The Annual Lata Mangeshkar Memorial Talk at the International Film Festival of India (IFFI), titled The Rhythms of India: From the Himalayas to the Deccan, offered the audience a rare glimpse into the creative minds of two celebrated composers, Vishal Bhardwaj and B. Ajaneesh Loknath. Moderated by music critic Sudhir Srinivas, Sunday’s session explored memory, melody, and the enduring legacy of the Nightingale of India.
The evening began with filmmaker Ravi Kottarakkara felicitating the speakers, highlighting music as a unifying force that elevates the human spirit. The conversation quickly moved into a reflective, humorous, and deeply musical exchange between Bhardwaj and Loknath.
Sudhir Srinivas opened the discussion by saying that Ajaneesh Loknath is “much more than the ‘Kantara’ composer,” and that together with Bhardwaj, the room contained “the past, present, and future of Indian music.” Vishal Bhardwaj praised the ‘Kantara’ theme as “one of the finest film themes ever composed,” while Ajaneesh fondly recalled the rhythmic brilliance of Bhardwaj’s early works such as Maachis and Chappa Chappa. He even hummed a few rhythms to the delight of the audience.
Bhardwaj shared insights on the iconic Pani Pani Re, explaining how the sound of water and the silence of a riverbank shaped the song. He described Lata Mangeshkar’s instinctive perfection, recalling how she sang in a single take and suggested subtle adjustments to reflect the flow of water. “She wasn’t just a singer,” he said. “She was a composer in her own right.”
Ajaneesh Loknath also revealed his own creative quirks, noting how expressive syllables like ‘ayyayyo’ and ‘abbabba’ often appear in his tunes before lyrics arrive, much to the amusement of directors. He recounted the intense final days of composing Varaharoopam just 20 days before its release, drawing laughter from the audience.
The conversation took a philosophical turn when the role of spirituality in music was discussed. Bhardwaj described music as “the closest we come to silence,” emphasizing the mysterious and almost sacred arrival of a tune. Loknath agreed, admitting that he has never fully understood how he enters a creative state and has never personally credited himself for Kantara.
The session also delved into the interplay between language, folk traditions, and India’s diverse musical landscapes. Loknath highlighted how folk music is “born from innocence,” citing the tribal instruments in Kantara and rhythmic communication traditions of the Koraga community. Bhardwaj reflected on the challenges of composing in Malayalam, collaborating with literary stalwarts like MT Vasudevan Nair and ONV Kurup.
Audience questions steered the discussion toward the future of music, AI, lyrics, and storytelling. Loknath noted that AI could assist in certain contexts, while Bhardwaj emphasized that technology should not be feared, saying, “We will learn what to use and what to leave.”