Why it took Bollywood’s pan-India craze to spotlight Carnatic music’s richness

The upsurge in fusion Carnatic music has effectively dismantled the traditional boundaries that might have otherwise restricted the genre

Traditionally, Indian classical music is broadly categorised into Hindustani and Carnatic. Carnatic, associated with Southern Indian languages and Sanskrit, is relatively less popular in the Hindi heartland—encompassing Northern, Central, Western, and Eastern Indian states—due to linguistic barriers. Both sub-genres share a foundational framework of raga (melodic structure), tala (metric cycle), and swara (musical pitch). Hindustani, influenced by Persian and Islamic mystics like Amir Khusro as well as the Mughal Empire, diverged from Carnatic, which did not experience similar cultural influences as it flourished during the Vijayanagara Empire, which succeeded the Delhi Sultanate after triumphing over their armies, while the rest of India continued to be ruled by the Mughals. 

In contrast to the broader reach of Hindustani classical music facilitated by Hindi speakers, Carnatic classical music has a limited presence in mainstream Indian music, notably in Bollywood films. This reduced exposure, especially during the 1980s and ’90s when mass music consumption occurred largely through film music, confined its influence primarily to the Southern states. Noteworthy contributors like KJ Yesudas and SP Balasubrahmanyam, though prominent in Hindi film music, displayed varying degrees of alignment with Carnatic music. Despite his classical background, Yesudas' early hits like Chitchor and Chhoti Si Baat demonstrate less adherence to Carnatic influences. Furthermore, Balasubrahmanyam's widespread prominence is notable, but his lack of classical training limits the outreach of Carnatic classical music to a broader audience.

An accessible genre

However, with the advent of the pan-Indian phenomenon, and the increased use of social media, the cloistered realm of Carnatic music is undergoing a gradual transformation, furthering its reach to the global stage. Veteran composers like AR Rahman, and younger musicians like Anirudh Ravichander are making chart-busting music for films that are a blend of new-age and classical. Vidya Vox, an American singer and YouTuber born in Chennai, dismisses any concerns regarding inaccessibility, stating, "Carnatic music is a very ancient art form that has kept its core traditions over the centuries. It will continue to thrive while being infused into contemporary music and audiences." Sid Sriram, an Indian Carnatic musician, echoes this sentiment, emphasising the dynamic and accessible nature of Carnatic music. "At the end of the day, music is a mechanism to communicate, and Carnatic music has so many elements that allow for that communication to be effortless," he claims.

Sriram's songs, such as "Urike Urike" and the initial hit ‘Adiye’ from the Tamil film Kadal, are chart-topping hits. Moreover, the unexpected popularity surrounding ‘Srivalli’ from Pushpa took everyone by surprise. This global phenomenon, composed by Devi Sri Prasad and delivered by Sriram, not only amassed a record-breaking 163 million views on YouTube but also became a cross-cultural sensation.

Rohit, a formally trained Carnatic musician in Coimbatore, who now works at streaming service Gaana, claims that the increase in views and streams of South Indian film music like Kalaavathi is “intrinsically connected to the rise of Carnatic music, because there are going to be elements of the latter in the former’s composition, just like how you find traces of Hindustani Classical in a lot of our current Hindi film music.” According to him, just as Malayalam, Tamil, Telugu, and Kannada films have gained popularity beyond their southern origins, so has their music. The recognition of RRR's Oscar-winning original song 'Naatu Naatu' in 2023 exemplifies this transformative trend. Rohit further notes how, the global recognition received by RRR’s music underscores Carnatic music's ability to “resonate with people who might not understand it, but can appreciate it.”

The many layers of Carnatic Fusion

Exploring the global reception of Carnatic classical music, the increasing popularity of the genre of fusion Carnatic music is evident via streaming platforms like Spotify. The playlist titled 'Carnatic Fusion' boasts 60,000 followers. Instances such as the viral trend sparked by Indian Raga's fusion of Carnatic elements with ‘Shape of You’ have played a significant role in demystifying Carnatic music, known for its inherent complexity.

Vidya notes that “fusion has been there for a long time—artists across generations and different cultures have been melding genres.” Her Kerala Boat Song, 'Kuttanadan Punjayile,' amassed 105 million views on her YouTube channel. The resonance of her music extends globally, as evidenced by comments from viewers in Maharashtra, Kashmir, and Columbia. The singer quips that the intention is to make music that is reflective of her and who she is. “It naturally leads to a celebration of multiple cultures, languages and genres, as it’s a result of my mixed upbringing,” she adds.

Nevertheless, fusion transcends the mere convergence of Western and Southern influences; it extends to the harmonious interplay of various Indian languages. Palghat R. Ramprasad, a seasoned Carnatic vocalist, recently crafted a Hindi rendition of a Cricket World Cup anthem, seamlessly blending Hindi lyrics with classical composition. Once a quantitative economist, Ramprasad maintains that while sustaining the purity of the art is necessary, “as a discerning performer, the expectation is that I embody not just the essence of an artist but also the role of an entertainer.” 

Ramprasad is of the idea that when individuals invest in a ticket and attend his concert, it becomes his moral responsibility to ensure their enjoyment. “This is where the delicate balance between artistry and performance manifests. Throughout history, this interplay has been a constant. Those who achieved this rare fusion earned acclaim not only for their captivating performances but also for their profound artistic expression. Such individuals garnered the respect of both fellow artists and the audience,” he adds.

Treading the fine line

In the assessment of Carnatic music recognition, the discourse pivots from the stylistic nuances of the music itself, instead focusing on its ability to connect with audiences, particularly those confronted with linguistic barriers. In 2017, concert attendees in London got furious with AR Rahman for predominantly featuring Tamil songs in his performance, lamenting the perceived lack of Hindi songs. However, just a year later, thousands flocked to watch TM Krishna perform in Delhi, to support not only his music but also his politics. 

However, contemporising music for the sake of it is counterproductive, feels Nishtha, a 19-year-old studying music in Boston. “I like the fusion of classical and contemporary, but I also believe that it shouldn’t be done to attract popular attention. I understand musicians want accessibility and popular acclaim but it can’t be done by transforming Carnatic music into something it is not,” she says.

Even Sriram, who himself blends elements of rock and pop with Carnatic classical music says, “I believe that contemporising or placing a classical form in a contemporary or non-traditional context should primarily be viewed as an artistic pursuit. It shouldn't necessarily be seen as a means to attract new audiences. When this approach is solely aimed at broadening appeal, it blurs the line between genuine artistic expression and potentially pandering.” 

Meanwhile, for Vidya, the solution to overcoming inaccessibility is collaborative efforts with artists from diverse genres, and the integration of classical music into mainstream music. She further adds, “Embracing shorter and interactive concert formats and engaging with local communities through outreach programmes also helps.” However, Ramprasad says, “‘As an artist, a crucial aspect is feeling a genuine connection to what you create. Without that emotional engagement, even if your work is intellectually appealing, there might be a disconnect when it comes to connecting with people on a deeper level.”  

Sriram on the other hand credits technology and social media which gives a wider reach to people. “I observe that when I share a clip from a concert, it has the ability to reach a wider audience. This level of accessibility was not conceivable two decades ago. I believe that the rise of social media has played a significant role in enabling such outreach,” he shares. 

As Carnatic music rises to prominence on a global scale, it seems it is like what Ramprasad said about “any music if listened with an open mind and performed with heart can hold the potential to attract the masses,” holds substance.

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