Tag Archives: Sting

WFW/DFD: First Day First show with TAAQ at The BFlat Bar, Bangalore


Thermal and a Quarter have never been ones to rest on their laurels. They were the first in India to release a concept album, they released an album on a custom user-license modeled on Creative Commons and then not-so-long-ago launched their most ambitious effort yet – a triple album. They then decided to raise the bar higher. TAAQ played the Edinburgh Fringe Festival – the world’s largest arts festival, in 2013. If playing 26 nights back-to-back wasn’t impressive enough, they also won the Spirit of The Fringe award.

“Maybe someday, we’ll find plan B in a hit movie” – This is it, TAAQ (2008)

It was indeed serendipitous when frontman Bruce Lee Mani sang these lines just before the screening of their ‘hit movie’ – TAAQ had filmed their experiences at The Fringe and subsequently the Edinburgh Mela Festival and made a movie that they chose to call ‘WFW/DFD’. They premiered it at BFlat last Saturday as friends and fans congregated to witness TAAQ’s latest experiment. TAAQ also held a unique gig to accompany the premiere of the 40-minute movie where they paid homage to some of the eclectic acts that have influenced them over the years.

“Don’t worry, Bruce. It’s just a movie,” came a voice from the crowd when frontman Bruce Lee Mani, expressed his nervousness about the screening. Perhaps that’s what most of us expected – a clichéd documentary about the band. Thermal and a Quarter caught us off guard once again. From the moment images from the movie flickered on the screen, through the next 40 minutes, right until the band got on stage again and took a bow, most of us just sat there transfixed, too moved to even stand up and applaud. Not only are they pretty darn good at making music, they are pretty darn good at almost everything they do!

Quite evidently, TAAQ has poured their heart into the making of WFW/DFD and this is probably as intimate a fan can possibly get with his/her local heroes. In 40 minutes, TAAQ answered all questions about who they are, what they do, what it has taken to get where they are and what it takes to continue doing what they do. Without giving out the juicy details, let’s just say that the best thing about the movie is how it is not just about the band, but also about us and every known/obscure artist in the world who is on a constant quest to perfect his/her art.

WFW/DFD is the perfect reality check, not for a dreamer but for all the corporate smugs in ‘secure’ jobs who are living under the false impression that they’re doing something worthwhile with their lives. A special mention to Rajeev Rajagopal for the brilliant script and of course Bruce Lee Mani for breathing life into every word of it. D.I.Y or Die.

While we reeled from the after-effects of the movie, TAAQ continued the proceedings with the killer setlist they had planned for the evening. Featuring guest Ramanan Chandramouli on guitar, they started off with a Blood, Sweat and Tears cover called ‘Nuclear Blues’ followed by a slightly obscure Sting song called ‘Love is Stronger Than Justice’. The choice of non-popular songs of famous artists was intentional. If anything, listening to these songs gave the audience, a blueprint of Thermal’s influences over the past two decades. Some of these tracks might even fit right into the TAAQ canon. What followed was an Indian indie (specifically Bangalorean) fans’ wet dream. TAAQ launched into their homage to Lounge Piranha‘s ‘The Gun Song’. While the song stayed true to the original, right down to the e-bow that was used for the wailing solo, one could see Bruce use his trademark spider-y chords to give the song the signature TAAQ style. Taaq also covered their contemporaries and alma-mater (IIRC) Zebediah Plush‘s ‘Journey to Gondolin’. Sidenote: If you haven’t already done so, do check out ZP’s ‘Afterlaughs’ – an Indian indie classic in our opinion!

They closed out the gig with a Gilbert O’ Sullivan ditty, John Scofield’s jazzy ‘Green Tea’ and Steely Dan’s ‘Jack of Speed’. They’d also managed to sneak in a few of their originals (‘Wishing for Magic’, ‘For The Cat’, ‘Hot Day’, ‘Mighty Strange’, ‘This is It’) into their extended set which was possible thanks to the new 1 am deadline (Hallelujah!) for pubs in Bangalore. What was fascinating was that the songs, especially the older ones still sounded fresh after so many years. Its the attention to their craft that really is the secret to TAAQ’s longevity and there is no doubt that they will continue to make great music and raise the bar even higher in the years to come.

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Sohan Maheshwar

Jack of all tirades, total shirk-off. Follow Sohan on twitter! @soganmageshwar


In All Shapes & Sizes by Route 3


Discovering new music and artists is always exciting. For the first few days, all my new music is on repeat and you might catch me singing loudly to lyrics that have just registered in my mind. However, I have a confession to make – most of those songs fall off my playlist in a few days and are never heard again. There are very few artists who can create evergreen songs that one can listen to all the time and Route 3 is one such artist. This young Delhi-based band fuses electronic, jazz, alt rock and pop genres seamlessly to create catchy, easy-to-listen-to songs that get stuck in your head and are hard to shake off. Listen to their songs once and don’t be surprised if you find yourself humming them either in your shower or while driving around! Their sound is clean and refreshing with a lively tempo that is bound to lift your mood. Instead of being broody, moody and angsty, Route 3 songs are upbeat, fun and energetic – even the ones that handle somewhat dark themes.

