Papon on how Bollywood composers shy away from experimenting, and working on his first ghazal album
Papon
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For a playback career spanning 13 years, Papon has limited work on his discography. But, volume is hardly the barometer to judge an artiste's work. A quick look at his portfolio reveals hits like Kyon (Barfi; 2012), Moh Moh Ke Dhaage (Dum Laga Ke Haisha; 2015) and Bulleya (Sultan; 2016). On the sidelines of Khazana, a ghazal festival held in the city, Papon says he is selective about his work and only takes up film songs that meet his criteria.
You recently performed at a ghazal festival. How much of a ghazal lover are you?
I've been into ghazals since I was 10. Begum Akhtar's LP would play at home when I was a kid, so I became a fan of her voice. Jagjit Singhji has been a favourite because of his divine voice. I loved Mehdi Hassan for his pure and effortless singing, and Ghulam Ali for his unique style.
What is your take on Bollywood music?
Some of the songs are good, but most of them are lacking in soul. They are made in a hurry, become a hit in a jiffy and then disappear from memory.
What do you think they lack?
For all its talk about being experimental, Bollywood doesn't do anything out of the formula space, at least as far as music is concerned. Most of the tempo, scales, production and voice textures are fixed. Singers, composers and lyricists don't jam together; they don't make the effort to tell a story through a song.
What do you look for in a Hindi film song before taking it up?
Good production, melody and lyrics are essential for me.
Are you working on any independent project?
Yes, I will be releasing two albums — a pop record in Hindi and another in Assamese. There is a long-term pending project with a Scottish singer-songwriter. I'm also working on my first ghazal album. I am currently on the hunt for good lyrics.
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