Brothers in Music: The AR Rahman Edition

In this episode, we are joined by political scientist Apurva Bamezai to discuss the extraordinary afterlife of A. R. Rahman’s music in the recent Cockroach Janata Party (CJP) protests. Led largely by Gen Z, these protests have taken India by storm and forced the resignation of a sitting government minister. 

We discuss the many Rahman songs that have found new life through the protests and gone viral again, drawing from films as varied as Yuva, Swades, Rang De Basanti, and Rockstar. We talk about attending the protests, joy-scrolling (!) through Instagram reels, and watching the music that millennials like us came of age to become the soundtrack of a new, young, brave India. 

Why is Rahman’s music so uniquely suited to channelling both the rage of the country’s youth and the joyful, carnivalesque spirit of their protests? What makes his music seem so impervious to the passage of time? How does it unite folks from across the country? Join us as we try to find out.

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.

1999 is a turning point year for A. R. Rahman—not just in output, but in sound, ambition, and the scale of collaboration.
In this episode of Brothers in Music: The A. R. Rahman Edition, we dive deep into four albums that capture Rahman at his most expansive and experimental: Takshak, Mudhalvan, Kadhalar Dhinam, and Sangamam.

Joining us is Arvind Murali—jazz bassist, music arranger, podcast host, and someone who encountered Rahman and his close collaborators professionally in the late 1990s. That lived proximity gives this conversation a different texture: part listener’s deep dive, part practitioner’s reflection, part oral history.

Across a long, free-flowing conversation, we move well beyond album rankings. We talk about:

• how arrangements were conceived and layered in the 90s
• the changing role of musicians, arrangers, and technology in Indian film music
• Rahman’s working style and studio culture during this period
• what has changed—and what hasn’t—as music production shifts toward software-driven and AI-assisted workflows

The result is an episode that sits at the intersection of music listening, music making, and music history—using Rahman’s 1999 catalogue as a lens to think about craft, collaboration, and change.

As always, this one drops straight into conversation. No preamble. Just three people in a room, listening closely.
 The episode was edited by the remarkable Nihar Mamidipudi.

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.

We’re still in 1998. But this time, we turn to 1947 Earth. If Dil Se was all motion and intensity, this album does the opposite. It slows us down. It asks us to sit with history, with fracture, and with the quiet that follows violence.

1947 Earth is one of Rahman’s most deliberate soundtracks: a truly complete album. Every song belongs to the same emotional world. Nothing spills over. The music doesn’t decorate the film; it carries it. Through restraint, repetition, and silence, Rahman builds a soundscape that mirrors the film’s central concern: how politics enters everyday life and tears it apart.

We’re joined once again by the writer Samanth Subramanian, and together we talk about the album, the film, and Rahman’s distinct sound. We look closely at the connection between Ishwar Allah and Raghupati Raghava: two songs built on the same melodic spine, moving in parallel, yet landing very differently.

This episode was edited and mastered by Nihar Mamidipudi.

Podcast Instagram: @brothers.in.music
Swaroop: @tnagartornado on X and Instagram
Sharan: @sharanidli on X; M R Sharan on LinkedIn

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.

Welcome back to Brothers in Music: The A. R. Rahman Edition.

 We’re in 1998 — the year Dil Se burst into our lives, our cassette players, and our television screens. The image is still impossible to forget: Shah Rukh Khan dancing atop a moving train to Chaiyya Chaiyya, while Rahman’s music thundered across the country.

For many, Dil Se isn’t just another Rahman album — it’s the Rahman album. Every track is a classic, every song remembered and reinterpreted even twenty-seven years later. It’s an album that captures the intensity of youth, love, and longing, wrapped in sounds that feel at once global and deeply Indian.

Joining us for this episode is the writer Samanth Subramanian. Together, we dive into the jokes, the analysis, and the nostalgia that Dil Se evokes. You’ll hear Swaroop’s story of being stranded in Mangalore, a hundred kilometres from home, with nothing but a Dil Se cassette for company; Samanth’s memory of discovering boy-meets-school-bench Chaiyya Chaiyya; and us unpacking how a single note — just one change — can turn a theme of doomed love into a song of grand romance. We go deep into the album’s musical architecture too — from the haunting strains of Raag Jog to Rahman’s playful departures from classical form. The way he leaves out a note, bends another, and in doing so, creates something that feels ineffably emotional: part sorrow, part transcendence.

So tune in, as we remember, argue, laugh, play the flute and some piano, and maybe hum along. Because this is Dil Se, and this is Rahman at his most incandescent.

This episode was edited and mastered by Nihar Mamidipudi.

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.

