There is a primal body that knows how to respond to a lullaby. Long before we understood language, the cadence of a quiet melody was our first reassurance that we were safe. In Imtiaz Ali’s Highway, when Veera (Alia Bhatt) quietly hums Sooha Saaha to Randeep Hooda’s Mahabir, it isn’t just a scene; it is a raw, unspoken surrender. The sound pierces right through the armour of a hardened man, catching him in his most unguarded moment. That is the alchemy of a lullaby — it strips away our defence mechanisms and returns us to a state of absolute, unburdened trust.
In today’s stressful world, when sleep is the ultimate luxury achieved through melatonin gummies, magnesium supplements, and structured bedtime routines, music is increasingly playing an important role.
This is precisely where Sarod Serenades: Indian Instrumental Lullabies - Volume 1 by Amaan Ali Bangash and Ayaan Ali Bangash steps in. Through the evocative, resonant strings of the sarod, the brothers translate ancient musical heritage into a deeply modern balm. The tracks do not merely entertain; they gently recalibrate an overstimulated adult mind, offering an immediate, deep-seated calm.
In this conversation, Amaan and Ayaan Ali Bangash discuss the inspiration behind the album, the delicate art of crafting peace through strings, and why the timeless solace of a lullaby might be the very remedy our fast-paced world needs right now. Excerpts:
Both of you have spent years taking the sarod to massive global stages like Carnegie Hall and collaborating across genres — from rock legends like Joe Walsh to alternative icons like Gorillaz. What inspired this intimate, inward turn toward lullabies?
Amaan: Across every region, over hundreds of years, mothers have always gently hummed melodies to soothe their children into peaceful sleep. Every culture has its lullabies, and India has cherished this tradition for centuries. These simple songs, carried through generations, became an inseparable part of our collective memory. While many later evolved into nursery rhymes and folk songs, the timeless beauty of India’s ancient lullabies continues to resonate even today.
Ayaan: These tunes over the years have found their magic to give that comfort zone to a human being that is timeless even today. Lullabies have been a part of India’s cultural heritage for centuries. Every region had its own interpretation of putting children to sleep, mothers singing organically, even if they were untrained singers. And that intimate, unmissable mother-child bond and memories have always been complemented by these tunes, ingrained in the most vulnerable corners of a person’s mind.
As listeners, we felt that the music resonates beautifully with people across all age groups. What are the elements in these lullabies that you think help everyone feel calm and relaxed?
Amaan: It’s common knowledge that a child’s mind is formed very early. Therefore, the power to absorb music in a child is very similar to that of an adult. But music notes, as we know, affect the mind, body and soul. Like a cosmic divinity, music transcends all barriers and boundaries.
Ayaan: Like air, water, flowers, and colour, music knows no boundaries. To celebrate this universal connection and honour the divine energy.
Could you take us through the creative process behind the album?
Amaan: The creative process has been extremely organic, like for most projects. in this case, obviously the idea was to put a baby to sleep as you hear the music; however, in order to do so, it became inadvertent that it is touching many other sensibilities and senses in every individual.
Ayaan: Therefore, there is no rulebook really to what works and what doesn’t when musically you lean towards certain pastures and ideas, and what you feel will work for the subject and the matter.
Did watching your own children react to music shape the vision for this album in any way?
Ayaan: Very much so. Though my kids are 14 now, I’ve had my share of listening to lots of lullabies when we would put the twins to bed. I realised the musical effect that the combination of notes had on every child. It is indeed very unique, and even goes to the extent of contributing to the mental development of every individual, let alone children.
As musicians, we have spent our lives exploring the emotional depth of Indian classical music, and as parents, we discovered the extraordinary power of gentle melodies to calm a restless child.
What are the kinds of lullabies you grew up listening and sleeping to?
Amaan: I think I did grow up at a time when vinyls and cassettes were around; however, I was blessed that my father would often sing songs to us and put us to bed, which was very natural for him to do, and our mother would also sing local Assamese lullabies. These melodies become your references to childhood and stay with you eternally. India is such a vast land; every region and culture has its own spin on lullabies.
We have approached it more universally, as every state has its own magical combination of notes which originated from the folk music of that region. Since the songs were sung to put babies to sleep, technically, the pace is obviously slow many times, often at a similar tempo. However, the combination of musical notes had all the magical effects. We have seven tracks altogether in this album, and each track has its own combination of notes, sometimes leaning towards a raga and tending to have a magical effect on a person’s mind and body, as even according to the Samaveda, the 12 musical notes affect the body, mind and soul.
Ayaan: With Sarod Serenades: Indian Instrumental Lullabies-Volume 1, we wanted to reimagine that timeless experience. The gentle sound of the sarod replaces the voice, but the intention remains the same: to create a space of peace, security, and love for the body and brain to calm down. May our melodies become part of bedtime rituals for a new generation too.
Lullabies, traditionally, rely heavily on vocals and lyrics to convey comfort. How do you translate the comfort of a mother’s voice and lyrics into the fretless, expressive sliding notes of the sarod without losing that warmth?
Amaan: Sarod Serenades is our humble tribute to this beautiful tradition. We hope to recreate the warmth of a mother’s embrace, offering music that calms, comforts, and gently carries everyone into dreams.
Lullabies need to be soothing, yet classical music demands emotional depth and engagement. How did you select or balance the ragas and musical notes so they induce sleep without losing their classical soul?
Amaan: A lot of these songs have been extremely popular through folklore and traditional hand-me-downs in families and traditions; therefore, my father also sang and played these tunes, but perhaps never recorded an instrumental version of the same. He was very happy with the concept and gave his blessings, as he feels that music is food for the soul and is extremely important for the development of the mind and the journey of every individual.
Ayaan: We hope these melodies bring comfort not only to babies but also to anyone seeking stillness at the end of the day. Sarod Serenades was born from two worlds: Inspired by India’s rich heritage of lullabies, songs lovingly sung by mothers across every corner of the country, we have created instrumental interpretations that retain their warmth, simplicity, and tenderness.
While the sarod takes centre stage, the album features delicate contributions of the violin, tabla/percussion, and keyboard programming. How did you design the soundscape to keep it minimal and calming rather than overwhelming for a bedtime setting?
Amaan: The sound of the sarod itself has a very strong effect on the mind, body and soul. The melodies, the combination of notes and the arrangement have all been done in a way that it does not wake anyone up; in fact, it relaxes the mind of any individual. We are very happy to have worked with some amazing artistes in this project- Soumen Kutty Sarkar on keyboard programming, Deb Sankar Roy on violin and Uday Mukherjee on tabla and percussion.
Ayaan: Long before recordings and playlists, a mother’s voice was every child’s first music. Across India, every region has its own lullabies — simple, heartfelt melodies sung to comfort babies and lull them to sleep. Passed down from one generation to the next, these songs became part of our cultural heritage, preserving love, language, and tradition.
What was Ustad Amjad Ali Khan’s reaction when you first played these instrumental lullabies for him?
Amaan: My father has always encouraged children to start listening to music from a very young age. In fact, back in 1984, he had recorded an album for HMV, in which he performed alongside children singing songs. The album even included what was perhaps one of the earliest birthday songs created for a private album.
Ayaan: This album, however, is perhaps for the age group below that as well, so it’s been wonderful that I was able to have done this, as training starts from the very day you come home from the hospital once you’re born. Your mind is already learning and adapting to sound and other senses.
India has a rich, diverse tapestry of regional folk music. What kind of regional tunes and traditions are you planning to unpack in the upcoming volumes?
Amaan: Volume 2 will be more popular and more universal.
Ayaan: Stay tuned.
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