

Nigam says working on the song and singing alongside Dadlani was a breeze. “Jaan Le Gayi was the first song that we recorded for the album. But everyone loved it so much that it was decided to end the Bhoomi season with the track. I am a sound person and I get very touched by voices. Vishal ki awaaz mujhe bahut touch karti hai. Despite his rock background, he has a soul for Indian melodies, which is quite rare. I was so happy that we collaborated for our first non-film song. Vishal is a malang kind of a person and I love his vibe,” he says.

For Dadlani, coming on board for the song was a yes at the very outset. “I was on a paragliding trip in France when Salim (Merchant; composer) called me and said he wanted to do this song and that I’d have to sing alongside Sonu Nigam. My brain broke a little, because it’s not easy to sing with Sonu. It was something I had never done before. So, I knew it would be challenging as a singer to even go behind the mic. I don’t consider myself a singer at all, although Sonu and Salim always say kind things about my vocal performances,” he says.

Dadlani adds that shooting the music video was even more fun: “It was a concert-like setting. Both Sonu and I are energetic performers on stage and we are also seen dancing in this one. Projects like these become a way of reinventing yourself, especially when you have people like Salim and Sulaiman at the helm of it. This song has me singing sargams that I am really not fluent in, but these guys encouraged me to do it. I would love to work with Sonu again.”

For Nigam, who is seen pulling off some impressive moves in the music video, shooting the track was a special experience. “The last time I shot at a Bhoomi set was in 2022 for the single Ruk Ja. So, returning to the same space after two years felt great. I love working with Salim-Sulaiman, because I enjoy that space. That’s why the kind of work that we’ve been doing, including the Kannada song Mayavi (it has close to 30 million views on YouTube) from the same album that has received so much love globally, is very divine and genuine,” he ends.

Ahead of the upcoming season of Indian Idol that sees Kumar Sanu, Vishal Dadlani, and Shreya Ghoshal on the judges’ panel, Dadlani addresses the question that’s on the lips of every audience member: ‘Where do the popular singers go after the show ends?’ His answer makes it evident that in 2023, an entrepreneurial spirit is just as important as one’s skill to enjoy a lasting career. Edited excerpts from the interview.

The music business has come to a place where a singer is his own opportunity. In the past, a singer’s career was dependent on the composer. It was dependent on the films he was singing for. That is no longer the case. [The participants of] the past five editions of Idol have vast YouTube and Instagram followings. Their shows on tours are [booked out] and they perform all over the world. A singer’s career depends on the legwork that they are willing to put in—whether that’s about meeting composers or creating and releasing their own music. Now, every singer understands that they also need to be a composer, just like, [until] a few years ago, every composer understood that they also needed to sing. You need to be an artiste and promote your own artistry. And if someone follows them, they usually enjoy the [work of the] artiste for life. A platform like Indian Idol gives these kids that head start, which is [significant] right now. The number of eyeballs that you command is your currency in 2023. 

Many of them. Right from season one, you could see that there were some people who promoted themselves, and who are, today, doing far better, economically, than the others who didn’t. They may not have even been the winners. That is the reality of life. You have to understand that music, art and entertainment are in the public sphere. You can’t [achieve anything] without the public. Your equity is how many people love you or the work you put out. Take [A R] Rahman as an example. He has never marketed himself. But, his first few soundtracks were so ground-breaking that people automatically began to admire him. Another example is Neha Kakkar, who is one of the most popular people on Instagram in the world. She’s built that following by actually constantly treating her Instagram followers as her friends and family. She puts her life out there. It’s something that I couldn’t do, but I admire that she can. And people connect with her on that basis. 

Most artistes today are known for their style of singing. In the past, either Sanu da [Kumar Sanu] or Udit ji [Udit Narayan] would sing every song in an album. That [approach] doesn’t work anymore. Now, it’s about specialists. Every singer has, and is known for one style. That’s also a more organic way of [approaching music]. Before, there was one voice for the hero; now a hero can have six voices. Songs don’t matter, what matters is how the singer serves the song. In Idol, they go through all sorts of training. To begin with, they are very accomplished. To get through the auditions, you have to be pretty good. Once they are among the top 15 contestants, they go through grooming sessions. There are [classes on] voice culture. For instance, if they have been trained in classical music, they are also taught to have an understanding of playback singing. They also need to learn how to pull back while singing. Grooming sessions help them add a certain subtlety and nuance to their delivery.

