Stephen Devassy creates a sound of oneness with ambitious global album Ekta

For several years, I have been exploring a universal musical language through projects such as Sacred Chants and my album RomanzA. Along this journey, I have collaborated with many international artistes, and working with legends like L Subramaniam and AR Rahman further inspired me to think beyond boundaries and create music on a truly global scale.

Sanskrit has always been one of my favourite languages. Many of the shlokas I have worked with are rooted in Sanskrit, and I have enjoyed composing music around their depth and beauty. Although I have studied Western classical music extensively, I always felt a strong desire to incorporate more Indian sounds and cultural influences into my work, which eventually became the foundation of this album.

At the core of my music has always been a quest to create a universal sound. I never wanted to limit it to a particular religion or category, because that would restrict its ability to connect with people. I wanted the music to remain open, inclusive and global. That vision ultimately gave birth to Ekta, an expression of unity and peace through music. If there is such a thing as music beyond borders, I want Ekta to embody that spirit.

I have been deeply immersed in this album for over three years. During that time, I spent a lot of time at home conducting online classes, as teaching is something I have always been passionate about, even though my schedule had rarely allowed it earlier. Alongside teaching, I was balancing online music sessions, family life and composing, all of which became an important part of the creative journey.

In between, I also took a break of more than a year while working on the film Kannappa, which required my complete focus and attention. I had originally hoped to complete the album last year, but I am finally bringing it to completion this year.

The challenges come from every direction, be it communication, collaboration, administration or funding. Each day brings a new set of obstacles, and I have come to see that as part of the creative journey. Despite everything, I have never considered giving up. Today, releasing an album itself is not the biggest challenge, especially with the reach of social media. The real task lies in bringing together the right people. Choosing the artistes, deciding who fits the vision and shaping the overall sound all take time and careful thought. For audiences around the world, the music has to feel fresh, distinctive and truly unique. Funding has also been a significant challenge. I have always set aside my own savings to support projects like this, but financial limitations have inevitably been part of the process.

The music brings together a wide range of global influences. There are African sounds and syllables woven into the compositions in ways that are not traditionally associated with Indian music, alongside elements deeply rooted in Sanskrit. Spanish influences also find their place within the album, all with the intention of creating a space where diverse musical traditions can coexist harmoniously.

 The project features Indian instruments such as the ektara and nandurni, and the very first song I am releasing begins with these two instruments. A few tracks also incorporate African vocal syllables, along with instruments like the euphonium and timpani, which are rarely heard in Indian music. Altogether, it represents a fresh sound experience and a completely new creative direction.

One of the first songs I am currently working on is set to be submitted for the Grammy Awards, and it is among my personal favourites from the project. I have intentionally kept three songs open for now, each carrying a distinct musical identity, one rooted in world music, another inspired by Western classical, and a third shaped by Spanish influences. I want to see which direction connects most strongly with listeners before finalising the remaining tracks.

 The first release, Prakasha, is scheduled to come out in the first week of June. Following that, a new song accompanied by a video will be released every 20 days, with plans for more than six tracks to feature visuals. If the initial releases receive a strong response, I hope to secure additional funding to further expand the visual scale and the overall rollout of the project.

When I travelled to Europe to record with an orchestra, a few of the musicians did not speak English and communicated only in their native language, so we often had to rely on gestures and expressions. Thankfully, music itself became our common language. Through sign language, actions and emotion, we found a way to connect. Sometimes, just a look into their eyes was enough for them to understand what I wanted to convey.

Working in the middle of a 60-piece orchestra without depending too much on technical language was certainly challenging, but despite the barriers, the communication flowed naturally and beautifully.

This concept is a musical prototype emerging from India, one that carries music across the world with Sanskrit at its helm, while seamlessly blending it with other languages and global influences. If the idea resonates, I would love to create four or five more albums in the future and then step back to observe how it naturally evolves.

If people truly connect with it and it grows into a culture of its own, I will continue to expand and nurture it. For me, this is far more than just a musical concert or an album; it is a global music movement built on the spirit of unity and connection.

When I speak about unity, it comes from reflecting on the state of the world today. I often find myself thinking about where humanity is headed, because there is hardly a day when the world is completely at peace. People continue to suffer and hurt one another, and that deeply affects me.

