When Raman Negi’s songwriting for Shakhsiyat was interrupted by vanity, intellectual gatekeeping, chauvinism and performative activism, he refused to be outwitted. Instead, he addressed all of these social blocks and channelled them into the first three to four songs — Mehroom, Dastaan-e-Shauq, Ek Din and Gaayab — each piece that adopted more pristine artistic subtleties to critique the system, capitalism and consumerism. Somehow, they all felt cohesive, as a connected story. Raman’s passion for music has taken him on a path of questioning social structures. As a musician, he galvanises his creative agency to put forth his radical discourses through gritty tonality, falsetto and chest voice, all for which, the guitar has been a powerful vehicle. And, how else can one put their discreet protest out in the open if not through art? At the beginning of this month, Raman embarked on a tour of India to showcase his album for the first time. Chaperoned by producer Gaurav Chintamani on bass and drummer Shantanu Sudarshan, he kicked off the tour with performances in Chandigarh and Delhi. The cheer and clamour of the crowd was a tumultuous ocean, making it nearly impossible for him to hear his own words. “It felt gratifying,” says the ex-frontman of the Indian rock band, Local Train.
A subtle iconoclast
“Each song sounds different in the album. While Ek Din is funky, Gaayab is rock ‘n’ roll. Shakhsiyat showcases my musical personality, what I have become and what I represent. It embodies where I am going as an artiste and how I am navigating a new territory. I am taking chances while going ahead with what I believe in. Lullaby For The Anxious Bones is a song which speaks to anxiety instead of the latter speaking to us. I wrote all my songs in Hindi to make it sound more organic,” he shares. Raman’s first solo album is a tour-de-force of raw emotions, woven together across 10 diverse rock compositions in Hindi. The album highlights his uncanny ability to elaborate on his innermost and piled-up feelings about human rights. “It is the constant discussion that you have with yourself — is what I wanted the songs to depict. Shaagird Blues illustrates a protégé seeing through their mentor’s gluttony. It could also narrate the strained relationship between a child and a parent,” he tells us.
Politics of suffering
For Raman, pain is an inherent part of being alive and needs to be recognised for what it is. This notion, he says, is defeated by mainstream Hindi music that often focuses on light-hearted emotions and while there is nothing inherently wrong with that, he wanted to approach the same romantic tropes differently. His piece, Mastaani is a love song, but it is also conversational and meant to be discussed concerning the current political climate of the country, the harsh realities of separation, and the emotional pain that comes with losing or pursuing someone. He does not believe in glorifying distress but instead wants to explore and communicate the honest and often tough sentiments that come with life.
Rock on
Raman sees his project as an expedition to delve into uncharted territories, without being bogged down by preconceived notions. His experimental approach allowed him to try dissimilar techniques, write and rewrite until he found the perfect fit for each song. Through Shakhsiyat, he aims to convey his experiences in a way that is both authentic and relatable to his audience. The album is a creative outlet for Raman, allowing him to define himself freely and push his artistic boundaries. His influences run deep, tracing back to the legendary icons of the music industry. From Jimmy Hendrix’s electrifying guitar riffs to Bob Dylan’s raw, poetic lyricism, every note struck and every word uttered by these musical trailblazers has been a guiding light for Raman in his artistry. The Rolling Stones and their lead singer Mick Jagger have been a particular inspiration for Raman. Their unbridled energy and passion for the arts have been a constant source of motivation for him.
Breaking down music
He analyses Sympathy for the Devil in how he approaches his music. Like the song, which is an ode to the devil and his various incarnations throughout history, Raman’s music investigates the darker side of humanity. He also admires Jagger’s ability to command attention and connect with his audience, and seeks to embody the same level of showmanship in his live performances. His musical roots are deeply grounded in the rich history and tradition of rock and roll, which is evident in his homage to these icons in his work. “I also came to hip-hop bands like The Roots. I did not stop there. I listened to Kishore Kumar and Mohammad Rafi. I dived into a spectrum of music: From Buffalo Springfield, and Johnny Cash to 70s Bollywood, I wanted my music to be talkative, to speak to people,” he says.
Rs 499. May 21. 9 pm.
At Moonshine Project, Jubilee Hills.