Sitarist Rishab Rikhiram Sharma on his new music video drop and International tour
Sitar Sensation Rishab Rikhiram Sharma speaks to Indulge on how he conceived and executed his latest music video drop, The Burning Ghat, a tribute to the ever-burning fire of Manikarnika Ghat in Varanasi, which is now available across all streaming platforms.
Excerpts:
Was there a specific moment or experience in your life that sparked this tribute?
My visit to Manikarnika Ghat was transformative. There was something about standing there and witnessing that eternal flame that really hit me. It reminded me of Burning Man — that same theme of letting go, of surrender, of moving on from attachments. Whether it’s the desert in Nevada or the ghats of Kashi, the story remains the same — it’s about Moksha, breaking the cycle of rebirth. That parallel inspired the idea — from Burning Man to The Burning Ghat.
What inspired the title?
In all of Kashi, there’s only one ghat where the fire never stops — it’s constantly burning, 24/7. That’s Manikarnika. It felt wrong to call it anything else.
Most of your works explore themes of spirituality. How does The Burning Ghat reflect that, and yet stand out?
The Burning Ghat is deeply spiritual, but in a very immersive way. It’s a 7-minute sonic journey that reflects the cycle of life and death — and interestingly, it ends the way it begins. That was intentional. It mirrors how life comes full circle. It’s contemplative and meditative, and that cyclical format is what makes it stand out from my other work.
What symbolism does The Burning Ghat hold for you?
It represents surrender and devotion. We all have to let go at some point, and this fire — this place — is a symbol of that final release. Musically, it pushed me to go deeper, to express more with less, and to create something that’s not just heard, but felt.
Tell us about some memorable BTS moments while shooting the video.
Varanasi is like organised chaos. There’s so much happening — but it all flows in harmony. Shooting there was magical. The biggest challenge was the heat — we were filming at the peak of summer. And then, of course, people recognised me, which was beautiful but also meant we had to pause for selfies between takes! But the support we received was overwhelming. We got access to spaces that are usually restricted, and I got to perform and record in divine locations that most people can’t even stand in for long. It was surreal.
Tell us about the instruments used other than the sitar. How did you decide which ones to include?
There’s a lot going on in the background! Apart from the sitar, we used the duff, tabla, shakers, some synth layers, bass, piano — even my own voice. The idea was to create a full sonic landscape that elevates the sitar and enhances the emotion of the piece. It’s almost orchestral in moments, but the sitar remains the center.
The white color palette recurs throughout the music video. Was that a deliberate choice?
Yes. White symbolizes purity and peace — and in the context of this piece, it also represented the divine. The dancers and I were styled in white to reflect that angelic, ethereal quality. It also subtly pays tribute to Lord Shiva. If you notice, even the trishul in the costume was emphasised as a design element.
Your mehendi has garnered a separate fan base! Did the one you wore for this shoot have a story of its own?
For me, it’s more than just an aesthetic — it’s spiritual. My hands are the vessel through which I channel my energy into the sitar. Mehendi feels like a blessing, like protection. For this shoot, I added some symbolic elements — especially a version of the trishul — to reflect the energy of Shiva and the sacredness of the piece.
What’s one lesson or realisation you gained while making this video?
(laughs) Always check the weather app! But on a deeper note — it reminded me of how powerful intention is. When you put your heart into something with the right energy, the universe opens doors. Even in the chaos and heat of Varanasi, everything fell into place beautifully.
How does a riyaaz routine look when you’re constantly on the move?
Riyaaz is a daily practice, and while I try to stay consistent, it can get tough when I’m traveling. Some days, two full hours isn’t possible — but I always try to squeeze in what I can. Even 20–30 minutes of focused playing can keep the connection alive. The important part is to not lose touch with your instrument.
When can we expect the next leg of your live performance tour?
In India, we’re back on the road in January next year. And globally, we’re kicking off shows in cities like Dubai, New York, Toronto, London, and across Europe.
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