#PastForward: From tradition to innovation, hindustani vocalist Keerthan Holla discusses his musical journey in Bengaluru

As AI-generated sounds crowd the music industry and virality becomes the formula for success, the heartfelt voice of music prodigy Keerthan Holla feels like a return to authenticity. Trained under the tutelage of pandit KM Das and renowned vocalist pandit Parameshwar Hedge, Keerthan has won prestigious Kannada reality show Sa Re Ga Ma Pa Season 15. Later, he made his singing debut with the song Aagide Aagide from Kannada film 99 (2019). An A-grade artiste with All India Radio, Keerthan has showcased his talent in classical concerts, bhajans and kathak ballets. He is one of those artistes who seems to stand with one foot rooted in centuries-old discipline and the other reaching for a new, more mindful musical landscape. This balance is why he fits our theme for this anniversary edition, Past Forward.

Born in Mangaluru, Keerthan’s love for music ignited early. “My fascination for the tabla drove me into music. But the spark was in Grade 7, when I participated in a bhavageete competition and my principal, in front of the entire assembly, said that classical training is a must for me. That stuck with me,” he recalls. That early moment anchored him to a lineage of musical rigour — a past he would carry forward throughout his life.

The classical foundations that shaped him were steeped in listening and discipline. Influences like ustad Amir Khan, ustad Rashid Khan and vidushi Kaushiki Chakravarty didn’t just inspire him; they became the grammar he would later bend in his own voice. Keerthan’s evolution, however, was never about imitation. By absorbing the nuanced styles of Veena Sahasrabuddhe and Kishori Amonkar, he discovered a musical duality: strength held with softness. “Veena tai’s thehraav sounds effortless but is incredibly difficult,” he says. “Her approach inspired me to bring that nuance into my singing, beyond relying on fast phrases or impressing people,” he tells us. Here, the past informs the future: the centuries-old discipline of classical music becomes a foundation from which he experiments and innovates.

Bengaluru marked another chapter in this dialogue between tradition and discovery. “When I shifted here in 2018, I started adopting elements from fellow musicians — their techniques, their presentation. Observing what resonates, I learned to blend without losing my voice,” he says. In this city, the roots of Mangaluru met the freedom of new influences, creating a fertile space where his classical training and experimental curiosity could coexist.

This synthesis is evident in Keerthan’s experiments with fusion. Guitar, blues and English music became natural extensions of his classical sensibility. “I never forced myself to pick up the guitar — I simply loved it. The two forms blended on their own. I haven’t overthought it; I’m just enjoying the process.” His collaboration with Pranav Duth, a fellow musician and a friend, reimagined a classic song, Gaja-mukhane, by blending in indie-pop with Sanskrit verses to give it a soul-stirring vibe. “Some people may like it, some may not, but if it sounds good, it’s good for me. And if it doesn’t, it’s a lesson.”

Even in confronting criticism or the pressures of social media, Keerthan’s philosophy is shaped by this theme. “Algorithms and AI push us to explore more. We may do fewer things than AI, but what we do carries our taste, our vision. Whatever I put out has to have substance, entertainment and information. It’s about quality and learning, not just quantity,” he tells us. In an age racing toward the future, he carries the past forward not by clinging, but by translating its depth into something meaningful and relevant. For Keerthan, gratitude anchors his journey. “I’m just really grateful to have found a great guru in my life.” The discipline, mentorship and lineage he inherited are not relics — they are propellants, moving him toward continual growth. He doesn’t chase fame or memorability; he cherishes the act of music itself: “even if I just take my tanpura, put on the metronome and practice for one or two hours — that’s the best time in my life.”

Whether on a great stage or in the quiet of his room, Keerthan’s music embodies a balance: one foot rooted in centuries of tradition, the other reaching forward into uncharted creative space. His journey — from Mangaluru to Bengaluru, from tabla and bhajans to jazz-blues experiments — reminds us that the future of music is not a break from the past but a continuation.

(Written by Prishita Tahilramani)