Rarely does Bollywood produce films that let music carry the diegetic weight of the narrative. Anurag Basu’s Metro series retain the notion that music, indeed, is a vital storytelling tool. Be it a character’s emotions, thematic representation of a scene, or in general, the chaotic faces of love — this film series is a great reflection of how the Hindi film industry can best utilise its pool of renowned musical talent. Among such talents is the voice behind hits like Jiyen Kyun, Moh Moh Ke Dhaage — Papon.
The crooner, a favourite collaborator of music composer Pritam, is now gearing up for his releases, which are part of the highly anticipated spiritual sequel to Life in a… Metro (2007), Metro… In Dino. The film, besides its star-studded cast, features Papon in some soulful and passionate tracks like Yaad. We catch up with the playback star ahead of these releases and learn about what went on behind the scenes, the lack of original music in Bollywood, honouring Assamese folk music and so much more!
Can you give us an insight into what the recording sessions and the conversations with Pritam were like?
Honestly, it didn’t feel like a typical recording session at all. There was no fixed agenda. We have been working on this album for a year now. I almost forgot the tracks I recorded. From changing productions of songs to changing words, it’s an ongoing process till the day of the release! Pritam works with such spontaneity — it’s almost like he invites chaos just to find something magical in it. We would often talk more than we recorded — discussing moods, human emotions and random poetry. It wasn’t about delivering a finished song — it was about discovering one.
Metro… In Dino largely rides on its predecessor, Life in a... Metro. How do you feel Pritam has upped the ante for the sequel?
Life in a... Metro had a soul that stayed with listeners. This one doesn’t just follow in its footsteps — it explores new emotional spaces. What’s really bold is that the music doesn’t just accompany the story; it drives it. Pritam has layered it with newer voices, unexpected genres and deeper vulnerability. It’s not a sequel for the sake of nostalgia — it dares to ask, “What does modern loneliness sound like today?” At the same time, it’s a really fun film!
Were there any songs from the film that were particularly satisfying to work on?
A couple of songs. I won’t reveal too much, but this one song demanded honesty. I had to unlearn, polish and sing it raw. We kept tweaking small things — not to perfect it, but to strip it down further. It was emotionally draining but beautiful. Those are the kind of songs that stay with you, not because they’re flawless, but because they’re fragile.
You’ve spoken about the lack of original music in Bollywood. What systemic issues do you feel contribute to this trend? And how can that be changed?
There’s a fear in the system — a fear of taking chances. It’s safer to remix or reuse a hit because it guarantees numbers. That pressure for instant success is killing experimentation. I think music directors and singers need to create a culture of risk-taking again. Labels must support that risk. The audience plays a role too — if they reward freshness, the industry will follow. Real change will come when we celebrate art, not just algorithms.
You’ve blended Assamese folk with contemporary sounds beautifully. How do you ensure its essence stays intact while making it accessible to a modern audience?
The key is respect. I never treat folk like raw material — it’s not something to be “used,” it’s something to be honoured. Before fusing it with modern arrangements, I sit with it, learn its history and understand its soul. The contemporary layer should feel like a gentle conversation with the past, not a loud interruption.
What’s one song or artiste your fans might be surprised you enjoy listening to?
I wonder which artiste will surprise my fans, but I switch from Jagjit Singh to Jamiroquai. From Prince to Billie Holiday. Madhurani to Pink Floyd. Massive Attack to Louis Armstrong to Kishore Kumar.
Beyond Metro… In Dino, what other projects can we expect from you this year?
One very nice Bollywood film album. Songs in a few more films. Two of my original ghazal albums. There are quite a few independent tracks I’ve been working on — very personal, very stripped-down. I think this year is going to be about reconnecting with the joy of making music for its own sake.
Metro… In Dino releases in theatres today.