The Mishra Brothers and Megha Rawoot highlight the evolution of Indian classical music

Abhishek Mishra: The foremost and most important credit goes to our guruji, Purbayan Chatterjee, who introduced us to these new sounds. Under his guidance, we learned how to shape and refine them to achieve the desired expression. Another key reason is that we usually perform together and over time we have consistently presented our music as a duet or jugalbandi — a musical conversation between two brothers on stage through our instruments. We have consciously continued to experiment to explore new textures and tonal possibilities, allowing the same idea to be expressed in evolving ways.

Shivang Mishra: The training we receive under PAAMF is truly exceptional, largely because guruji Purbayan Chatterjee follows the guru–shishya parampara with great rigour. Along with developing a deep understanding of traditional Indian ragas and their nuances, he ensures that we are fully stage-ready, focusing on authentic expression and clear communication with the audience while keeping the presentation fresh. An equally important part of our training has been travelling and performing with guruji. Observing him on stage, as well as learning from off-stage preparations and interactions, has been invaluable in shaping our professionalism. This experience greatly helps when we perform independently, and especially when we accompany guruji, as we will at UTSAAH this year, preparing us to sensitively support and enhance the musical dialogue on stage.

Abhishek: Platforms like UTSAAH are extremely important because some of the most meaningful learning happens on stage. While formal training is essential, presenting music on platforms like these allows students to learn directly from maestros. Sharing the stage with them offers invaluable insights and often answers questions that students grapple with during their journey. Our fraternity functions like a family — students look up to their seniors and gurus and sharing the stage with them becomes a dream come true. It brings a strong sense of validation along with deep respect for the maestro. This tradition has existed for generations and through PAAMF, envisioned by guruji Purbayan Chatterjee and Gayatri Asokan didi, this legacy is being thoughtfully carried forward through initiatives like UTSAAH.

Shivang: We strongly believe that carrying forward a legacy that is thousands of years old is both a privilege and a responsibility for every student of Indian classical music. At the same time, as the world evolves, the music must also evolve — while firmly preserving its fundamentals. Artistes such as pandit Ravi Shankar, ustad Zakir Hussain and, in the present generation, guruji Purbayan Chatterjee, along with contemporaries like Rakesh Chaurasia, have clearly demonstrated that Indian classical music has the depth and versatility to engage globally and embrace other genres through collaboration.

Abhishek: We hope the audience experiences the same emotions that we feel on stage, because the expressions we aim to convey are only successful when that connection is shared. Seeing smiling faces reassures us that the music is being received as intended. For us, a successful performance is one where the audience leaves feeling content and fulfilled. We understand that a diverse audience brings varied tastes and expectations and our intention is to offer each listener something that resonates personally with them. Above all, we strive to ensure the performance becomes a holistic and memorable experience of The Mishra Brothers Collective.

I don’t consciously try to ‘balance’ two worlds anymore. Indian classical music is the lens through which I experience everything. Whether I perform in India or abroad, I carry the same riyaaz, discipline and emotional honesty with me. At the same time, performing internationally — whether through collaborative projects in Riyadh or sharing space with artistes from very different musical backgrounds — has taught me to listen more deeply and respond instinctively. These experiences don’t dilute my classical grounding; they sharpen it.

With new or international audiences, I become more attentive to how the music unfolds in the first few minutes. I focus on creating an emotional entry point through the raga rather than complexity. I’ve often seen listeners unfamiliar with Indian classical music respond very intuitively, which reminds me that sincerity in music travels beyond language or form.

Mentorship has been central to my journey. I have been a student of Purbayan Chatterjee for nearly nine years and much of my learning has come from observing — watching rehearsals, performances and the way he approaches music with depth and integrity. I have also learned immensely by observing Gayatri Asokan, particularly in how sensitivity and discipline coexist in performance. Being part of PAAMF brings these experiences together; it allows me to remain a student while sharing what I have received, which for me is the essence of true mentorship.

UTSAAH is more than an event for me; it is a celebration of learning. PAAMF functions as a family, where the focus is always on shared growth rather than individual presence. I have seen Purbayan Chatterjee and Gayatri Asokan build PAAMF together — from teaching a single student at home to creating a dedicated space where many students have come to Mumbai to learn, grow and shape their musical journeys. Being part of UTSAAH reflects that spirit of trust, discipline and collective effort.

I see a very hopeful shift. The next generation is deeply curious — eager to understand the roots while remaining unafraid to explore new contexts. Many young musicians today listen widely, collaborate globally and find their own voice without compromising the integrity of the tradition. As someone who is both a performer and a mentor, I feel responsible for helping them stay anchored while encouraging exploration. Indian classical music has always evolved and I believe it will continue to do so with honesty and depth.