Anoushka Shankar shares all about her upcoming India tour and a new mini-album in an exclusive chat

Every generation produces icons that alter the field of work that they’re part of. Ours has produced a magician who works wonders with her sitar and piano and composes tunes that guide listeners to another realm. Anoushka Shankar, a household name in ‘neo-classical music’, as she calls it, has produced yet another streak of heavenly compositions that appreciate all the fleeting moments frozen in time and our consciousness. The genre-defying nature of her work is laid bare in her compositions through the years and can also be noted in the list of collaborations with many other musicians across the globe.

With albums like Land of Gold, Between Us..., and more under her wing, Anoushka’s discography is a testament to enabling and amplifying the ability to create genre-bending music. If original album compositions are not enough for a new listener, tuning into Mira Nair’s Netflix drama, A Suitable Boy, or watching the restored version of Shiraz (1928) by the British Film Institute, would introduce another side of this internationally acclaimed artiste — the film music composer. Her ability to sonically camouflage within any era is, without a doubt, her biggest reason for attracting and inspiring listeners and other musicians. The artiste who formally started learning the ways of the sitar at the tender age of nine is a global sensation whose music introduces the importance of diversity in sounds, with meaning and narration. Her latest minialbum retains this signature approach.

Also Read: Lana Del Rey, Tyler the Creator, Doja Cat, No Doubt to headline Coachella 2024

Chapter I: Forever, For Now, which is the first in a series of three, is a graceful collection of four songs that are appreciative of tender moments. The nine-time Grammy-nominated sitarist, composer, and producer is now all set to return to India as part of her global tour, kicking off the Anoushka Shankar Live in India tour on the 22nd in Bengaluru! Making her way through many prominent cities of the country, the seasoned musician and her quintet are also part of the incredible lineup for the Lollapalooza India Festival 2024 at the end of the month.

Our chat with the musician comes in between her completion of Chapter 2 and the initial stages of Chapter 3. We learn more about the album, the tour, specific moments of inspiration, insights into her relationship with her father, Pandit Ravi Shankar, her love for rich Mughlai and Hyderabadi food, and much more! Excerpts from our chat:

What is the story and inspiration behind Chapter 1?
It was a couple of things. One is the format itself. I was inspired to try and release music in a slightly different way than I had before and to propose an idea of mini albums, where three chapters might come out over a year rather than one album all at once. This was to allow the story to develop as the release process and the touring process took place. Chapter 1 was the formative chapter that set the beginning and tone. It ended up being influenced by my effort of trying to capture the fleeting feelings of certain moments — moments of beauty, calm, and peace, even if they happen in times of chaos, pain or difficulty. It was also about how it’s possible to stop and be present for those moments and connect those feelings. So, I tried to create music that captured what that felt like, for me.

You linked Daydreaming, the first track, to a very simple yet beautiful moment of your life when your son fell asleep on your lap as you were strumming your sitar...
I had this experience in the garden in the summer with my son, and I had that Carnatic lullaby in my head. When I went to Berlin to record in January, it was a very different atmosphere — cold and dark. But I was still holding on to the memory of that afternoon in the garden. Everyone knew that was the ‘dreamy feeling’ I wanted to go for in the music.

How did your collaborations with Arooj Aftab and Nils Frahm help you capture what you were looking for in the album?
Getting in the studio with Arooj Aftab and Nils Frahm— two icons and incredible musicians — and working with them was a real treat. We spent a lot of time working on the sound of the sitar to find a new tune, a way to mic it and treat it so that it could be more atmospheric, full, and dreamy. And that was like an initial foundation.

Arooj, with her music, especially with Vulture Prince, her last record, is great at achieving a kind of instrumental minimalism and space within her songs, which I wanted to bring into this music as well. So, I knew she would help me as a producer, in thinking of the right instrumentation to not overpower things and that she would encourage me to leave that space when I might feel doubtful. Sometimes as an artiste, when you try and go with ‘less is more’, it can feel like not enough. And there’s a tendency to want to pile more on. It takes someone else to say, ‘No, no, no, it’s exactly right as it is’. That kind of trust is important. Hence, she was the perfect person for that. As for Nils, he’s someone whose music has been an influence on me for years. We’ve been friends for years. I love the sound worlds he creates in his music, and so he was there more as a musician. He was very open to jumping on any instrument in his studio and playing to accompany me.