They came together in 2009 and have managed to retain the youthfulness in their music ever since. Although they have mainly performed in venues and college fests in and around Delhi, their unique sound and crisp polished songs give no hint to their relative inexperience in the Indian music scene. It is their eccentric music that led them to being awarded the most original band at the Rolling Stone Open Mic conducted at the TLR Cafe in Delhi. There is no place for sad, grand instrumental interludes or cheesy rhymes in their tracks. Instead, you can expect groovy riffs and bass lines that will get your hip shaking and feet tapping.

The band comprises of Vipin Sharma on vocals, Bagus Kusuma on guitars, Yugank Mishra on bass and Shashank Angiras on drums. Apart from their unique sound, the other thing that makes the band so great is their vocalist – Vipin Sharma. His vocals can be both explosive and mellow, which is reminiscent of Sting or Lenny Kravitz. All their songs showcase his amazing voice that is both controlled and versatile. After four years of performing live, Route 3 finally decided to put out a debut EP. In All Shapes and Sizes is a perfect sampling of the Route 3 pop/alt-rock/electronic sound and is packed with catchy tunes. Released on 27th February , this 5 song EP is memorable, whacky and polished. Every song moves seamlessly into the next track and is free of convoluted themes and lyrics. Rife with guitar riffs that will get you hooked and bass lines that you cannot stand still to, this album remains fun and affable throughout without being monotonous or immature. 

‘Waiting For’ starts off with a fluid guitar dominated intro that leads into an energetic track.This song was probably the one I liked best on the album and is definitely the catchiest. It is guaranteed to become an earworm despite your best efforts.Even though this song talks about unrequited love, the vocals never get overly dramatic or angry and in fact are sultry and restrained. Like all the other songs on this album, ‘Waiting For’ is less than three minutes long and driven by wonderful guitar riffs and bass lines. Although the song also has addictive grooves and a rocked-out instrumental section, the guitars never overpower the song and every component and sound fits in cohesively.

The next song ‘Psycho-The-Rapist’ has an energetic tune that distracts from the disturbing title and creepy lyrics. Think of ‘Every Breath You Take’  by The Police – you know you love the song but can’t help feeling that it was written by a stalker – and that is the feeling that you get when listening to this track. Though the song clocks in at barely over three minutes, it packs a punch as it alternates between melodic and fast-paced sections. The relaxed melody is absolutely beguiling and the song ends with a trippy and maddening flourish.

The album moves onto another energetic track – ‘Dirty Games’, which is most definitely a bitter song about a mysterious vixen. However, the vocals never go overboard and are mesmerizing and smooth.  The song suddenly drops tempo with a great jazz-inspired mid section before becoming a foot tapping number again. Although this is a pretty neat track, it is not on par with the other tracks on the album.

‘Do You Know Me’ is another one of my favourite tracks from this E.P – one of the mellower tracks on the album. With an extremely addictive guitar riff, this song talks about being true to oneself and the music compliments the lyrics beautifully. The overture immediately sets the tone of this song and like other songs on this album this track is perfectly punctuated by a guitar-drenched interlude. I cannot stress enough on the exemplary vocals that garnish every song on the album – showcasing Vipin’s range and control to great effect.

The last and shortest track on the album is ‘Happy Guy’ (as the name suggests) is the most fun filled song on the album. I took an immediate liking to the track because the song is about my favourite Bollywood movie of all time – Mr. India and its extraordinarily evil villain – Mogambo! This track would fit in perfectly with the modern remake of the movie with its Bollywood-esque intro and lick and addictive hook. The lead singer declares that he is a happy guy and he should be, because the band has done a mighty fine job on this album.

For a debut E.P from a relatively new band, this album has been produced well and everything about it from the music to the album art, hints at the quirkiness that makes the band unique. Route 3 does seem to depend a bit too much on the lead guitars and as a result the songs can come off as slightly one-dimensional. On the bright side, the songs are punchy and youthful. None of them stray too far from their alt and pop-rock sound. Till the band decides to release a full-length album to follow this E.P, you can listen to it and download it for free from their Bandcamp page. Visit their Facebook page for more information on the band.

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Anusmita Datta

Anusmita Datta is an ardent day-dreamer, music lover, die-hard foodie and occasional writer. Her obsession with pandas is sometimes disturbing and she can be often found lusting after momos!


Interview with Rzhude David


Rudy David aka Rzhude is a Bangalore-based singer-songwriter, studio owner, sound engineer and producer. He is also a founder member of Thermal And A Quarter (TAAQ) with numerous singles, albums and tours to his credit. Currently, he’s a session bass player for Dr. L Subramaniam Global Fusion Group, Lucky Ali, The Raghu Dixit Project among other fusion and rock groups.

WTS: If someone were to give you an unlimited budget, what bass gear would you buy and why?

Rzhude: Well, once the stuff between your ears and your fingers are practiced, then the next point is the instrument. In an unlimited situation, I’d get the NS Design CR Series 4-String Electric Double Bass and the Warwick Infinity Bass Neck-Through 5-String. Sure there are more expensive made to order possibilities but these are off the rack instruments that make the grade quite nicely. SWR Classic Series SM-1500 1500W Bass Amp Head, SWR Goliath Senior IV 6X10 Bass Speaker Cabinet for amplification duties.

Once the signal leaves the guitar, I’d want a really good cable. I’m not so hot on active pickups, but what I really like is passive pick-ups with an active EQ. I’m not into fx processors either but the Eden WTDI World Tour Direct Box and Bass Preamp and the Roland VB-99 V-Bass System could be thrown in for fun.

WTS: What would u prefer – 4/5/6-string?

