Five decades after beginning his career, singer Hariharan continues to come up with new projects. Even as he and his family gear up for the Pongal featival this week, he has a concert lined up on January
17. Over the next couple of months, he will release three albums – two in the ghazal space, and one an experimental foray with his son Akshay.
The Haazri concert, to be held at the Jio World Garden, Mumbai, on January 17, will pay tribute to his guru, classical vocalist Ustad Ghulam Mustafa Khan of the Rampur Sahaswan gharana, on his fifth barsi. It will feature four of Khan’s proteges. Music director A.R. Rahman will curate a special set of Sufi and spiritual music, and Hariharan, Sonu Nigam and Shaan will join him for a special homage. This is the fourth year of Haazri, organised by Khan’s son Rabbani Mustafa Khan and daughter-in-law Namrata Gupta Khan of NR Talent & Event Management.
Hariharan is also participating in Utsaah 2026, organised by sitar exponent Purbayan Chatterjee’s institute at Nehru Centre on January 23 and 24. In an interview, the singer talks about Pongal, Haazri, Colonial Cousins and his association with ghazals and film music.
Excerpts from the interview:
Any specific plans for Pongal. What memories do you have of the festival?
To begin with, a very Happy New Year to all Tamilians celebrating Pongal. Like each year, the celebrations will be at home. There will be a pooja and visits by guests. My memories are mainly of the food I had. Often I would be travelling at this time, but if home, I would have a nice feast. During my childhood, students of my mother (Carnatic vocalist and teacher Alamelu Mani) would come and there would be impromptu musical performances.
You’ve performed regularly at Haazri. Could you describe your association with Ghulam Mustafa Khan Saab?
Khan Saab’s barsi is an emotional day for me, and I make it a point to be part of it each year. I was 17 when I started learning from him, so it was almost 50 years. He had a very scientific approach to teaching, and he believed in the fundamentals of gayaki. Though he mainly practised khayal, he was also well-versed with thumri and ghazal. Since ghazals depend on words, he would have special exercises to make sure my diction was right. He told me that during riyaz, I should focus on sargams because it helps in enunciating words. Also he felt that during riyaz, one should take short breaks every half an hour as it was important to rest the voice. Because of his guidance and the riyaz I have done, I can confidently say that my voice has remained the same after all these years.
You’ve also been guided by Mehdi Hassan Saab, and even done shows in his memory. What were the learnings from him?
Mehdi Saab was a university in ghazal-singing. The way he approached raags and his performance skills were unique. Likewise, I was also influenced by Ghulam Ali and Jagjit Singh. They paved the way, the rest of us followed their path.
What ghazal albums are you working on?
There’s an album Jaan Meri with the poetry of Farhat Shahzad, which is due in February. There is also a unique project where I am singing Ghalib ghazals which have never been recorded before. Besides this, I am working with my son Akshay on his electronic album, where he has used trance and fusion elements.
One of the first songs you recorded was the ghazal Ajeeb Saneha in the 1978 film Gaman. What changes do you see in the ghazal scene after so many years?
You’ll get detailed answers to that in my book which I am planning to release in a few months. In a nutshell, let me say that despite the ups and downs, there is a resurfacing of ghazals specially among younger people. There are many young singers who are inspired by people from my generation. And audiences like love songs. So ghazals will never go out of fashion, because romance will never go out of fashion.
You’ve recently appeared on videos where old songs have been rearranged. One is the Madan Mohan-Lata Mangeshkar song Mera Saaya which you’ve done with sitar maestro Shahid Pervez. Then there’s the classic ghazal Ab Chalakte Hue Saagar with young singer Prithivi Gandharv and composers Salim-Sulaiman. How far do such videos help in popularising older music among young musicians?
It all adds up. Different types of communication are needed. Today, independent music is doing well and such videos attract those who listen to this form of music.
Do you plan to revive Colonial Cousins, which was very popular in the 1990s and even made a new album in 2012, besides doing occasional shows?
There have been enquiries. Leslie Lewis and I have been talking of doing a comeback but we’re looking for the right time. That music is still relevant today. In peace marches, people still sing our song Krishna.
There was a time when you sang regularly in films, specially with Rahman. Why have you cut down on film music?
The types of films have changed and so has the music. Everything has changed, from the music directors and singers to the demands of listeners. But if I get the right kinds of songs which suit my style, I shall definitely consider them. Right now, my focus is on recording ghazals and doing concerts.