There are some matters that Vishal Dadlani won’t talk about, like the Pathaan track, Besharam Rang, which emerged to be among the best performing songs of 2022, but was mired in controversy with fans stating that it resembled a bunch of old numbers. Then, there are matters on which he pours his heart out, like his work on the recently concluded Dilwale Dulhania Le Jayenge musical, Come Fall In Love, an international production that offered Dadlani, along with his long-time collaborator Sheykhar Ravjiani, a once-in-a-lifetime opportunity. 

Considering the fact that musical adaptations of Bollywood films are a rarity, we are eager to know what transpired behind the scenes as the cult classic found a theatrical adaptation in San Deigo. Stating that the project “changed our sensibilities”, Dadlani says, “Dilwale is the fabric for modern pop culture. We worked with Nell Benjamin, who is a multi-Tony Award-winning [composer], and we learnt a lot about approaching music [from a place of] joy. [We were told to] let the lyrics speak to us, and by the end of each page, we [usually] had the song [conceived]. We got 60 standing ovations, and our crowd comprised both American viewers, and individuals who had flown from Mumbai to see it,” he relives the experience, as though it occurred yesterday.

Given that it marks the amalgamation of story-telling techniques and live music, a musical, Dadlani says, is a powerful medium to express emotions. “Sheykhar and I usually get to head on [tours], but we never get to perform the same set on the same stage, over and over again. This experience provided that. We had people coming back to watch it [twice over]. It was challenging, but was one of the best experiences of our lives.”

Dadlani’s recent work is an upcoming track from Amazon Prime’s Farzi, and one that brings him under the familiar wings of composer duo Sachin-Jigar. “They are friends. When they call me for a song, I don’t even ask them about it, I simply show up. By now, they know my range, texture, and the things that I like to do [as a singer],” says Dadlani, who rendered Paisa Hai Toh, along with Mellow D for Shahid Kapoor’s project.

We would assume that his success as a composer would influence his renditions while working for other composers, in the capacity of a singer. But Dadlani disagrees. He adheres to one principle — “I come in knowing nothing,” he says.

“I only bring my heart. I treat each song as an opportunity to learn something. When a composer calls me, he/she is giving me a chance to improve myself as a musician. You have to put your faith in the composer, because the composer chooses your voice as the instrument for the song.”

Music composer and singer Vishal Dadlani, who is currently judging Sa Re Ga Ma Pa 2021, opens up about how people feel that judges on music reality shows only praise contestants. In an exclusive chat, he speaks about this, tear-jerking episodes on reality shows, and life in the pandemic.

Everyone is entitled to their opinion. Young contestants are putting out their best and it is fair for people to judge them. As a judge myself, I know how fair and uncompromising I can be. Beyond that, as someone who is a music composer, I have tremendous love for these young singers who have hopes and aspirations. Our duty is to not criticize them, but give them suggestions on what is wrong and what is right. Our duty is to give them a platform and present them in a fair light to the world. People are free to judge them. I enjoy watching them perform and I don’t see it as an assignment where I need to point out mistakes all the time. As for people who feel that we are only showering praises, I have respect and love for all, but I can’t answer all their questions. I am just being myself and enjoying the performances of the contestants.

Sonu Nigam is a singer and far too big an entity for me to question him about this. I respect him a lot. But, all of us need to understand that there are kids on that stage who are starting out very young. They wake up at 5 am and start practising for a weekend episode, many days in advance. During such times, we need to be compassionate and take a positive step towards their journey. Also, there is a difference between a singer and a music composer and their perspective towards things. The industry can’t be bitter, we are just trying to provide opportunities to contestants for whom the journey is never easy. People might have several opinions on tear jerking episodes bringing viewership, but I plan to continue doing what I feel is best on a show.

I have had the glory of music with me for so many years now that I don’t feel I am single. Everyone needs a companion but I am happy enjoying my life with my parents, especially during the pandemic. I also participate in adventure sports like paragliding, so the fact that I am single, does does not bother me as I constantly keep myself occupied.

Filmmaker-composer Vishal Bhardwaj and composer-singer Vishal Dadlani recently collaborated on the single, Mask Kho Gaya. They released an interesting animated video for the song, which is written and composed by Bhardwaj and sung by Dadlani.

Talking about the idea behind the track, the filmmaker says, “When the lockdown started, we had a whole lot of songs that were about beating the virus, jeetna, harana, yudh jeetenge... it irritates me that whenever we are faced with a crisis, we start exploiting that instead of sharing what we really feel inside. The Coronavirus pandemic has forced us into leading a confined life. For some of us, the issues were that we were not getting our vegetables and essentials easily. On the other hand, the migrant labourers, who walked long miles to reach home faced bigger issues. That’s when we had thought of coming up with a satirical view on the situation. When I thought about the song, I felt that Vishal would be perfect for it.” In August, Bhardwaj had released the track Dhoop Aane Do, penned by veteran lyricist Gulzar, which was about being hopeful even during grim times.