Rzhude: For me it’s the middle path again, the 5-string completes the range for me. I’m not so much of a high solo-ing kind of a person, I’m a groove-oriented bass player. It’s more like it opens up enough positions using that 5th string itself. For a time, when I started out, probably 12 years back, when I switched from 4 to 5, it took some getting used to. The B string turned out to be a nice place to rest your thumb! Once you get used to it, then you find it pretty handy, although I know that there are some bass players, including a friend of mine who says “If you can’t play it with four, you can’t play it with more”.

WTS: Do you use a signature ‘tone’ for each song or each style of music? How do you get your tones, i.e. tweaking the amp/tweaking the EQ on the bass/using a pedal or all of the above?

Rzhude: If I’m doing session work then it depends on the song. I’d most likely set it up from my Bass pre-amp head and keep it set for the session. If I’m going into a recording situation, with a ‘post effects’ scenario, I go cleaner from the amp and if required, tweak the tone and add fx at the mixing stage. But live its usually just one tone because once I’m set with the sound I like, I don’t fiddle with the amp – I might just move finger position from the bridge to the neck and maybe the mid frequencies. I flip the pick-up mix for soloing and boost the mids a notch with a parametric EQ.

WTS: Do you think a basic knowledge of sound engineering is a requisite when you set up for a gig, or can one get away by going with “what sounds best”?

Rzhude: It’s useful to know these things but I don’t think it’s essential. It will help to know what a sound person has to deal with – that is the most important job at a live gig and high-pressure as it gets. If you’re used to a sound engineer then he knows what you want so you get a good mix of everything coming back to you and it helps to know what’s going on out there and not be unrealistic about your sound demands. I think “what sounds best” is best left to a sound engineer (or two!). Because there’s one doing your front of house mix, which you aren’t going to be able to hear anyway, and there’s one doing your monitor mix which is really crucial to you. My tone I get from the amp and the instrument EQ and the level of the amp should be set according the balance coming off stage and that’s a call for the FOH engineer directly and not as loud as most guitar players want it (you can have more on your monitors!)

WTS: In your opinion, what does it take for a band to make it big in today’s scenario? Also, how do manage to keep things together for a long enough time, like TAAQ?

Rzhude: It means working out your differences and sticking together for what makes sense to you – the music and the right reasons. Keeping a band together is not an easy thing to do – first of all, even getting a band together is not a simple task. There are different definitions of success – I know bands that have been together for 20 years and are quite happy being as they are, not really bothered about who thinks what of their music, or even if anyone is listening to them. They’re probably happy to just meet up now and then and have fun playing their own stuff! If you look at a different context, where it has to make commercial sense to you, then you have to look at what kind of music you plan to play, who your target audience is and how you plan to reach them.

The 11 odd years with TAAQ involved a LOT of practice. What it does give you is chops a-plenty, you have time to work things out with guys who will accommodate you, as opposed to coming in ‘fresh’ to a session, where you have a few hours to work out a set-list. Keeping a band together means working out your personal and musical differences. The joy of being in a band itself is the camaraderie, sharing more than just music with the guys – sharing personal ups and downs. You have to take your songs out in the open in any live format. You have to grow your audience, and the only way to do that is to play, play and play. And once you break through the idea and glamour of ‘being a rockstar’ you realize it isn’t so, and it involves a lot of hard work.

On another note, in today scenario with the kind of recording gear and software we have, it’s much easier to put down your sound and cut a demo than it was, say 10 years ago. A lot of new bands get noticed this way – put up your music and a video on YouTube, if you get a couple of lakh hits, then you get more and more gigs and can command your price for the next gig!

There’s nothing like actually going out and finding that feeling of playing – you are entertaining and more than anything else if you can focus on expressing yourself with this sound and being a part of a group – that’s important and a lot of people forget that. If you are able to get into that zone where you just connect with your instrument and the music and each note at your finger- that is the zone you want to be in, like a meditative state of music. That’s what I look for now, getting into that zone and simply playing the moment.

WTS: How important is sight reading in today’s music scene?

Rzhude: Again, it depends on the kind of music you are playing and the group you are playing it with. For the most part it’s not that important, especially if you are just starting out, you could get away with knowing some theory without knowing how to read or write it. But at some point of time it does come across as the base of music itself, because it is a universal language. For a long time, the only way I could get my music out was by playing the guitar or using a recorder. If you look at any ‘literate’ musician, they don’t need an instrument. When you do that formal education, what it does for you is make you aware of a lot more than just your instrument and you can immediately start writing out different sections on your own.

But over the last few years, using technology like ProTools and Sibelius, I’ve been able to notate much faster – the computer takes that learning curve from you and does a lot of the memory work. I would say it is very important if you are getting serious about your music, if you want to just have fun, then you let the music play you.

WTS: Which artists and bands have had the most significant influence on your playing?

Rzhude: I’d say my single biggest influence, as a singer-songwriter would be James Taylor. Back in the late 80sI was completely floored by his ability to sing and write those songs and amazing production of albums like Never Die Young and Hourglass in the 90s. If I had to list them out, I’d say – James Taylor, The Beatles, Sting and Steely Dan. Today it’s much wider with singers like Abida Parveen and Dhafer Youssuf in the fray on my playlists. As a genre of music, I’m more into acoustic folk. Indian folk music, which is something I grew up listening to, has also had a big influence. As a bass player I haven’t been influenced by anyone in particular.

