With names like Sunidhi Chauhan, Armaan Malik, and Neeti Mohan associated with the latest album from his independent label, composer Amit Trivedi celebrates playback singers who are grooming themselves to take centre-stage
Pic/Anurag Ahire
Amit Trivedi appears to be having a lot of fun, and here's why this fact isn't to be taken lightly. Sure, Trivedi isn't one to disappoint with his compositions, but there's something magical that follows those phases when his interactions with fans and media are markedly playful. Speaking about his upcoming album, Azaad Collab, Trivedi appears delighted and nervous in equal measure. With a bevy of popular faces putting their might behind the project, he admits to having his hopes pinned on this pop album that presents the "music icons of India" in new light. Fans of Trivedi will agree that his four-year-old label, AT Azaad, is a goldmine of music that is both innovative and appealing. Evidently then, this latest 14-track offering is being welcomed with open arms. In this interview, he discusses the response to the first song, Jubin Nautiyal and Hansika Pareek's Rangeeni, and crafting an entrepreneurial journey as an artiste.
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Edited excerpts from the interview:
When you look back at the way your label has evolved, how do you reflect on the journey?
The [reason] behind creating the label wasn’t to be the next T-Series or Saregama. It is an artiste-led label. I should have the upper hand [when it concerns] what I create. I am putting in the work and money. I should have the freedom to make what I want. If I was signed on by a label, I’m not sure if I would have had that liberty. There would have been a lot of restrictions and clauses that may have been in their favour. I wanted to avoid the hassle.
I launched it in April 2020. So, it’s been four and a half years. I’d say, the label isn’t doing that great, nor is it doing too poorly. There is a lot of scope for improvement. I need a song that can really do well. [Some] songs become popular, but those that do [very well] are made rarely. I would say, of the 10 lakh songs that are released in a year, only 10 to 15 do that well. Not every song becomes a [banger]. I was lucky that my first song, Moti veraana, did that well, and so did the following ones, Lagan laagi re and Madhubala. But, for a label to function regularly, we need at least one song per year to do that well. That hasn’t happened in the past two years. I’m hoping that changes with Azaad Collab. I have 14 more songs to go. So, let’s see how it does. It’s up to the audience.
Armaan Malik, Neeti Mohan, Jubin Nautiyal
Can you explain the structure of creating music within the label when it comes to bifurcating the singles and albums?
I do a lot of film work. A film’s soundtrack usually has only four to five songs. In a rare case, we may have 10 songs. But to arrive at those five songs, we create a lot of music. If I have created 25 songs, and only five are chosen, what should I do with the rest? They are all great songs; ones that I believe in. Maybe they didn’t work for the filmmaker, but that does not imply that the song is bad. So, many of the songs are those that were made for films. Rangeeni was one such song. It was made for a film, but it [wasn’t used]. But, people are loving it today. Then there are some songs that I pro-actively create, keeping the album’s structure in mind.
Can you take us through the making of Azaad Collab?
It has 22 collaborators, including artistes of all [calibres]. We started off with Jubin Nautiyal and Hansika Pareek. There are songs with Neha Kakkar, Sunidhi Chauhan, Armaan Malik, Neeti Mohan, Nikita Gandhi, Shahid Mallya, and Javed Ali, among others. They are all playing 'front'. They are called playback singers, but now they are playing front. They are starring in their own videos, and in those of this album too. They are all out there, dancing, acting, performing, and grooming themselves well. Look at Armaan, Sunidhi, and Neeti—they are like rock stars, both on and off the stage. They are our country’s musical stars.
Also, Jubina and Hansikar have never been paired before. I don’t think I’ve heard them before together. That’s [a pattern] I’ve tried to retain across the album—create [a pairing] and a video that the audience has not seen before. Javed and Shahid have never been heard together before, and neither have Neeti and Asees Kaur. I’m trying these new combinations.
Every collaborator is special in their own way. Each singer has been amazing, both in the studio and on the set, while we were shooting. The shoot lasted 14 hours, and they were accommodating. I’m genuinely blessed that these artistes have agreed to do this for me. [The album’s genre] is pop, mostly. There is folk, and Sufi music too, but it’s all in the space of pop music. There are no sad, intense, or hard-hitting songs. It’s my first season. If this works, it will encourage me to do the next season in which I can experiment more. This one is smooth, easy, and colourful.
Post the pandemic, a lot of artistes of your kind, like Salim-Sulaiman and Sheykhar Ravjiani, have created their own labels. When you look at everything that’s coming out in the market, what has grabbed your attention?
We are in a democratic situation. Everybody and anybody can showcase their content easily. You simply need to record and upload it on YouTube. At our time, it was very tough. But the drawback is that today, there is no filtration process. There are a lakh singers and composers, and all are making music. Creating a song is like throwing a grain in a room full of grains. They all look the same. Only the audience will decide which one will stand out. Either it grows organically, or you will need to pump in a huge amount of money.
So, I don’t know if this boom is good or bad; it may be good for the artistes. But, to truly thrive, the artiste has to have talent, and must not be dependent on anything.
There’s a discussion on the need for better music in cinema. For instance, we’d love to hear a song like Rangeeni in a movie. Why is it that these fantastic numbers available on independent labels are not making their way to films?
That’s a vision. These days, I can’t talk about film music. I don’t know what’s going on. I only notice that things are not working very well. I have not seen such a downer in the Hindi film industry in my entire life. In the '80s, I heard there was a lull. But that too was not as bad as this is. Till 2019, things were good; we had a lot of work. After the pandemic, things haven’t picked up. Various factors would be at play. We are seeing a different side to cinema; people are not going to theatres, and OTT has also become saturated. So, where are people consuming content? Creators are putting in a lot of money, but their effort and money are going to waste. It’s sad to see that. Maybe it’s a phase; I believe it will come back up.
As someone who enjoys a successful run in the film industry, and also has a thriving label, what recommendation do you have for young artistes who look up to you?
There are exceptionally talented people in the industry today. I’m happy to hear about some of the work that people are doing. But, right now, the pie has been divided among too many people. Earlier, only a handful of people were operating in films. Today, there are 20,000 composers working for films alone. So, there share has been divided. It’s a strange place that we find ourselves in. For a track to work, you must pump in money, or [hope] it can organically grow, like Hanumankind’s song, or Gulabi sari did. It’s pure luck, sometimes.
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