Calcutta’s streets were lit with the usual rush-hour chaos, but inside the quiet sanctuary of his JW Marriott Kolkata suite, singer Hariharan was a picture of calm. When he smiled — that generous, ever-welcoming smile that generations of fans know so well — the room lit up.
The veteran ghazal singer and playback legend was recently in Calcutta for Kings in Concert with Shankar Mahadevan, presented by Tune Craft Ventures at Biswa Bangla Mela Prangan.
Just a day before taking the stage, he welcomed t2 into his suite. Sporting a traditional printed kurta — red and beige with intricate motifs — paired with earthy reddish-brown dhoti pants, Hariharan looked every bit the artiste we know him to be — radiant, warm and gracious. At one point, when asked which song was dearest to his heart, he broke into a line of Jhoka hawa ka aaj bhi. For a moment, time felt suspended.
He spoke of Jaidev, who gave him his first break in the Hindi playback music industry, besides R.D. Burman, A.R. Rahman and Ilaiyaraaja.
Your music often blends classical roots with modern appeal. How do you balance tradition and innovation?
That’s just me. I was born into a Carnatic music family, grew up in Bombay, went to a convent school… picked up a bit of English music. Bombay is a melting pot — Carnatic at home, English influences at school. During the ’70s Woodstock era, we heard rock, jazz… all those influences seeped in. When you grow up with such exposure, you don’t worry about style. Singing different styles becomes second nature.
Playback singing has changed over the decades. What is its role in today’s streaming-first era?
Today, your voice is often used more as an element of mood. The conversational songs — like Achha to hum chalte hain from Aan Milo Sajna (1970) — where lovers spoke to each other through melody, are rarer now. Today’s songs are more about creating ambience.
You’ve sung in multiple languages. Which was the most challenging?
Malayalam is tough for me.
You’ve worked with so many composers. What is your biggest lesson from collaborations?
Listening, mostly. When I approach a composer, I don’t sing immediately. I listen. Ten times if I must. I try to understand their expression, what they want to say, before I give voice to it. That’s how one truly serves a song.
Looking back, what were the turning points that shaped you?
In 1977, I got my break. I became a disciple of Ustad Ghulam Mustafa Khan, and met Mehdi Hassan saab. Each guru shaped something inside me. I met Jaidevji, who gave me beautiful songs. Singing with Lataji and Ashaji — you learn so much. Then came Rahman, and Gulfam, my ghazal album, which became very popular. It sold 50,000 CDs back then. It was India’s first ghazal video. And, of course, Colonial Cousins with Leslee Lewis — we won MTV Asia Viewers’ Choice and Billboard Awards in 1996, performed at MTV Unplugged in London. We were the only Indian band invited to the original MTV Unplugged format.
Is there a raga closest to your heart?
Musically, Yaman is beautiful. There’s so much creative possibility in Yaman. It’s a raga with a smiling soul — full of joy, elegance, and charm, yet profound. A raga with emotional brightness.
How do you see the role of AI in musical creation today?
AI is a big question mark. It can be useful, and it can also be misused. There are tasks where it helps. But it shouldn’t replace humanity. It must assist — not mimic or replicate.
How do you make sure a song connects with every listener?
I talk through songs. If there are a thousand people listening, I want each of them to feel I’m singing for them individually.
What about Calcutta impresses you?
Calcutta is amazing… I love the people, the food, the music, the audience.... The passion here stays with you.