WTS: Which is your favourite genre for bass playing and why?

Rzhude: I’ve been playing all kinds of music, but now I prefer what you would call ‘fusion’ music. I’ve always had an inclination towards Indian (Carnatic) music which I’ve studied enough to be able to translate some of that learning into my guitar playing and from that onto my bass playing.

‘Fusion’ is such a huge space with so much to do! With this genre of music, if you are lucky you will meet maybe just once before a gig, and most likely you’ll be really working it out on stage. A lot of it is very spontaneous and that is what I like now- because you have no choice but to go into that zone where you really connect with your instrument and the musicians that you are working with. It’s like jazz, in that you have a standard format, but then you count on your musicianship to be able to break that open and make something new out of it.

WTS: Are you a bass player who composes or a composer who plays bass?

Rzhude: The myth to be busted here is that I’m known as a bass player because I’ve been associated with the instrument in a band for many years and although I completely love playing the bass, I see myself as being much broader than a bass player.

So I’d have to say the latter, because I’ve been composing since I was in school, and the way I took up bass was by default – I went to listen to a band in Chennai called Grasshopper Green, where a friend of mine was the bass player, he stopped coming soon after, and his bass was just lying there. So I was asked to play, and had fun playing the instrument, after which these guys said “Hold on to it, keep playing!” So I’d say bass is something I play because of the experience that I’ve had playing it.

My only influence as a bass player would probably be Keith Peters, since he was the bass player in my acoustic band back in 1994!

WTS: The question everyone is asking – why did you break away from TAAQ?

Rzhude: 11 years with one band was about as much as I could take, which was restrictive in the sense that I have a lot more than just one type of music to do. From both the band’s perspective and mine, it made sense – it got to be a lot more serious along the way, and fun is where it stopped for me. Personally I didn’t enjoy playing the pub-scene any more, and those were the main ‘bread and butter’ kind of gigs we were dragging ass around for. Besides, I had also crossed a certain age barrier, where I’d decided on more time for my personal life. It’s been a good thing for me and I know the band will move in a new direction too. I’m still open to session playing with TAAQ – which has happened happily enough on more than one occasion.

WTS: What are the current projects you are working on/involved in?

Rzhude: I’ve been associated more recently with artists like Dr. L Subramaniam and Kavita Krishnamurthy among a host of other great musicians in the Indian Music and Fusion scene. In the last 2 years I’ve played some of the best gigs in my life – touring places like Brazil, Africa and Europe. Besides this, I’ve been active as a producer and engineer – doing a wide variety of albums and demos across different styles and aesthetic. I run my own project studio here in Bangalore with a niche Brand and Sound Identity design service that I’m enjoying. I’m involved in projects that involve Music Education, technology, retail and production – so I’m keeping the mix busy and open to new possibilities.

WTS: What have been the major highlights in your musical career till date?

Rzhude: My first album – produced by Paul Jacob and John Anthony in Chennai 1994 – recorded on 16 track tape. Sharing stage with Deep Purple and Jethro Tull. The last album with TAAQ produced at A.R Rahman’s AM studios with Jeff Peters on the mix – this is as good as it gets anywhere in the world. Also, setting up my own studio and producing music for both TAAQ and other artists since and touring Brazil and Europe.


Vibha Dhwani at St. John’s Auditorium, Bangalore


I did not know much about Vibha.org, a charitable organization founded in 1991, when I entered the St. John’s Auditorium on Saturday. By the end of the evening, however, I developed great respect and admiration for the work they do. The event was called Vibha Dhwani where bands that strongly personify Indian culture – The Raghu Dixit Project (TRDP), Agam and La Pongal were invited to perform.

Until Saturday afternoon, I was to watch TRDP, Agam and Yodhakaa play; however, due to slight confusion, as it was put, La Pongal, a Tamil folk rock band, replaced Yodhakaa in the line-up. The band which contained two key members from Yodhakaa was in the middle of their sound check when I entered the disinfectant-smelling auditorium. The stage setting had a nice rustic touch to it, with kites and hay, certain to remind you about the fun times that you had as a kid back in your village. Considering how the whole evening eventually panned out, the stage design intent was spot-on. About an hour to go before the start of the event and Agam, except one member, was nowhere to be seen. Not really a bad thing, as I’ve known Agam to do their sound checks a day before the event, something they did at the Big Junction Jam back in June.

Vibha Dhwani at St. John's Auditorium, Bangalore

I had met Darbuka Siva backstage for a short interview. He talked about taking Tamil culture wherever he went, the importance of attire to a performance and musicians as entertainers. A while later, I was in the middle of my interview with the man who symbolizes the beginning of folk rock in modern India, Raghu Dixit backstage when La Pongal started their act. BANG on time! I took a seat in the front row as La Pongal dived into their second song ‘Killiamma‘. Pradeep on the vox and acoustic guitar and Darbuka Siva on the bass co-fronted the band. Pradeep who has a background in Carnatic is a real joy to listen to and was easily La Pongal’s stand-out performer that evening. In my book, he’s got the right voice timbre to become indispensable to La Pongal’s overall sound. The first few songs had a similar structure about them – an acoustic guitar start, bass-drums-tavil joining in and the lead guitarist Vikram providing the fills, a mellow interlude and a crescendo finish. I must also credit Pankajan on the tavil because the folksy touch of La Pongal would have been non-existent if it weren’t for him. David on the drums was having an absolute ball if the sound on the PA was similar to what he heard on his monitors. I assumed that it was, considering he executed a crisp drum solo (and by the looks of it, enjoyed it too) before La Pongal went onto their next song, ‘Vandiyilla Nella Varum’.

