A percussion ensemble, TAL FRY is a Delhi-based indie collective that combines classical and folk music tunes to present music experiences that are innovative and experimental, yet rooted in tradition. Led by mridangam player Manohar Balatchandirane, the band recently performed at one of Asia’s most iconic cultural festivals, the Rainforest World Music Festival (RWMF) in Malaysia. Supported by Indian Performing Right Society (IPRS), TAL FRY’s participation not only spotlighted India’s evolving rhythm language but also symbolised deeper themes of cultural preservation, soft power and India’s growing creative global imprint. A t2 chat with Balatchandirane about the band and its maiden performance on an international stage.
Tell us about the genesis of TAL FRY and the journey of the band so far.
TAL FRY began as a spark between friends — percussionists who would often cross paths at college gigs and jam sessions. Our shared energy around rhythm and an urge to play beyond our individual traditions made us try for something bigger, but it wasn’t until after the pandemic that we staged our debut concert.
From the very beginning, the idea wasn’t just to play percussion — it was to bring together our diverse musical languages. Each of us comes from different rhythm traditions — North and South Indian classical, folk and contemporary styles. So, when we sit together, it’s more than just a collaboration; it’s a conversation across time, culture, and technique. What’s been amazing is how organically our sound has grown and how deeply it has connected with people. Our performance at Soundscapes of India, curated by IPRS and MusiConnect India, was a turning point. It was the moment we were seen and invited to take Indian rhythm global, thanks to the RWMF team who saw us there. Looking back, the journey has felt both grounded and electric — and we’re only getting started.
Share with us something about your soundscape and your musical vision.
TAL FRY’s sound is rooted in Indian rhythm but not confined by it. Our instruments — mridangam, ghatam, tabla, cajon, dholak — carry centuries of tradition, but we mix that with melodic layers from sitar and flute, and Carnatic vocals, to create a sonic space that’s both grounded and experimental.
The goal has always been to preserve the integrity of Indian percussion while making it exciting and relatable for new-age listeners. Whether on a global festival stage or a grassroots setting in India, we want people to feel the beat in their bones and connect with the cultural roots behind it.
This was your debut international performance. What was the experience like? How was it different from performing at festivals in India?
It was surreal. The Rainforest World Music Festival wasn’t just about performing — it was about sharing space with artistes from across the world who live and breathe music. There was a rawness, a spontaneity, in how the audience engaged with us. They didn’t understand every nuance of our instruments or compositions, but they felt the rhythm, and that emotional connect was powerful.
In India, there’s familiarity, even reverence, for classical and folk traditions. But at RWMF, we had to introduce our sound to a fresh audience — and that challenge made us push ourselves creatively. Thanks to IPRS, who believed in us and gave us a platform, we were able to step into a truly global arena while staying rooted in our identity.
What was the band’s biggest takeaway from the Rainforest World Music Festival?
The biggest takeaway was the universal language of rhythm. No matter where you come from, rhythm transcends words. We interacted with musicians from Colombia, and it showed us what we can add to our own presentations, and despite the cultural differences, there was this mutual respect and curiosity that united us. That we must learn a lot more about the vibrant traditions across the globe.
We came back not just inspired, but more certain of the power and relevance of Indian rhythm in today’s world.
What’s next on the horizon for TAL FRY?
This year, we are planning to take our music to Mumbai, Bangalore and Calcutta. We are also keen on adding a lot of folk-based percussion like the nagaada and naal to our set to amplify how the folk lifts the classical. There’s also a strong desire to work on a new audio-visual project that tells rhythmic stories through Indian percussion forms.
On the home front, we want to conduct rhythm labs and workshops that introduce younger artistes to the depth and versatility of Indian percussion. With IPRS continuing to support diverse music creators, we feel there’s never been a better time to experiment and evolve while keeping our heritage at the heart of it.