‘I am happy in my space’: Amaal Mallik

Amaal Mallik is the name behind some of Bollywood’s most beloved melodies. Known for creating songs that strike an emotional chord, he is a music composer, singer and songwriter whose work resonates with listeners of all ages. Coming from a family of musicians, Amaal’s journey began in 2014 with the film Jai Ho and he soon made his mark with chart-toppers like Sooraj Dooba Hain and Chale Aana. His versatility shines through both peppy dance numbers and soulful ballads. Beyond Bollywood, Amaal has explored independent music, collaborating with international artists and experimenting with different genres. His creative partnership with his brother, Armaan Malik, has produced numerous hits , showcasing their strong musical bond. Amaal’s compositions are known for blending heartfelt lyrics with memorable tunes, making his songs timeless. He recently composed two versions of a song from Bhool Bhulaiyaa 3 — Ami Je Tomar 3.0 /Mere Dholna 3.0 which have already garnered over 155 million views on YouTube alone and counting; and his latest song — Patang Ki Dor from Inn Galiyon Mein is also catching all the right attention. We recently got into a fun and rare chat with Amaal, where he talks about his experience working with his brother, why he likes being away from the spotlight and lots more…

Amaal, starting with your recent project, Bhool Bhulaiyaa 3, how was your experience working on it?

Honestly, I wasn’t initially part of this film. It happened so suddenly. Pritam Chakraborty was working on the entire soundtrack, but due to other commitments, he had to back out. The production was about to start shooting and things just fell into place for me. Interestingly, during Bhool Bhulaiyaa 2, I was humming a melody which I used to create the Bhool Bhulaiyaa 3 version of Ami Je Tomar — a song I’ve always loved. I wasn’t part of that album either but wondered what I would create if I explored Indian classical music. Then Bhool Bhulaiyaa 3 happened, almost like I manifested it. People often associate me with popular hits like Sooraj Dooba Hai, Kar Gayi Chull and Kaun Tujhe, but there’s a lot more music within me that hasn’t reached audiences yet. This film was an opportunity to showcase that side, especially with something as legendary as a face-off sequence between Vidya Balan and Madhuri Dixit. I was hesitant initially because recreating an iconic song like Ami Je Tomar is daunting. I’ve said no to many remixes over the years, but I had a melody that seamlessly blended with the original. I told the team I’d only take on the project if I could work on Ami Je Tomar and not the title track. Thankfully, Bhushan Kumar and Anees Bazmee appreciated my vision.

Given that this is the third rendition of Ami Je Tomar, do you think the song risks losing its essence with repeated recreations?

The original will always be the master version — it’s the backbone and inspiration. This song captures the film’s soul, especially its West Bengal backdrop. Its placement matters a lot: it opens the film, sets the tone post-interval with a dramatic face-off and returns in the climax with Sonu Nigam’s version. While I added a new stanza, Do Dilo Ki Prem Kahani, I was conscious it shouldn’t feel forced. This project taught me a lot about balancing respect for the original while innovating. With stalwarts like Sonu Nigam, Shreya Ghoshal and Sameer Anjan involved, the collaboration was truly enriching.

You’ve often stayed away from the spotlight compared to other composers. Was that a conscious decision?

Absolutely! I prefer being behind the scenes — it’s just how I’m wired. I listen to my gut; if I feel like showing up, I do. Otherwise, I am happy in my space. This interview is my first in about a year and a half ! I’ve slowly stepped into the limelight with music videos and singing songs that suit my voice, but attending events or film parties isn’t my scene. My manager keeps urging me to be more visible, but I value my privacy. Funny thing — people often mistake me for Arjun Kapoor or Armaan Malik at airports. I’ve even signed autographs as them just for laughs!

Coming from a musically rich family, was it challenging to meet expectations?

It’s been a tough ride. I’ve got more white hair in the past decade than ever before! Being Anu Malik’s nephew, Daboo Malik’s son and Sardar Malik’s grandson comes with immense pressure. Everyone in my family has done credible, often incredible work — whether it’s Border, Asoka or timeless tracks my father’s composed. I wasn’t prepared initially. In fact, it was Salman Khan who gave me my break after hearing an album Armaan and I worked on in 2012. I didn’t even want to be credited as a composer at first — I was content doing background scores. My journey has been about learning through trial and error. Jai Ho didn’t do well, but I took lessons from that. People talk about nepotism but Armaan and I have worked hard to prove ourselves beyond our lineage. Music is about connecting with people and the love I receive — especially from male fans — is surreal. Talent should come from everywhere and while a foot in the door helps, sustaining it requires dedication.

You’ve collaborated with Armaan on nearly 63 of your 116 songs. With so many projects together, there must have been moments of creative differences. How do you navigate that dynamic?

Oh, we definitely have our moments. There have been times when things got intense — I’ve locked him up in the studio, cancelled his flight to Guwahati. I even called my mom, pretending she’s his manager, saying, “your artiste isn’t going to the show tomorrow if we don’t finish this song today.” All of this, of course, is in good faith. Armaan is everything to me. I love him. He’s truly special. The way he sings and emotes at such a young age — it’s rare. When he was 20 or 21, he tackled some really emotionally challenging songs. But beyond talent, he works hard. Over time, I’ve encouraged him to unlearn certain things. Sometimes, less is more in film music — you just need to paint subtle strokes rather than go all out with classical flourishes. He’s taken that to heart.

He’s been more than just a singer on your projects, right?

Absolutely. Before becoming the Armaan Malik everyone knows, he was my music assistant. He’d sit through recordings with legends like Arijit Singh and Sonu Nigam, mentally taking notes on everything. He’s absorbed a lot from those sessions. Even now, it’s a two-way street — we play our new tracks for each other. I’ll send him something; he sends me his work. When it comes to his Hindi songs, he loves collaborating with me, though for his English releases — like the ones with Ed Sheeran and Eric Nam — he plays them to me just to get an opinion. Our dad is often the ultimate judge; between the two of us, someone usually vetoes a track before it reaches listeners.

Has your creative process evolved over the years?

Definitely. Earlier, I wouldn’t let him record while touring. I’d insist he return to the studio. But now, he knows exactly what I’m looking for. Sometimes, I just send him a voice note and he nails it — even from the road. We’ve developed this synergy where he’s the best vocal representation of my soul. When we venture into new genres or experimental projects, we still take our time to get it right. But overall, it’s become second nature to us.

Ami Je Tomar 3.0 & Patang Ki Dor are streaming on all audio and video platforms.

Email: alwin@newindianexpress.com

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