Vibha Dhwani at St. John's Auditorium, Bangalore

Later, La Pongal broke their song pattern to play a song derived from a Tamil folk standard known as ‘Kuravan Kurathi Aatam‘ which was relatively less hard-hitting and mellower. Thumbs up to this one! Pradeep improvised with a guitar solo of his own. At this point of time, I had noticed that the lighting of the stage was also neatly done as it reflected the soft nature of the song. One of their last songs which Siva said was borrowed from a kid’s game, had a nice reggae feel to it. The little inputs to the song were so apt that it did seem like children playing in the background!

Overall, La Pongal still showed signs of starting off as they suffered issues in tightness in some songs. However, of the three bands they had the most rustic sound and I daresay that, with songs like the aforementioned, they were the closest to the theme of the whole event.

After La Pongal made their exit from the stage, Vibha showcased their work through a short movie. I was impressed with some of their innovative concepts like School on Wheels. There were actual clips from how teachers teach the students, a few short classes in Marathi and interviews with the children’s parents. Having their children educated and display the confidence that it brings in their daily life activities put a genuine smile on their faces. Ten minutes after the movie, Agam were ready with their act.

Vibha Dhwani at St. John's Auditorium, Bangalore

Before you notice any likely bias from this point on, I must warn you that I’m a huge fan of Harish, the frontman of Agam. Trained in Carnatic, he was on that day, confident and charismatic. He does give the impression of being in a hurry though. But coming to the whole band, Agam were really tight, demonstrating great communication, sync and not to mention, loads of practice! They started off with ‘Brahma’s Dance’, a song in the raga Revathi and which incorporated the well-known ‘Guru Brahma, Guru Vishnu‘ shloka. Harish’s voice modulations and Vignesh’s slap bass were memorable from that song. They followed it up with a thillana in Raga Dhanashri. This is the same thillana, composed by Sri Swathi Thirunal and made popular by the evergreen voice of M.S Subbulakshmi. Pity not many realize how dry our culture would be if it weren’t for them, but I’m glad that the people took note of Agam’s extraordinary rendition.

Vibha Dhwani at St. John's Auditorium, Bangalore

Agam then launched into song they were performing live for the first time, a song in Malayalam called ‘The Boat Song’. Praveen, the lead guitarist, was at the center of this piece with some real good work on the guitar. The song was catchy and you should be able to hear more of it in the future. Agam went on to perform a song in the raga Nattai before launching onto an Urdu number called ‘Muqammal’. It seemed to bear a stark resemblance to the kind of songs A.R Rahman would compose. The song had a jazzy opening, with Agam breaking free from their hard-hitting openings and Harish alaaped in raga Ahirr Bhairav. Strangely though, following a dholak interlude the song threatened to end as ‘Lagan Lagi’ from the movie Tere Naam, but thankfully, the band ended it as the original piece should. I noticed a slight echo in Harish’s vocals, hopefully intentional, in their next song, ‘Bandurithi Kolu‘, a Thyagaraja Swamigal composition in the raga Hamsanadham. The song was interspersed with complicated proggy stuff and a good show of tightness and Harish’s vocals backed up by Vignesh’s were brilliant along with some accidentals in the overall song! Here, I could be a cynic and disregard the progressive stuff that a non-elite crowd seldom relates to, but I’m as happy as a frog in the rain that a rock band played Thyagaraja! More of that please!

Vibha Dhwani at St. John's Auditorium, Bangalore

And how can an Agam gig be complete without their ace song, ‘Rudra‘? Their second Revathi song of the evening, ‘Rudra‘ was a mind-blowing hit and it won over the crowd. At a point, it seemed that Harish overdid his vocal roller coaster, but it was a definitive display of skill, energy and stamina. To be at the end of a 90-minute show and still be able to stretch your voice better than minute one deserves applause. Their last song, ‘Malhar Jam‘, was where the crowd was able to recognize the prowess of Ganesh on the drums and Shiva on the percussions who indulged in a jugalbandi with various sounds that people instantly related to and enjoyed. Swami on the keys and Suraj on the rhythm guitar did not appear to take a central role, but I’m certain that without them, Agam’s sound wouldn’t be what it was that evening. Overall, I am overjoyed that a carnatic rock band exists, but a greedy person like me wants more. I would love it if they render more Carnatic compositions in a less hard-hitting style and experiment with other styles of rock. And before I forget to mention, they received a 20-second standing ovation as the curtains closed on an exhilarating performance!

