Goa-based composer, singer-songwriter, and multi-instrumentalist axe.shay has just dropped his new single My Location, a track that blends alternative rock and blues with Indian and Western classical influences. Self-produced and mixed and mastered by Vivek Thomas, the song explores themes of identity, surveillance, and what it feels like to be constantly watched in today’s digital world. The track moves from calm, atmospheric sounds into strong guitar-driven sections with emotional vocals, reflecting the tension between personal freedom and being shaped by systems around us.
Speaking about the inspiration behind the track, axe.shay says, “The idea came from this strange feeling that we’re constantly traceable now, emotionally, digitally, socially. Everything leaves a footprint. I started thinking about how people today are expected to always be reachable, visible, and available, and how that slowly affects your sense of self. Musically, I wanted the song to reflect that tension. There are groovy riffs running through it, but also moments of dissonance and uneasiness that mirror the feeling of trying to break out of systems, expectations, and algorithms, whether social or personal. At the same time, I didn’t want it to feel overly intellectual. I wanted it to have strong melodies and lyrics that people could immediately connect with and sing along to.”
On what the title My Location means to him beyond the digital or physical sense, he says, “To me, My Location is really about an inner state. It’s about where you are mentally, emotionally, spiritually, not just geographically. I think a lot of us know exactly where we are on a map, but not necessarily where we stand within ourselves. There’s this constant pressure to define your identity publicly now, and sometimes that can disconnect you from your actual inner voice. So the title became symbolic of searching for authenticity. It’s about trying to locate the most honest version of yourself underneath all the external signals.”
On whether social media and technology are changing the way artistes express themselves today, he said, “Definitely. I think artistes today are under pressure not just to create music, but to constantly document themselves, explain themselves, market themselves, and remain visible all the time. That can subtly shape the art itself. I also think there’s less mystery now, not just in music but in the creative process in general, because everything suddenly needs to be documented or shared constantly, otherwise it almost feels like people think it isn’t real. I’m not entirely sure why that’s become such a requirement today. At the same time, technology is still an incredible tool for independent artists to connect with people directly, so I think the real challenge is learning how to use it without letting algorithms completely dictate your creative identity.”
On how he balances Indian classical music and Western rock in his sound, he says, “For me, it’s never been about forcing a fusion. I grew up listening to rock, blues, and acoustic music, while also being deeply influenced by Indian classical phrasing and emotion. Over time those influences naturally started speaking to each other. Indian classical music taught me patience, dynamics, and the emotional weight of a single note. Rock music taught me attitude, rawness, energy, and songwriting structure. So when I compose, I’m not consciously trying to switch between two worlds, they’ve become part of the same musical language for me. I think the balance comes from honesty. If something emotionally belongs in the song, I follow it regardless of genre.”
On his training under Pt. Debashish Bhattacharya and the collaboration on Love in Kyoto, he said, “Training under Pt. Debashish Bhattacharya has been one of the most transformative parts of my musical journey. He completely changed the way I think about slide guitar, phrasing, discipline, and emotional depth in music. More than anything, he showed me how much is possible with patience, surrender, and consistent practice.
Love in Kyoto came from a really special moment during my time at the Gurukul. I was practicing a Japanese pentatonic scale, and during a lesson Guruji asked me what I was playing. He became curious about the sound and started exploring it further on his custom-made steel-string ukulele, the Anandi, which is an incredibly beautiful instrument. As he began playing these amazing phrases, I started improvising rhythm parts around them, and the whole piece just evolved naturally in the moment. I was honestly nervous and excited at the same time because performing and creating music in front of someone I admire so deeply was an intense experience. I even documented parts of the process while it was happening. Looking back, Love in Kyoto feels like a real moment in time that captured all those emotions, and I am very grateful we were able to preserve it through both the recording and the video.”
On Goa’s music culture and its influence on his sound, he said, “Absolutely. Living in Goa for the past five or six years has influenced me deeply, both creatively and personally. Beyond the electronic and trance scene, there’s also this really beautiful community of musicians, writers, painters, and artists who all inspire each other, and you genuinely feel that openness here. I used to regularly attend open mics at a venue now called Bonobo, and that experience introduced me to some wonderful musicians and like-minded people. There was a real sense of community and encouragement that felt very different from the more fast-paced performance culture I was used to in Delhi. Goa helped me slow down, reflect more deeply, and reconnect with music in a more honest and spiritual way. I genuinely feel some of my best work has come from being here, and even personally, I am very grateful my children get to grow up in this environment.”
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