Amaan and Ayaan Ali Bangash reflect on their art of balancing contemporary influences while staying rooted in classical tradition

It’s always intriguing to see how artistes in any creative field, be it music, painting, or even cooking, take the raw ingredients of their craft and transform them into something uniquely their own. With a blend of understanding, skill, and passion, they carve masterpieces that not only set them apart but also allow them the freedom to push artistic boundaries. This is precisely what Amaan and Ayaan Ali Bangash have been doing with their music. As the sons of the legendary stad Amjad Ali Khan, the instrument sarod runs through their veins, their childhood steeped in the echoes of riyaaz, discipline, and the rich classical traditions passed down through generations. yet, what makes them truly special is how effortlessly they breathe new life into this heritage. their music, while deeply rooted in tradition, carries a refreshing contemporary spirit, bridging the past and the present in a way that resonates with today’s listeners.

In a candid chat with Indulge, Amaan and Ayaan, who have recently released a new Holi album, Colors and Celebrations with folk singer Malini Awasthi, open up about their musical lineage, the depth of their connection with the sarod, and what it truly means to keep tradition alive while embracing the rhythm of change. their latest collaboration with folk stalwart Malini blends traditions effortlessly. “Folk and classical music have always influenced each other,” Amaan notes, while Ayaan adds, “Holi is woven into our musical heritage through thumris and ragas like Zila Kafi.”

Excerpts:

Your family has a deep lineage with sarod, but now, how do you envision its place in the contemporary musical landscape?

Amaan: For me, the sarod is my entire journey. it holds the essence of my childhood, from my father carrying me in his arms to my mother cooking in the kitchen and serving me meals. If our family were a portrait, the sarod would be the frame that holds us together. It is the glue that binds our family, shaping our relationships and keeping us close.

Without the sarod, ayaan bhai and I might have been like any other brothers, caught up in disputes over land, money, or property. But instead, we are each other’s strongest supporters, cheerleaders, and well-wishers. This bond extends to our parents as well. I wouldn’t have been this close to my father or mother if sarod was not in existence.

Ayaan: Our father’s journey has been so profound that we have always felt like humble participants in his musical odyssey. The sarod is our very identity. We see our selves as custodians of this sacred art form, one that we deeply revere and cherish. This legacy continues with the next generation, my 12-year-old twins have already begun learning the sarod. It’s a long journey ahead, but we know that this is the greatest wealth our family possesses. And we are not just preserving it within our home; my father has shared this gift with students from all corners of the world.

Amaan, you once mentioned Razakhani and Masitkhani (Gat styles in classical music), calling your father’s compositions ‘Amjad Khani.’ How does it feel to inherit and carry forward this musical legacy?

Amaan: I made that comment not just as a son praising his father, but because I truly believe in the depth of his musical genius. you know, he composed for every raga across all tempos — Vilambit, Madhya lay, and Drut lay.

My father often says, “Improvisation is yours to take, but compositions are what you leave behind.” While improvisation disappears with the artiste, compositions serve as a guiding reference for generations to come, allowing musicians even thousands of years later to understand a raga through the lens of a master’s approach.

Your father once said that the sarod lacks the global visibility of the sitar due to less international collaborations. Has anything changed over the years?

Amaan: While the sitar may be more commercially visible, the sarod has a strong presence, especially in India. globally, the recognition may vary.

Ayaan: We wanted to take the sarod into uncharted territories, whether through fusions or other styles. My father was a pioneer in embracing collaborations, opening new doors for the instrument. From his time to now, we’ve come a long way with our own collaborations, but there’s still much more to explore.

How do you ensure authenticity of your style while exploring fusions?

Amaan: When Ayaan bhai and I are at home, our riyaaz is deeply rooted in Indian classical music. Fusion isn’t something we force, it happens naturally by god’s grace. We never experiment just for the sake of looking cool; every musical choice we make is intentional and heartfelt. Our journey is serious, and while we remain committed to our classical roots, we also strive to be versatile musicians, exploring different styles without compromising the essence of our art.

Ayaan: In music, you are always a student who is constantly learning, absorbing, and evolving.

How has the digital age changed your engagement with listeners?

Amaan: We didn’t exist in the time when people flocked to hear Ustads perform live, but we witnessed my father’s generation, where audiences saw them on stage, then on TV, and now, people consume music from the comfort of their homes. It’s not that people aren’t listening; concerts may seem less crowded, but music is still deeply ingrained in their lives.

The way people connect with artistes has changed too. Earlier, attending a concert meant waiting in the green room to meet the performer. Now, audiences know they can simply reach out on instagram. sadly, that physical connection is fading.

What are your thoughts on the baithak culture in Indian classical music?

Amaan: Baithak is amazing but it’s just a format. while baithaks offer interaction, they can also be challenging, as audiences sometimes become overly demanding, which can intimidate the artiste.

Ayaan: it’s quite sad to see how, sometimes, baithaks often carry a certain snob value, unlike their original purpose when classical music had yet to reach concert halls. While they were once intimate musical gatherings, their modern relevance can be debatable. Are they truly about the music, or are they driven by exclusivity and intellectual posturing? Saying, ‘we don’t attend concerts, we only go to baithaks,’ doesn’t make one a superior listener or artiste.

The musical instrument rabab holds deep signifi cance in your family’s legacy. Have you ever felt the urge to experiment with it?

Amaan: Although we automatically assume Indian music and its instruments to be ancient, the sarod is one example of an instrument that evolved from other structurally similar Indian and Afghan lutes around the middle of the 19th century. The sarod as we know it today, traces its genealogy and origin back to rabab of yore. All music evolves because of certain factors which makes it a sociological reality rather than simply having an aesthetic function. So it was with the rabab, the folk instrument of ancient Afghanistan, Persia and several other countries, each with a variation giving it an identity of its own. The Pathan Bangash family, who were from Central Asia, pioneered the task and contributed to the evolution of the present day sarod. It was the quest of Ghulam Bandegi Khan Bangash for something more that resulted in the modification of the rabab with certain additions.

Ayaan: As my ancestors settled in Madhya Pradesh, industrial advancements brought changes, wooden fingerboards became metal, and strings were replaced with steel. Despite this evolution, the rabab remains relevant today. My brother and I even dedicated an album to tracing its journey to the sarod. We’ve played it at experimental shows, as it shares the same lineage of stringed instruments. While rabab is like the sarod’s predecessor, the sarod has evolved to offer greater expression and versatility.

Any advice that you have for youngsters who are trying to make a mark in the world of music?

Amaan: It’s your journey. what life shows you, or whatever your story has been gets automatically incorporated into your life. Therefore, whatever your music is, it’s who you are now. the elements entirely depend on what the music is.

Ayaan: Be humble, enjoy the process, give your best and don’t take yourself too seriously. Humility is extremely important and that lends some fragrance and colour to your work which is very special.

Tell us about your next summer international tour.

Amaan: We are performing through spring and return in fall as well to the us. We look forward to many performances including playing with London Philharmonic Orchestra, google Philharmonic Orchestra and Sharon Isbin. We also tour Europe in the summer and return to wigmore Hall as associate artistes.

Colors and Celebrations is available on all streaming platforms.

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