Vibha Dhwani at St. John's Auditorium, Bangalore

If La Pongal received a huge applause and Agam received a standing ovation, then The Raghu Dixit Project went one level further. I’m not sure if people sat at all during his act! I especially loved the lighting during his opening song ‘Hey Bhagwaan’ wherein, we could only see silhouettes! When the song started, there was a deafening roar of approval from the crowd. Maybe it was the moment, but I did feel TRDP were the tightest of the lot. There was a surprise addition to the line-up as Slain’s lead guitarist Bryden Stephen Lewis joined the crew in his debut lungi attire. Sandeep on the flute was mesmerizing, his sound complemented the band perfectly and his solos were out of this world! He would occasionally step up to the podium where Wilfred played the drums and engage in a sort of a telepathic conversation while playing. TRDP kicked on with the Kannada number ‘Gudugudiya‘. Occasionally, Raghu would march with his ghungroos giving the songs an extra dimension. Then finally, TRDP became the first band of the evening, to engage the crowd in their song as everyone yelled out the lyrics to ‘Lokat Kalaji‘, Raghu adding his humourous touch to the explanation of the song’s meaning. Just off the stage, a crowd had gathered and they jumped and danced with gay abandon, while the crowd from the balcony seats gathered and stood in the tier below.

As happy I was when Agam played Swathi Thirunal and Thyagaraja, I was happy when TRDP played songs by Sant Shishunala Sharif, whose poems are widely compared to those of Kabir. Kids in Karnataka learn his poems in school and it was a trip down memory lane for the arguably not-so-many in the cosmopolitan crowd. Coming back to the band, Gaurav Vaz on the bass was impressive with some licks to keep the crowd grooving while Bryden’s solos were jazzy and he made it look absolutely effortless. As a frontman, you really have to admire Raghu. There’s a lot upcoming musicians can learn about carrying themselves confidently on stage.

Vibha Dhwani at St. John's Auditorium, Bangalore

TRDP went on to their next song, ‘Sajna‘, a softer number composed by Neeraj Singh in the 7/4 time signature (or Mishra Chapu for carnatic enthusiasts). This song was arguably TRDP’s standout piece of the whole act. People who came to dance near the front of the stage did not mind one bit to camp on the floor, soaking in the soft tunes of ‘Sajna‘. The crowd didn’t have to wait long to start dancing again and singing along to ‘Har Saans mein, Har Dhadkan mein ho Tum’ a song from Raghu Dixit’s work for a movie that is based on Facebook. Raghu cleverly started off with a hilarious jig of Sting’s stalker anthem ‘Every Breath you take’ before beginning the song. I thought it was impossible to accommodate more people near the now-crowded stage front, but I was proved wrong when more people joined in to dance to ‘Mysore se aayi Woh’ where Gaurav Vaz taught the crowd the never-before-heard dance steps of ‘put your hands together’ and ‘jump’. The band then did their trademark group bow before the crowd yelled out for more. And TRDP duly obliged with a last Kannada number before departing the stage. Overall, TRDP demonstrated great skill, sync along with trashing my baseless assumption that folk rock bands are a one-time watch. It would be fair to say that TRDP’s music is the music of the people and it brings out the child in you.

As an event, Vibha Dhwani did not disappoint, not one bit! In fact, those at the show were treated to a great display of music and entertainment! More importantly, the bands that performed, accentuated the message Vibha intended to spread. The event was a good thing to happen to society for more reasons than ten!

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Ganesh Viswanathan

Ganesh Viswanathan is a musician, a designer and sometimes both at the same time. Caffeine is known to derive its energising properties from him. Nobody knows the exact moment when he dismantles an idle mobile phone or steals food from another plate.


Interview with Thermal and a Quarter


Thermal and a Quarter is a band based in Bangalore, notable for their focus on original music at a time when the nascent Indian rock music industry focused on cover songs, and their innovative use of the Internet to reach out to new audiences. Thermal and a Quarter (TAAQ to the impatient) is: Bruce Lee Mani (guitars & vocals), Rajeev Rajagopal (drums) and Prakash K.N (bass). WTS had an hour-long chat with the band and famous flautist Ravichandra Kulur at Hard Rock Café, Bangalore and here’s what they had to say…

Interview with Thermal and a Quarter

WTS: Your music is truly Bangalorean, yet it appeals to people from other cities as well as other parts of the world. What do you have to say about that?

Rajeev: Music is not limited. Any form of music that’s done with passion, with a lot of love, will not limit itself to one community or one area. It will really transcend to all kinds of people. I remember we played in Cochin once, at a.. it was like a fish market kind of place, with folk people over there…

Bruce: It was in port Cochin, in a place called the ‘Chinese fishing net’ and the majority of the people in the audience there were fishermen. There were probably about five people there, who spoke English as a first language kind of thing… We played an hour long gig. It took a little while for people to sort of settle in but after a while they were all grooving, all of them were like clapping along!

Rajeev: And it worked! It works in a place like HRC where the whole format is understood, it works in a corporate office, in colleges, in different countries…we’ve been to Islamic countries to completely western countries. Any kind of music for that matter! A lot bands come here also, who play different music in different languages, who play only instrumental.

Bruce: Exactly! That’s the whole point of music, music is supposed to transcend!

Interview with Thermal and a Quarter

WTS: You “unfailingly surprise listeners and critics alike” – looks like you’d hate to be slotted! Is that a conscious effort you make while coming up with songs?

Prakash: Not really, but then after we’ve made the song we sit back and think, now what is this it has some reggae it has some rock, some progressive parts, so there is no label we ourselves can put to it.

WTS: We thought its Bangalore rock!

Rajeev: Yeah that’ what we call ourselves now!

