Inside Ba***ds of Bollywood: Thomson Andrews on crafting vocals for Aryan Khan’s vision

It actually happened quite naturally. I’ve been a big admirer of Shashwat’s work — from Uri: The Surgical Strike to the Coke Studio Bharat track Leta Jaijo Re. Bads of Bollywood is our first collaboration, and right from our initial meeting, we established a strong creative connection. A close friend, Leon, had recommended me for the project.

Shashwat felt that the show needed a very niche vocal tone and arrangement — something quirky, edgy, unusual, yet soulful. The show’s raw visual style demanded vocals that carried the same unpolished, organic energy. Aryan Khan’s creative vision as the series director, combined with Shashwat’s bold and cinematic sonic approach, gave me a lot of room to experiment with sounds, textures, and vocal layering. It’s always fulfilling when a composer values the voice as a malleable instrument and takes the time to explore every facet of it.

The idea was to make the vocals function almost like a character within the story — not just as background elements. We wanted the human voice to mirror the chaos, glamour, and emotional depth of the world Aryan created onscreen.

The arrangements draw from R&B, gospel, pop, a cappella, and funk influences, woven beautifully into Shashwat’s cinematic motifs. I also incorporated Indian bols, desi phrasing, vocal basslines, rhythmic inflections, and harmonies across multiple octaves — from countertenor and baritone to soprano — to give the sound a hybrid soul.

In certain moments, we introduced a near a cappella quality inspired by Bobby McFerrin’s approach, allowing the vocals to subtly express what the characters were feeling without words. It made the music feel alive, almost conversational.

Yes, there was a recurring thematic piece that plays during Bobby Deol sir’s emotionally charged scenes. It demanded both restraint and grandeur — a balance between subtlety and emotional weight. I had to sing dynamically with varying textures, layering voices to create cinematic depth and lift the emotion of the moment.

We experimented with whispers, breathy tones, percussive hums, staccato hoots, and other vocal sounds that are rarely used in background scores. These nuances ended up becoming the emotional heartbeat of those scenes. The process reminded me how sometimes, the smallest vocal inflection can create the deepest impact.

For me, music has never been about genre — it’s always been about emotion. Whether I’m collaborating with an American producer, a Bhutanese folk artist, or an Indian film composer, my goal is to tap into the emotional truth of the sound.

My influences — R&B, gospel, funk, soul, and Indian classical — have made me adaptable across genres. Over the past 17 years, I’ve mentored more than 200 artistes in varied projects, from ad jingles and animation songs for Disney and Netflix to Bollywood scores, live performances, and MTV projects like Coke Studio, Unplugged, and Unwind.

The Bhutan project was especially meaningful. Commissioned by the Government of Bhutan (DoMCIIP), it wasn’t just about teaching technical vocal skills, but about helping singers discover their artistic voice within their culture. Over the eight-day intensive, we worked on vocal range, stylisation, flexibility, showmanship, and well-being — and watching those artists transform was truly inspiring. That’s what excites me most about music — it’s truly borderless.

It’s definitely a balancing act! (laughs) But I believe each role feeds into the other. When I’m arranging, I think like a composer. When I’m mentoring, I share real-world knowledge gained over 17 years in the industry.

Music isn’t just a career for me, it’s a calling. Being involved in different aspects of it keeps me creatively sharp. Time management helps, but it’s passion that truly drives me.

Honestly, all of it! I love vocal arranging, writing, studio work, and live performances equally. There’s something magical about creating an emotional landscape using only the human voice — blending harmonies, textures, and tones until something clicks and gives you goosebumps.

I’ve had the privilege of collaborating with Pritam sir on projects like Metro In Dino and War 2, and have vocally arranged songs such as Zamana Lage, Dil Ka Kya, Dhagena Tinak Dhin, and Janabe Ali.

Live performances, though, are my heartbeat. Watching people connect with your voice in real time is indescribable. I’ve curated two live acts — TAC Live, a 28-piece big band choir, and Thomson Live, my band that performs across diverse events. Mentoring is deeply fulfilling too — seeing young singers evolve and thrive in a competitive industry brings me immense joy.

I stay curious. I listen to everything — from Aretha Franklin, Ray Charles, James Brown, and Stevie Wonder to AR Rahman and Jacob Collier. My musical diet spans multiple genres and languages.

I keep experimenting with vocal textures, new languages, and even silence as a musical element. Travel and teaching are also huge sources of inspiration. Listening to a folk singer in Bhutan or a street guitarist in Chennai reminds me that music is about human connection — not fame or charts. That truth keeps me grounded and inspired.

There are so many! (smiles) Internationally, I’d love to work with Bruno Mars for his funk and vocal energy, Dan Nigro, Jon Batiste, Pharrell Williams, Mark Ronson for their production brilliance, and Jacob Collier — he’s a harmony genius.

In India, I’d love to experiment with Pritam sir on something like “Hindi Funk,” or explore a fresh sonic space with AR Rahman sir, even though we’ve worked together before. I’d also love to collaborate with Shankar Mahadevan sir, Shreya Ghoshal, Arijit Singh, and Sunidhi Chauhan on projects blending Indian and Western influences.

I truly believe the world is ready for India’s new musical identity — one that goes beyond Bollywood. The independent, fusion, and crossover scenes are thriving. We have the talent, the technology, and now the audience.

What excites me most is that Indian artistes are embracing authenticity — singing in their own languages and fusing Indian classical or folk with R&B, soul, and global sounds. That’s the future: music that’s global yet rooted. I see myself and many others contributing to that movement — and we’re already making progress toward that vision.

There’s a lot on the horizon! I’m working on several OTT and film projects as a singer and vocal arranger, plus international songwriting collaborations. I also have around seven new independent singles in the pipeline that blend soul, funk, and Indian elements.

In December, I’ll be performing with the legendary Ranjit Barot sir at the SAF Music Festival in Goa. I’ll also be busy touring with my solo act and TAC across India this gig season. My startup, Throan of Art, is expanding its reach into new entertainment verticals — branding, artist development, and mentorship initiatives globally — after the success of the Bhutan program.

Season 1 of my podcast, The Thomson Andrews Show, was a great success with guests like Sooraj Barjatya, Nikhil Advani, and Ram Madhvani. We are gearing up for Season 2 now. It’s been an amazing journey so far, and I’m grateful to my family, mentors, and well-wishers for their faith and support. I truly believe — the best is yet to come.