Javed Ali: 'Spirituality plays a big role in how I approach music'
He’s the same voice who transported listeners into a trance with Kun Faya Kun, stirred hearts with Jashn-e-Bahaaraa, and got the entire nation dancing to Srivalli—as viral reels across generations proved. Now, with his latest track Koyel in Hyundai Spotlight Season 3, Javed Ali reflects on his defining spotlight moment, the evolving soundscape of Indian music, and the enduring essence of his artistic journey in an exclusive conversation with Indulge.
Excerpts:
Javed Ali talks about his career and why a studio still makes him nervous
What was that one spotlight moment in your career that changed everything for you?
My career began in 2006, and songs started releasing around then. But after a year, I started feeling the need for visibility—some recognition for my work. That’s what I’d call my “spotlight moment.” Then came Ek Din Teri Raahon Mein from Naqaab, and the audience loved it. That was it for me. I had sung tracks like Kajra Re before, but those were with legendary singers. For a new artist, a solo hit is essential to truly establish yourself. Ek Din... was that turning point.
How important is it for an artiste to get that spotlight early in their career?
Oh, very important. Talent needs recognition. A solo track shows if I can carry the song on my shoulders—if the audience accepts my voice. After Ek Din, I started getting songs like Jashn-e-Bahaaraa, Guzaarish, Arziyan… it felt like the doors finally opened.
You’ve sung fewer songs than your contemporaries, but almost all of them are hits—including Srivalli from Pushpa.
That’s true. I feel blessed. By God’s grace, most of my songs are superhits. I haven’t sung a huge number of tracks, but that’s a good thing—my voice hasn’t been overused. I’ve worked with many music directors who call me only for special songs—ones they feel only I can bring to life. People associate my voice with sufi tracks, but I’ve also sung songs totally opposite to my personality. Take Tinku Jiya, Ghalat Baat Hai, Jashn-e-Ishq, and then Srivalli, Peelings, or Kun Faya Kun—completely different. I’m lucky that composers think of me for such variety. My goal from the start was to be a versatile singer.
How do you listen to music differently than a regular listener?
We musicians live in music. I’m always asking—does this sur leave a mark on me? That taseer of a sur—that emotional imprint—is what I seek. Lots of singers are technically perfect, but unless it touches your heart, something is missing. When you hear legends like Ghulam Ali saab or Mehdi Hassan saab, kuch hota hai dil ko. That’s what I try to find in every note.
How do you stay rooted and still innovate?
I never take music casually. Yeh mere liye ibadat hai. Every time I walk into a studio, I still feel nervous. That nervousness is good—it keeps you sharp and humble. Sometimes, the third-day version of a song ends up better than what I recorded on day one. I’m always trying to do better. Tomorrow’s work should outshine today’s. That’s how I stay grounded. And yes, spirituality plays a big role in how I approach music.
(Interview by Arundhuti Banerjee)