In 1997, as India marked fifty years of independence, A. R. Rahman released Vande Mataram—an album unlike anything before or since. Fresh, fearless, and unforgettable, it was a cultural moment as much as a musical one. The sound was new, the concept bold, the music nothing short of phenomenal. It wasn’t just an album; it was an event that captured the imagination of a generation.

In this episode, we revisit Vande Mataram. We break down the songs the way we always do—listening closely to Rahman’s craft, the layers of sound, the unexpected turns, the sheer emotional power. We explore the anthemic title track that has endured as a modern classic, his haunting reinterpretations of the original Vande Mataram through ragas, and the hidden gems that sit alongside them: the playfulness of Tauba Tauba, the yearning of Only You, and more.

But we also zoom out. We ask what it meant to encounter this album in 1997, when India was reflecting on fifty years of freedom yet grappling with its fractures. We look at how Rahman, through this work, became more than a composer—how he came to embody a syncretic, pan-Indian, and pan-global sensibility. In Vande Mataram, we hear not just great music, but an India imagined at its most plural, open, and diverse. An India still worth striving for, still worth fighting for.

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.

Welcome back to Brothers in Music: The A R Rahman Edition. We’re still in 1997, and in this episode, we continue to be joined by Sowmiya Ashok (@sowmiyashok on Twitter/@sowmiyashok.writes on Insta). 

We’re taking on two albums that couldn’t be more different—Iruvar and Ratchagan.

Iruvar is, in many ways, a masterpiece. Arguably Mani Ratnam’s greatest film, and one of Rahman’s most elegant, classically rooted soundtracks. It’s an album of restraint and richness, where each song feels like a tribute to an era, a genre, a mood. It’s not just music: it’s memory, it’s cinema.

Then there’s Ratchagan. A completely different beast. This one split the room, but not the Brothers. Swaroop and Sharan are Team Ratchagan. Our guest Sowmiya Ashok, however, wasn’t quite convinced. Still, we make the case: behind the flashy production and dramatic arrangements lies some truly underrated Rahman magic. If you haven’t revisited this album in a while, trust us, it’s worth it.

So join us as we argue, remember, and occasionally burst into laughter (if not song). Because this is 1997, and Rahman is just getting started.

This episode was edited by the inimitable Nihar Mamidipudi.

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.

Welcome back to Brothers in Music: The A R Rahman Edition. It’s 1997, and as always, we’re starting you off right in the thick of it—no prelude, no buildup. Just the music, the conversation, and the joy of revisiting Rahman’s incredible journey.

This episode, we’re joined by journalist and writer Sowmiya Ashok (@sowmiyashok
 on Twitter/@sowmiyashok.writes on Insta). 

In Part 1, we tackle two albums that sit at completely different ends of the Rahman spectrum—Minsara Kanavu (or Sapnay for Hindi listeners) and Daud.

Minsara Kanavu is lush, layered, and bursting with invention. It’s Rahman in a whimsical, almost theatrical mode—full of choral highs, playful detours, and an emotional core that sneaks up on you. It’s also one of those albums where everything—from arrangement to vocal casting—feels just right.

Daud, on the other hand, left us scratching our heads. It’s offbeat, chaotic, and hard to pin down. And maybe that’s the point. Remo Fernandes’ eccentric title track sets the tone for an album that refuses to play by the rules. Whether it fully lands is up for debate—but it’s Rahman trying something wild, and that’s always worth a listen.

1997 was a year of flux—a time when Rahman was beginning to stretch the limits of what mainstream film music could sound like. And as we’ll see in the rest of the year, that journey was just getting started.

So settle in, hit play, and join us for a year that’s strange, soulful, and never boring. This is Brothers in Music, and this is 1997.

This episode was edited by the amazing Nihar Mamidipudi.

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.

Welcome back to "Brothers in Music: The A R Rahman Edition"—Season 2 is here, and we're diving straight into 1996! No formalities, no prelude—just you, right in the middle of our conversation, as if you’re sitting with us.

1996 was another groundbreaking year for Rahman, one that saw him experiment, redefine genres, and push boundaries in ways only he could. This year gave us an eclectic mix of soundtracks—some instantly iconic, others quietly influential.

We start with Love Birds, an album unlike anything Rahman had done before—sui generis in every way, filled with sonic textures that were ahead of their time. Then, we take a deep dive into Indian, Rahman’s first collaboration with Kamal Haasan, where grandeur meets rebellion in a score that still packs a punch.

From there, we shift gears to Kadhal Desam, an album that was youthful, peppy, and radically fresh, capturing the pulse of the 90s like few others. And while Mr. Romeo may not have set the world on fire, it has its share of gems worth revisiting.

Along the way, we briefly touch on Rahman’s instrumental albums from the year, Fire and Andhimandharai, which, while not central to our discussion, still showcase his range and versatility.

