Learnt finesse, meticulous musical detailing from maestros, says playback singer Gayatri Asokan

CHENNAI: A playback singer, who worked predominantly in the Malayalam film industry, Gayatri Asokan started her career in Mammootty’s Arayannangalude Veedu in 2000. Since then, she has sung over 350 songs. Apart from this, Gayatri’s dedication exposed her to Hindustani Classical and devotional singing. In 2017, she decided to take a step back from the film industry and focus on Ghazals. Her latest Ghazal, Kitne Aish Se Rahate Honge, was released recently celebrating John Elia’s poetry. Gayatri is currently working on a full Ghazal album, which will be unveiled next year.

Your debut in playback singing was a duet with the iconic singer Yesudas. How did that experience shape your journey in the music industry, and what impact did it have on your approach to music?

My playback debut was a blessing because it is once in a lifetime experience to record a duet with the great Yesudas ji and that too for a Mammootty movie. I learnt on how to project your voice in a studio and how to mould your voice for different characters in films. There is no doubt that live performances are tough but recording experience in the studio brings perfection and razor-sharpness in the execution of a song.

You’ve worked across diverse musical genres, from playback singing to Hindustani classical and Ghazals. What inspires you to explore such varied styles, and how do you maintain balance and authenticity in each?

Maintaining authenticity in each genre is not easy because once you dive into the depths of a musical genre, there is no end to perfecting it. But somehow I managed to find a workaround. In the present times, it’s better to experiment with multiple things because it enriches your musical growth.

Your recent Ghazal, Kitne Aish Se Rahate Honge, celebrates Jaun Elia’s poetry. Can you share more about the creative process behind this piece and your collaboration with Alap Desai and Momin Khan on the Sarangi?

In my previous albums, I have interpreted the Ghazals of legendary poets like Ahmed Faraz and Faiz Ahmad Faiz. I have always been fascinated by John Elia’s poetry. And have been wanting to interpret his Ghazal in an evocative Indian Raga. This Ghazal is my third collaboration with the incredible Alap Desai, who understands the genre of Ghazal with all its melodic and harmonic complexity. Sarangi is such an earthy and beautiful instrument which needs more representation in this era. Momin is a genius exponent and I am honoured to have him on board.

You’ve collaborated with many renowned artistes, including Ustad Zakir Hussain, Shankar Mahadevan, and your husband, Sitar Maestro Purbayan Chatterjee. What have been some memorable moments from these partnerships, and how have they influenced your musical evolution?

I am indeed lucky to have the great Ustad Zakir Hussain play Tabla for my Ghazal track in the album, Unbounded, composed by my husband Purbayan Chatterjee. I am greatly inspired by Shankar Mahadevan sir and Hariharan sir as they effortlessly balance the mainstream playback and Classical. Excellence in their craft and their incredible improvisation skills inspire me the most.

As a mentor on Bharat Ka Amrit Kalash alongside Kailash Kher, what has been your experience guiding young talent on this national platform, and what qualities do you look for in upcoming musicians?

Being a mentor in Bharat Ka Amrit Kalesh, a folk reality show with veteran Kailash Kher ji was a unique and enriching experience because it opened my eyes to the exquisite folk compositions of our country. Folk music is the very root of our culture. It was heartening to see young musicians, carrying the rich legacy of folk music. The quality I look for in these aspiring musicians is perseverance, commitment, and sincerity.

Your journey in south Indian playback singing includes working with legendary composers like Ilaiyaraaja and Vidyasagar. How has the south Indian music industry influenced your style and growth as an artiste?

Working with maestros like Ilaiyaraaja and Vidyasagar taught me the finesse and meticulous musical detailing which is indeed necessary for the growth of a playback singer.

Starting with Carnatic music training at a young age, how did your foundation in south Indian classical music shape your transition into other genres, such as Hindustani classical and Ghazals?

I have learned Carnatic music though I never got the opportunity to learn it in-depth in my childhood. I learnt Hindustani classical music quite seriously much later in my life which is the backbone for Ghazal Gayaki. The basics in Carnatic music is the foundation for which I am forever grateful.

The south has a rich tradition of spiritual music, and you’ve released five solo spiritual albums. What role does spirituality play in your music, and how do you connect with listeners through these devotional compositions?

Spirituality and devotion have been my core since childhood. One can easily spread love and connect directly with the hearts of the audience through bhajans or any kind of devotional music. In this complex world with high-stress levels, devotional music helps to spread peace and love.