Pritam’s Phir Le Aaya Dil (Barfi!) might just be the last ghazal this country will ever produce. With Rahman’s evolution to narrative and mood compositions, Pritam’s melodic ballads and Trivedi’s fresh soundscape, Bollywood enjoyed a certain maturity in film music that had been absent for a while. With Shankar-Ehsaan-Loy, Bollywood started experimenting with global styles and formats, which led to the successes of Pritam and Amit Trivedi. Other exceptions were Ismail Durbar, who started delivering durbari-style operatic music to support Sanjay Leela Bhansali’s grand productions, and MM Kreem’s minimalism for the Bhatts (which became their signature sound, later taken ahead by Himmesh Reshammiya, Mithoon and Arka). The live orchestra nature of film music – dominated by the likes of Jatin-Lalit, Anu Malik, Nadeem-Shravan and Aadesh Srivastava – was quite homogenous across films (the heavy use of wind instruments – especially sax and trumpets – was a salient feature), with AR Rahman and ShankarEhsaan-Loy being notable exceptions. Variegated Striped Shirt by ZOD! shoes by Jimmy Choo This was back when lip-syncing was the order of the day. It was emotive, the songs astutely positioned to play a crucial role in the film’s narrative – there would be one “OMG-youare-so-pretty-I-am-in-love” track, an “I-wanna-bone-you-but-I-will-say-it-through-metaphors” song, the heartbreak song, a party track, sometimes something devotional would crop up, and often there would be a big celebratory end. The music of that generation was melodic and orchestral by nature. India didn’t have a pub culture and clubs (they mostly played international music, anyway) were a phenomenon of the metros – and for the rich. While this year might have been dominated by Gully Boy till now, it is definitely an exception to the remix-BDM-bhangra tapestry of film music today.souįilm music used to be enjoyed in private in the ‘90s and 2000s. In 2017, the earworms were Suit Suit (Hindi Medium), Tamma Tamma (Badrinath Ki Dulhaniya) and Laila Main Laila (Raees). Some of the biggest hits of 2018 were tracks like Bom Diggy Diggy (Sonu Ke Titu Ki Sweety), Dilbar (Satyameva Jayate), Aankh Maare (Simmba) and Morni Banke (Badhaai Ho).
He’s everywhere, and it is (almost) impossible to hate him. Music is consumed at pubs, during drives and at the gym – and Guru Randhawa is both an example of and exception to this pop culture behaviour.
While the last two decades saw a wave of original music, timeless melodies and rich lyrics, today’s OSTs are for quick ear munching.
Bollywood music can be best described as “Zumba-ready” these days.
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