Faiz Mustafa was just 12 when he became part of a historic moment on Coke Studio, sharing the stage with his grandfather, the late Padma Vibhushan Ustad Ghulam Mustafa Khan, then 82, alongside his father and uncles, as three generations of the Rampur-Sahaswan gharana came together in song. With AR Rahman joining them, the performance—featuring five vocalists from the same family—felt less like a debut and more like a living archive unfolding in real time. That was 2013. Now 25, classically trained and shaped by that lineage, Faiz has continued his creative association with Rahman across projects, including an Arabic song for the internationally acclaimed The Goat Life. As his voice lends itself to Vijay Sethupathi in “Zara Zara” from the newly released silent film Gandhi Talks—a song currently gaining strong momentum—Faiz finds himself at a telling moment in his journey. In conversation with Indulge Express, he reflects on carrying forward a legacy nurtured by a guru to legends, while steadily carving his own space in contemporary film music through works that include Heropanti 2 and Maidaan.
Gandhi Talks is a silent film—how did that change the way you approached singing Zara Zara?
I do not think my singing changed because the film was a silent film, but my approach towards every song depends on which genre I am singing for. “Zara Zara” is a love song, and the rendition has to evoke the emotion of love when someone is listening to the song. So I was focusing on that. Eventually, it came out well and I am getting a lot of love. I am really thankful for it.
What was AR Rahman’s brief for the song, especially since it’s picturised on Vijay Sethupathi?
Honestly, I did not take that pressure. Though it feels very special that my song is getting picturised on a great actor like Vijay ji, when it comes to singing a song composed by Rahman sir, I do not feel any pressure because he never lets me feel that way. He really makes me feel comfortable while singing, be it on stage during live performances or in studio recordings. He loves me a lot—maybe because he has seen me growing up before his eyes.
You first worked with Rahman as a child and now again on this film—how has that collaboration changed for you?
As I was saying, I have grown up with him, musically as well. I have travelled with him for shows, and I have learnt how differently we should handle studio recording and stage performances. We travel for Sufi concerts or even for classical music, where live performance is everything. But I am also singing for films, and there the rules of playback singing are different. Spending time with him in the studio as well as during live shows has given me exposure. He is a mentor, a guide, and he is like my father. He loves me a lot.
Since you come from the musical legacy of Ustad Ghulam Mustafa Khan saab, as his grandson, do you feel the pressure to carry forward the legacy?
Well, I feel responsible rather than pressured. I am fortunate to be born into this family. Even when I did not know what music was about, I was listening to music. So many iconic musicians have come to our house—singing, learning, conversations around raagas, taal, and music were always happening. Without realising it, I was listening to it all, absorbing music even before starting my formal training. I was taught the power of doing riyaz every day. So when I sing a song, I have to prove myself every time, especially in live concerts. But that is the aim I have—I want to prove myself as a singer.
As we are talking about AR Rahman, which is your favourite ARR song or film so far?
Oh damn, that’s a hard one. I think it is really difficult to choose just one. I love the albums of Rockstar, Taal, and Guru. Guru is also a very special film because Abba (Murtuza Khan) and Chacha (Qadir Khan) sang Tere Bina along with Rahman uncle, so that song is special for me. I have grown up listening to his music—even his jingles were so nice. You remember when we were kids, that Airtel tune we used to listen to? I used to love it. It was the caller tune, even the car parking tune. Oh, that tune was like my bachpan!
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