So, settle in as we unpack another year of Rahman’s genius—this is "Brothers in Music," and our journey through A R Rahman’s ever-evolving soundscape continues with 1996.

This podcast was edited by the amazing Nihar Mamidipudi.

Show Notes: 

1. Hariharan and Chitra singing Malargale live: https://www.youtube.com/watch?v=uJNDzVeSCmM
2. While Tabu doesn't walk with cherry blossoms (?) around her as Swaroop mentions in the podcast in the Kalloori Salai, she does it in the movie. In the song, there are generic shots of other women walking around flowers. 

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.

Welcome back to "Brothers in Music: The A R Rahman Edition" as we dive headfirst into the second half of our exploration of 1995.

In Part 2 of our journey through this iconic year, we drop you directly into the middle of our conversation—no prelude, no formalities. It’s as if you’re right there with us, experiencing the discussion in real-time.

We kick things off by diving deeper into the Rangeela soundtrack, where we explore the playful and spirited track "Kya Karein Kya Na Karein." This song, with its infectious rhythm and catchy lyrics, perfectly captures the youthful exuberance that Rahman brought to Bollywood.

Next, we move on to Muthu, the first collaboration between A R Rahman and the legendary Rajinikanth. We discuss how this partnership resulted in an explosive soundtrack that resonated with audiences. We also discuss how the Rahman-Rajini partnership evolved over the years, with largely mixed results. 

Finally, we turn our attention to Indira, one of Rahman’s most underrated albums. If you’ve never heard the songs from Indira before, you’re in for a real treat. We delve into the album’s hauntingly beautiful tracks and discuss why this soundtrack is a hidden gem in Rahman’s discography.

Joining us once again is the insightful Samvartha Sahil, whose deep knowledge and passion for Rahman’s music continue to enrich our discussion.

So, get ready for an immersive and engaging episode as we unravel the sonic treasures of 1995. This is "Brothers in Music," and the journey through A R Rahman’s musical legacy continues with Part 2 of 1995.

Samvartha's insta handle is @crazymindseye.

This podcast was edited by Nihar Mamidipudi.

Show Notes:

1. Muthu Jukebox: https://www.youtube.com/watch?v=XGRJMrLktFs
2. Indira Jukebox: https://www.youtube.com/watch?v=KENJ7zczKQY
3. Deewana Deewana (From Jung): https://www.youtube.com/watch?v=YLJ6kq3VcV0
4. London Muruga: https://www.youtube.com/watch?v=EMDLZPHefsA
5. Valayapatti (Azhagiya Tamil Magan): https://www.youtube.com/watch?v=JrncizbLmE0

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.

 Welcome back to "Brothers in Music: The A R Rahman Edition" as we set our sights on 1995, yet another remarkable year in our musical time machine.

In Part 1, we dive into Rahman's groundbreaking debut in Bollywood - Rangeela. Rangeela, with its vibrant and innovative tracks, showcased his unique ability to blend traditional Indian music with contemporary sounds. The film's music, which includes hits like "Hai Rama" and "Rangeela Re," remains a favorite among fans and critics alike.

We also explore Bombay, a soundtrack that is both poignant and powerful, reflecting the film's intense narrative. With timeless classics such as "Hamma Hamma" and "Kannalane," Rahman once again proves his mastery in evoking deep emotions through his music.

Joining us for this discussion is the multifaceted Samvartha Sahil, a poet, writer, screenwriter, and teacher of cinema. He talks of many things, including how Rahman's music writes stories that both complement the screenplay and then go beyond and its impact on culture and taste.

Buckle-up and hang tight as we take you back to A R Rahman's -- and our -- 1995. This is "Brothers in Music," and the journey through Rahman's legacy continues, filled, as ever, with analysis, nostalgia and jokes.

Samvartha's insta handle is @crazymindseye.
This podcast has been edited by Nihar Mamidipudi.

Notes: 

1. Enga Pona Raasa: https://www.youtube.com/watch?v=C0d3hzEnljY
2. Ram Gopal Varma on ARR: https://www.youtube.com/watch?v=MLUVTrmjPXA
3. Ram Gopal Varma on Rangeela: https://www.youtube.com/watch?v=YE3O7t1IKMs
4. What are the Melakarta Raagas? https://www.youtube.com/watch?v=BUGzg7hcbGQ
5. Alex Babu on A R Rahman: https://www.youtube.com/watch?v=qBDGMpREzVo
6. Rahman composing with his nephew GV Prakash: https://www.youtube.com/watch?v=d-v5EZQk6xQ
   
   

Podcast Insta: @brothers.in.music

Swaroop: @tnagartornado on X and Instagram.
Sharan: @sharanidli on X; M R Sharan on LinkedIn.