Bruce: That is our label now! For the longest time, people had great difficulty in categorizing our music. You know… you had to put your CD on some shelf! Where do I put it? Do I put it in jazz, or rock, or pop, or jazz- funk-rock-pop-blues- something? Is there a shelf like that at all? Doesn’t exist, right? So we figured that if somebody had to come up with a label, it had to be us. I think we are a very Bangalore band. All of us are Bangaloreans. We’ve been here for a long time and there is a strong identification with this city and everything it stands for – the hangover British thing, the very cosmopolitan nature it has ,the kind of people who are in it and out of it all the time… so the label that we sort of put together is “Bangalore Rock”.

Rajeev: And actually you are probably the first media/website to hear from the band directly that “Yeah! We’re called Bangalore rock!” So yeah! Good one! This is truly historic! (laughs).

Interview with Thermal and a Quarter

WTS: Rhzude sadly had to part with the band. So how that affected the band and the kind of music you make considering the fact that he was a part of it for 11 years? Must be a big void that he’s left?

Bruce: Ah well! I wouldn’t call it a void because big man is sitting over there right now. I must say he has very, very ably picked up what we do. I think as a band, it’s definitely different with somebody new like that coming in, especially when you had someone playing with you for 11 years, which is a long time by any standard. We are really lucky to be able to play with Prakash. As an accomplished bass player, he’s been able to fit in with what we do almost effortlessly. It’s gonna take a while for us to develop a new sound with him. Right now we’ll have to work out all the old stuff, and then slowly progress to writing stuff with him. That’s happening again organically, which is the way we like to keep it! It shouldn’t be anything forced or put upon. It should come naturally. And that means a lot of playing together and that’s what we’re doing!

Rhzude…well, he was with us for 11 years and it was a choice he had to make, simply because, I guess In everyone’s life there is one time when u have to decide that, “Hey! Am I gonna keep doing things this way, or another way”, and it also depends on what stage in life you are at that time. Rhzude’s much older than the rest of us and we figured that it’s a different stage in life that he’s in right now. It didn’t make sense for him at this point to do this and the job and things like that…it was a call he had to take.

Rajeev: It’s not easy for the band…We’ve had this feeling twice- first when Sunil Chandy left the band. It was suddenly this, “Folks! What’s gonna happen now?” Well, it was much, much more difficult. The beginning of this year and the end of last year… we knew there was a transition in place. It was a tough phase.

Interview with Thermal and a Quarter

WTS: Was it a spontaneous decision to have Prakash on board or had you guys been planning on it for a long time?

Bruce: When Rhzude couldn’t make it for a few gigs, Prakash is like the first call bass player in Bangalore. People want a bass player, they call Prakash. He’s just the dude. We worked with him a couple of times and it was a good experience. Which is really great! Our music isn’t the easiest kind of music to learn immediately. There we say so ourselves again (laughs)! He was first on our mind. He can probably tell you how he felt. I don’t know if he was like “Oh no! Not them!”

WTS: Quoting from your website, its about one of your CD covers. It says, “The magnificent roach is a metaphor for determined longevity, the stubborn grit to be there in the future” – an impressive analogy – what is that one thing that makes you tick?

Bruce: I dunno…Ravi how many years have u been playing?

Ravi: Playing flute? Umm…Probably 26 years.

Bruce: Wow! Ok! That’s almost as long as we’ve been alive! (laughs) So have there been times when it was really difficult for you?

Ravi: Always! Sometimes it’s great sometimes it’s not very great! It’s all a part of any good musician’s journey. He has the power to go on!

Bruce: Yeah! So there are down times and there are up times – like the cockroach! There are times there when no one’s squishing you, there’s lots of food and it’s comfortable, and sometimes there isn’t and you have to survive! And survival takes tough skin. Takes determination. I think Sting put it really well – ‘It takes this sheer bloody-mindedness’. I just gotta do it. I don’t care! I don’t care what you say, I don’t care what you think. I’m just gonna keep doing it, then you survive!

Rajeev: You know the thing about the roach is, sadly everybody hates the roach. It’s really sad. (everybody laughs) I mean it’s just another thing there! Why should everybody look down upon something that’s so amazing as a creature! You nuke the whole planet and the cockroach will still survive! There are ways to look at things, so that’s how we looked at the whole roach thing!

Interview with Thermal and a Quarter

WTS: You guys seem to be a part of a lot of initiatives! Like ‘Shut up and vote’ and ‘One Small Love’. We don’t see many bands doing that. Do you use music as a medium for addressing social issues? 

Bruce: From the beginning we’ve always tried to do so through our lyrics! The bands that turned us on, the bands that we all looked up to, they told stories, talked about typical music topics – love, falling in love, falling out of love, rebellion, rock, things like that. People like Bob Dylan, people like…umm… Pearl Jam wrote songs not just about every-day topics but also things that resonated strongly with a social message, saying that this is wrong, it should not be done this way or there’s a better way to do something. Music is very powerful that way! A song can stick in someone’s head and maybe it can change some aspect of people’s behaviour just because it’s so powerful. For us it’s always been important to try and be relevant.

People like Cat Stevens, I can quote from almost any of his songs. He wrote them 40 years ago. But even today the lines will mean exactly the same. They will still be as relevant now as they were then. That is something very special. It’s not something that u can enjoy for 6 months and after that it’ like, “Ah, that’s old!” It’s gotta be something that not just transcends race and language, but also time.