 I believe music has the power to create a pause, even if only for a brief moment. It can make people stop, reflect and perhaps choose compassion over harm, even for a single day. Songs like Fix You or We Are the World have shown how music can bring people together and create moments of peace and healing. I feel there should be more music in the world that carries that kind of spirit. India possesses incredible richness in its music and culture, and I wanted to blend that depth with a truly global sound.

 The project was filmed across India and Africa, while parts of it were also based in the United States, since the African singer is based in Los Angeles. We chose natural and untouched landscapes because nature itself communicates something profound.

I travelled to Los Angeles, Prague, Spain, Gujarat and Delhi during the process, and overall, it was an incredible experience. The biggest challenge, honestly, was dealing with the early mornings required for filming. Since natural light plays such an important role in the visuals, we had to begin shooting very early in the day, and I am not a morning person.

 Still, there was no alternative because that soft natural light creates the perfect atmosphere on screen. Even Prague, despite the intense cold, turned out to be a memorable and beautiful experience. I genuinely enjoy travelling and discovering new places, but waking up early for shoots remains the toughest part of the journey for me.

I am not currently involved in any Malayalam projects. However, I may be part of an international film that has been under discussion for some time. It is a significant production. In addition, the producer of Kannappa is also developing another film, which is currently in discussion as well.

Listening, whether to music or to people, often gives me ideas and sparks something within, almost like musical notes forming in the mind. As a producer, I feel I can recreate sounds from anywhere in the world. When something resonates with me, I first try to absorb and imitate it, and then build my own interpretation around it. Even in moments of fatigue, music has the ability to energise and uplift me. I also find inspiration in listening to international speakers and preachers, and the speeches of APJ Abdul Kalam have been a particularly strong source of motivation for me. For me, everything I experience connects and becomes part of my creative process.

I practise the keyboard for about an hour to an hour and a half every day, though I do get distracted by my phone at times, which is why I prefer keeping it on silent while I practise. My son is also developing an interest in music; he observes everything I do and often offers his own comments.

 I don’t want to push him toward becoming a computer engineer or a doctor, but I do want to share my craft with him and introduce him to the world I come from. He is enjoying it and has already taken over most of the instruments at home. In fact, between my laptop and keyboard, he has practically occupied the space in the room. There is another room where he has around 73 instruments. I, on the other hand, have just one keyboard and often don’t even have proper space for it. It has become a kind of friendly competition at home.

I was not originally inclined towards music, but I was always drawn to instruments. My father was a music enthusiast and once asked if I would like to learn the drums. Since there was no teacher available nearby, I eventually gravitated towards the keyboard instead.

 We came from a churchgoing family, so music was always part of our environment, even if not in a formal sense. My brother played the violin, and both of us were introduced to music at a young age. Growing up in a small town in the early 1990s, access to instruments was limited, so everything unfolded quite organically.

I began learning piano at around 16, and my breakthrough came when I performed with Hariharan at 17 or 18, which was the moment I realised I could pursue music professionally. Later, I played with bands like Seven, one of the early South Indian bands to feature on MTV and Channel V, and also performed with the Rex Band.

Music responds to effort; it gives back what you put into it. I did not come from a musical family or a formal training background. I learned music to survive, and I never initially imagined this would become my life.

 In my early days, I earned around 500 rupees per concert, which was enough to get by at the time. Yet I always had a sense that there was a much larger world of music beyond my reach. I had a home and a modest income, but I also carried bigger dreams within me. As I began exploring more, especially through videos and recordings, I realised how vast the global music scene truly was. When I first saw Yanni on television, listened to Eric Clapton, and heard the works of (Wolfgang Amadeus) Mozart, I understood that there was an entire universe of music beyond my surroundings. I often wondered if I would ever experience that world firsthand.

 Today, I find myself travelling widely and performing with remarkable artistes and legends. Every day still feels like a miracle, bringing something new, unexpected and fulfilling.

If I were not a musician, I would probably have become a chef, because I am a true foodie at heart. I love cooking, and I also enjoy driving. On a day out, we usually go out, try different kinds of food, eat together, and then take a drive somewhere. I am also fond of pets and have a dog, so it is a small family, but we value our time together deeply. Even when we plan a day, it often tends to revolve around what we are going to eat. That is how simple my life is.

Universal

Piano

Mozart

Andrea Bocelli

Maybe a crescendo. Soft to hard

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