Imagine a confluence of ghazal and jazz. What you get is Ab Chhalakte Hue, a soulful number sung by one of Indian music’s most expressive voices, Hariharan. The ghazal, produced by Salim-Sulaiman as part of their Bhoomi 2025 event, gave the veteran singer another opportunity to explore the beauty of fusion music. In a chat with mid-day, Hariharan reflects on his love for experimentation and how the identity of a playback singer has transformed over the years.
Excerpts from the interview.
What drew you to Ab Chhalakte Hue?
It resonated deeply with me from the very first listen. There was something timeless about its composition — an eloquent conversation between melody and emotion. Working with Prithvi [Gandharv, co-singer] was a joy. He carries sincerity in his singing, and that is the first mark of a true artiste. As one of my students, it’s fulfilling to see him evolve into his own voice while remaining anchored in tradition. Salim–Sulaiman’s arrangement is the invisible spine of this creation, where jazz textures, Indian instrumentation, and pristine sound design flow seamlessly around the vocals.
Ab Chhalakte Hue is a ghazal with elements of jazz. Does such musical experimentation excite you?
Innovation fascinates me most when it emerges from tradition. Years ago, when I created Urdu Blues with Ye Aaine Se (2000), it was my way of blending the poetic intensity of ghazals with the improvisational spirit of blues. Ab Chhalakte Hue continues that journey — it carries a similar fusion, but this time it converses with jazz. Recently, I’ve been exploring what I call “Bossa Nova Ghazals” — a blend of Urdu poetry with the rhythmic sophistication of Latin American Bossa Nova. It’s tender, lyrical, but it sways differently. You’ll hear more of it soon in my album.
Hariharan, Salim, Sulaiman Merchant and Prithvi Gandharv
How has the identity of a playback singer evolved since you began your career five decades ago?
The modern singer is no longer confined to playback. They are composers, producers, and storytellers. I find that empowering. Earlier, we lent our voice to someone else’s vision; today, singers can build their own worlds. Platforms like Bhoomi embody this evolution. They honour individuality while celebrating collaboration.
You’ve sung ghazals, film music, fusion, and devotional songs. How do you maintain your unique vocal identity across genres?
For me, the key is emotional integrity. Technique is the servant; emotion is the master. Whether it’s a khayaal, ghazal, or pop ballad, I let the emotion lead. Over time I realised that your voice carries its own imprint — if you remain honest to the song, your individuality will shine through naturally.
Your classical foundation is often credited for your versatility. How does classical training shape a singer’s approach today?
Classical training gives you command over not only notes, but also silence. It teaches balance, patience, and respect for rasa.
Looking back, is there a song that defined your artistic evolution?
Each phase has shaped me, from ghazals to Colonial Cousins, to film music across Hindi and Tamil cinema, and devotional work. But if I must choose, my venturing into fusion music marked a turning point. They reminded me that music is a living organism — it grows, evolves, and renews itself with every generation.
Your advice to aspiring singers
. Be rooted before you branch out. Learn deeply, practise sincerely, and never lose your curiosity.
. Don’t chase trends, chase authenticity.
. Keep your riyaaz constant. It’s a daily dialogue that refines your art and soul.