Dadlani recalls recording the song from a village near Kamshet on the outskirts between Pune and Mumbai. “Recording the song took me only a few hours, but sending it out became an issue due to technical reasons. I would make trips to Lonavala just to try and send it to Vishal sir,” he says.

Vishal Dadlani says, “I had friends from different independent bodies working to help people facing a crisis during the lockdown, and I was trying to help them in some way, too. It’s a limitless task. It was getting depressing to see so much pain around us. This medium of satire and being able to say things with a unique perspective helped me break away from that. Before this song, I had personally never used music as a tool for change, but I am glad that I am a part of a song like this that addresses so many issues without being bleak.”

Bhardwaj adds, “This song has given me a different perspective and a new way forward. I have realised that anger ka kya faayda... It doesn’t help. I would rather use satire, use the language we know best as artistes and take things forward to express emotions aptly. I didn’t know it could give an artiste so much joy and comfort.”

Dadlani has previously collaborated with Bhardwaj for compositions like Dhan Te Nan (Kaminey) and Aao Na (Haider). When asked how it was to work on a single this time, the filmmaker says, “I love what Vishal does in films and independently, too. Some singers do a great job with their vocals, and then there are singers like Vishal, who grasp the soul of a song.”

Dadlani sums up saying, “I always come into our collaboration as a fan, straight up. It all started in 1994 or 95 when Pentagram (Vishal Dadlani’s band) was competing in a college competition. A crowd that had gathered to listen to English rock bands swayed and cheered for Chappa Chappa Charkha Chale from Maachis. This is the beauty of music that transcends language and genre. He’s the perfect example of a composer who maintains authenticity in music.”

Vishal Dadlani, 41, is self-made, forthright and extremely sensitive. His eclectic taste in music comes from his parents and his feeling of liberation from being a part of Pentagram. He is committed to nonviolence and is hugely patriotic. Ahead of the release of Happy New Year, the music of which he has given along with his best friend and partner Shekhar Ravjiani, he talks to Bombay Times about his love for his parents, the caring Farah Khan and what made him quit smoking overnight. Excerpts:

How did you come into films?
I guess it is a kind of a privilege to be born in Mumbai as all the influences of music, be it of the world or India, are all here. I have never been schooled musically, but my parents have a great love for music. I was allowed to listen to whatever music I wanted, which is why I am able to do such severely contrasting forms of music. We are originally from Sind and my dad was a builder, so, we were sort of well off. Everything we needed was there, but I was a very angry kid for what I don't know. I guess hormonally you need to have something to rebel against as a teenager. I had a very freakish early college life where I was like a goonda. But somewhere along the way, I found playing basic guitar soulful and it made me happy. That led to Pentagram. The band's drummer Shiraz led me to Raj Kaushal, who was making this film Pyaar Mein Kabhi Kabhi. I had met Shekhar Ravjiani before and found ourselves working on the same film and decided to work together and have since been together past 15 years.

You are the lead singer for the rock band Pentagram. Did your being an angry person lead you to rock music?
Rock is not angry, it's outspoken. The fundamental of rock-and-roll has always been to speak your mind. It's about expression and not being limited to restricting yourself to what you have been conditioned to be, so, it's liberating. And that's the reason I love it.

Do you have to charge yourself with energy before you perform?
I don't need extra energy. I have my coffee. At my lowest on a worst day, I will have my Snickers bar of chocolate.

Who are you most attached to?
My parents, who I love as one entity. They have given me everything, from life to everything I know to everything I think. The reason I am a musician, enjoying different kinds of music, is due to their eclectic taste. I would be listening to the Woodstock album right next to Hum Kisise Kum Naheen to Jagjit Singh to disco music to funk and Afro pop. Anything I know about music and love about music comes from them to start with. Then Pentagram taught me so much and now Shekhar has been an unending source of musical education. He is an extremely trained musician and I have learnt from him. My mother would always be singing and that too, in tune. In school, we would be made to sing Marathi songs. I assumed that just like my mother, everyone could sing. My teacher asked me to stand up and sing and I realised that I was in tune, unlike many classmates and that is the first time I realised that I could sing unlike others. Despite my father being a businessman, I remember my first conversation with him, when I told him that I wanted to be a musician. He only asked me, 'Tell me, do you think you are any good?' I said, 'Ya, I think so.' He said, 'Go for it.'

Talk about Shekhar Ravjiani?
The best part I like about Shekhar is that he has tolerated me for 15 years. It is no easy task. He has taught me so much, both in music as well as how to behave as a person. He is a wonderfully evolved guy. He is very caring and you can count on him as a friend more than most people can count on their families. If at any point you need him, he will drop everything and be there for you.