The sound world of some of these beautiful instruments is quite ‘signature Nils’ on a few pieces. And so to hear the sitar in that world is really like a dream come true. I think a song like Stolen Moments is a great example because it’s in the first few moments — it’s just the sitar looping and then as you start to hear his drone accompaniments come in, it’s like you’re travelling to someplace else. And then when he opens up, you just feel like you’re in the heavens.

I was with people who genuinely trusted that process like I did. It was a beautiful experience.

Also Read: Elton John achieves rare EGOT status with Emmy win for Dodger Stadium farewell concert special

With music transcending cultural and linguistic boundaries more so now than ever, how do you think the young Indian audiences connect to Indian classical music?
On one hand, Indian classical music, like any classical music, is not usually one of the main genres that younger people tend to listen to. That’s just always been the case. Yet, having said that, if you look out of the mainstream, and if you look at different demographics, you will see a huge amount of young people playing classical music and building their careers. So, I do think it still has a strong position. It’s really interesting what’s happened in the Western world — a greater development of neoclassical music. Works of people like Nils (Frahm), Ólafur (Arnalds) and Max (Richter), although not classical music, do, however, direct people towards the same because they hark to that. I think that’s something that I’ve been doing as well. Hence, the word ‘neoclassical’ is quite good because I don’t play classical music. It’s what I was brought up around, but I play it differently.

One piece of advice given by your father that you continue to follow during every performance even today?
One of the things of his that influenced me was the ethic, respect and gravitas given to the musical form — not just in performance, but also in practice and just at home in general. For example, performances were big important events, and even though he’d been doing them for 70-odd years or more, every show day was the focus and purpose. Even though I do it differently, that rubbed off on me. I don’t take it for granted. My process of making sure that the stage is given its full respect and due hasn’t left me for sure.

What are the other instruments you want to explore more?
I used to learn classical piano and I sort of gave that up as a teenager when sitar got intensive. But it’s still been a big part of my compositional tool, and I like to play it as part of the writing and I have found myself coming back to it more and more. I have curiosities, but I’ve never felt like a huge desire to play other instruments. But I think that’s because of the type of work I do when I compose — I work with so many other instruments. I get to hear that sound in my music, from the hands of experts, so that feels great.

Who are some Indian artistes that you would want to collaborate with?
If I were to work with vocalists, that would be amazing. It would be lovely to work with more and more women. On the classical side, I’d want to work with Kaushiki Chakraborty. I remember watching a music video from Anumita Nadesan before she became prominent and just thinking, ‘Wow, she’s special!’. Prateek (Kuhad) is also amazing at what he does. There are also some lovely producers. There are so many! So, it would depend on the project. I’m open (laughs)!

What is your message to the fans who are looking forward to your performances in India?
The band I’m touring with is so incredibly exciting. Each of them is such an amazing musician. And the combination of all of us together, the sound is unique. There’s no other band out there in the world that sounds like this. Those coming will hear a mix of a wide dynamic range of soulful and beautiful pieces, but also fiery, virtuosic stuff!

Projects in the pipeline beyond Chapters 2 and 3 ?
I have a couple of guest appearances coming up on other artistes’ albums. On that, I’m also developing a few composition projects where I could be stepping more into the role of a composer. That’s an avenue I want to nurture more.

Any plans to explore film music further?
I am open, especially now. I think the kind of listenership and broadness of sound has changed. So, there’s so much more room for a non-core Bollywood sound as well. So, I would be open to that.

Your comfort food?
It’s pretty broad. My mother is from South India and she cooks all kinds of food. But it’s more healthy and light. Beans with coconut and rasam rice are dishes I like. I’m also partial to the odd Bengali fish curry because I’m half Bengali too! But my favourites are rich cuisines like Mughlai, Hyderabadi or Delhi preparations.

Anoushka & Quintet will tour in India from January 22 to 31
Chapter I: Forever, For Now is available to stream on all audio platforms