What do you like about yourself?
Everything. I truly love me. Some people may feel that I am arrogant, but actually I am just forthright. I say what I believe and believe what I say. I don't hide anything. If I have a deep grudge against someone, it won't burn me inside as I will have a chat and sort it and once it is done, I will never think about it again. I am very emotional and sensitive. Of late, I have been crying at the movies, which is a bit bizarre. I have great love for my country. When Suniel Shetty was rolling in the mud in Border and saying, 'I am in my mother's arms,' I felt that. I place humanism above patriotism, but they are close first and second. So much of what I am comes from being an Indian and from Mumbai. I am nearly not a good son as my parents deserve. I was a rowdy kid and gave them a lot of grief, but today I am committed to non-violence. You can hit me on my face and I can guarantee that I will not hit you back. I was dangerously and stupidly messed up in college. I used to be a great kid in school till class IX till when I got bored of being the good kid and a model student. Post that, I remember willfully not submitting my exam paper after writing it. I have always had this abiding love for Physics. As a kid, if I got a toy rather than play with it, I would open it and see how it worked. That's what got me excited and if I could put it back together, I was thrilled. I really grew to love it and still love it with a passion. I was in class X and really good at Science and was selected for this special class in the morning for extra classes for the brightest students in Science. I was also going for tuition classes. As a result, I was studying the same syllabus at three different places at the same time. So, it got to me and just three months before my board exams, I decided to quit. Fortunately, my teachers and my parents realised that they had overdone it and they just let me be. But until then, I held the highest score in Science from my school. I had decided to be myself. I was always a loner, but music saved my life.

Are you stubborn?
I am severely stubborn. Actually, both my dad and I are very stubborn. I love to hug my dad even though he is awkward with it. My dad was not getting himself operated for cataract, but I made a deal with him that if he would get himself operated, I would quit smoking and I have. Once I decide it, nothing can change that. Grudgingly, my dad too likes the fact that I have always been independent. Even in my early days, I would not ask for help and would choose to take the bus or train as against the car when I started. But I am khuddar and was clear that if you start with a launch pad, then how would you know that you made it on your own. I am not a modest person and don't believe in fake humility.

Have you made friends in the industry?
Our relationship with the directors we have worked go beyond work, be it with Sujoy Ghosh, with whom we talk nonsense on a daily basis both on Twitter and on phone, with Farah Khan who is just lovely or with Karan Johar, Tarun Mansukhani, Siddharth Anand or Punit Malhotra. They are our genuine friends and wonderful people who have not only stood by us, but for us, our relationship goes far beyond our working relationships.

Talk about Farah Khan?
Farah is magic. I say this as a mother, as a caring human being and of course, she is one of the biggest directors in the business, but that is completely secondary to what she is as a person. About 19 years ago, Pentagram was the backing band in an ad. We needed money to buy equipment and would take any gig we got. Farah was the choreographer on this ad that Mukul Anand was directing. Nobody really gave a shit about us, except Farah, who was the only person who for no ulterior motive not only made sure that we were taken care of, but she was the only person who praised us. She was the only person who made us feel that we mattered. I remember her from that time. She was stick thin then but there was a kindness she exuded and still does.

You displayed your displeasure last year when Yo Yo Honey Singh was taken to compose Lungi Dance for Chennai Express. Are you against the idea of multiple music directors for a film?
No. We started like that, both Shekhar and I. I am perhaps the only person who has gone out of my way to sing with everyone. I don't have a sense of competition. All I have is a sense of right or wrong and I stand by that. I don't really care about public perception. Shah Rukh and I have a four-film relationship. At that point in time, it was just a misunderstanding. In any relationship there will always be moments of elation and disappointment. To tell the truth, you can only fight with the people you love. When you are close to somebody, you have the right to let your heart known.

Talk about Shah Rukh Khan?
He is self-made and I know how that feels. But that sort of strength is very evident in him. He is loved for his portrayal of romance. He is almost the Darcy of India. When the music release poster for Ra One came out, the design person somehow managed to omit Shekhar and my name. So, of course, we were quite affected by it. I remember it was heavily pouring that night and it was 11 at night. I was sitting on the sofa right at the entrance of my studio when I saw a silhouette of a person standing outside. The glass is frosted, so, I could not see who it was and this man kept standing for 10 minutes. I was wondering who would be standing like that outside in such heavy rain. I opened the door and found Shah Rukh standing there. I asked, 'Why didn't you come in?' He said, `I couldn't come in without saying sorry.' The man has grace.