Increasingly in the entertainment industry, the way the people consume music evolved, there is this tendency to go for the short shelf-life but really high selling commodity. That’s what makes business tick, but through all this, there is still this undercurrent of music that’s been selling for the past 50 years and does not stop selling…it’s a small thing but it’s ALWAYS there. And they call it “the long tail” nowadays. It’s like, you might sell very few but you continue selling for a very long time. That just makes sense! I guess that’s what we’re at… we’re trying to be relevant, to sing or communicate in a way that people 10 years from now will say, “I can still listen to that song and it still makes sense!”, and not say, “Oh! That’s so ’96” or “That’s so ’85!” It’s gotta be “That’s so …true!”

Interview with Thermal and a Quarter

WTS: “TAAQ is not just about the music… it’s a bubbling revolution waiting to take shape.” How do you intend to stir up a revolution?

Bruce: It depends on what kind of revolution you’re talking about! We’re not asking people to get up in arms or trying to tell people to sack their government or do things like that I think the revolution is more in your mind, its about being open to lots of new things. The world is shrinking and shrinking, everybody’s mixing with everyone else and as Russel Peters said, soon we’ll all be brown! (laughs) Increasingly, people have to become more open minded they cannot hold on to racial, cultural, ethical, religious boundaries, they are all blurring and getting more mixed up. It’s sad in some ways, cos some people are losing things that they held close to them but it’s inevitable because evolution takes its own course. For us the revolution is more in your head, to open up and accept and do what you do best!

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Priyanka Shetty

Priyanka Shetty is the founder of What's The Scene? Follow Priyanka on Twitter @priyanka_shetty


Interview with Karsh Kale


Karsh Kale is an Indian American producer, composer and musician, known for melding Indian music with the modern electronic club music of his American upbringing. Kale often creates a unique blend of Indian percussion with techno music and drum & bass. WTS got talking to him about his style of music, collaborations and more…

WTS: You grew up in New York but you showed promise as an Indian percussionist from an early age, how did that happen?

Karsh: Well I was first introduced to Indian music by my father who’s a great lover of Indian classical music and of course old film music. That’s the environment I grew up in. So the tabla and mridangam, the sounds of those things were introduced early on, and then I just naturally caught on. My father was very close friends with a film composer from India, they grew up together. We used to visit him when I was a small child. His name was Bal Barwe, he’s a Marathi guy he lived in Bombay, and he generally composed for Marathi films. He and my father had grown up together, so he brought me to him when I was about three years old and that was really the first time that I’d ever kind of played the tabla and from there I was always interested in it.

WTS: Your father played a major role in your musical development. Could you tell us more about that?

Karsh: Besides the fact that he was always playing music, he was the Vice President of an organization called the Indian Academy of Performing Arts, which was an organization in New York which used to bring Indian musicians. This was back in the time before people were playing in places like Carnegie Hall etc. They would organize concerts in high school auditoriums, so when I was growing up I got to see people like Bhimsen Joshi, Shivkumar Sharma and Hariprasad Chaurasia. So I really got to be backstage, meet the musicians and spend some time with them and things like that. My father’s also a singer and he plays the harmonium. So I grew up accompanying him and we played a lot of Marathi community events in the States. And then of course at home, at least four times a week he would be sitting with this harmonium and have me come and play with him. So a lot of my development came from that as well.

WTS: Tell us a little about your musical background and how your solo work came about.

Karsh: Ever since I was a teenager, I started composing music, and started playing with different sounds because I was the drummer in most of the bands that I was playing in and of course there were all those instruments in my house, so I started learning with them, and we had 4 track recorders and 8 track recorders, so I started composing early. Once I came to New York as a student at NYU, I really started to see how I could take all of these different musical influences that I had from everything: from orchestra music to rock and roll to jazz, and that time electronica was something I was getting really interested in, and how I could take all of that and bring it together into one sound. And also, at the same time the technology helped too, being able to start making music in your own bedroom using computer software and things – that was coming up as well. So all of this happened at the same time and I just happened to be at the right place at the right time, being in New York. Being able to be around a lot of different inspiring artistes, who were doing something similar – taking their culture, and incorporating it into a new idea, that was really what inspired me to start developing a sound. From 1993 to the end of that decade was when I really developed a sound for myself and found the places that I wanted be able to go as a composer and as a musician.

WTS: How would you describe your sound?

Karsh: That’s a tough question to answer. I think I’ve always tried for the past 15 years to try and describe the sound but I’ve never really found the right words. But I would say that the way that I describe my sound is creative. Once people hear what it is that I’m doing and the different places that I’m referencing it becomes clearer. Simply put, it’s a mix of Indian classical music, rock and roll and electronic music.

WTS: Do you plan to drift into other genres as a matter of experimentation?

Karsh: I already have. For me, even trance or psy-trance or techno or tech house all of these different sub genres of electronica, I don’t like how they become controlled by purists where it becomes stagnant. It becomes like still water for me and starts to stink if that makes any sense (laughs). Music has to continuously flow and it has to continuously evolve and as soon as you define it as something it stops developing. For me, that’s why I don’t like those terms like tech-house or something like that because that to me is like still water.

WTS: What kind of material do you like to play for your DJ Sets?

Karsh: I play all kinds of different stuff. We just played a show the other night, myself and The Midival Punditz, where we were DJing all kinds of music – everything from electronic ghazals to Jay-Z remixes and Rage Against The Machine to Underworld – we have really run the gamut of all the different kinds of music that we love. When it’s presented that way, people really understand you as an artiste because they really see the different places that you’re coming from. Those are my favourites of the DJ sets but I play everything from trance, to house to dubstep to drum and bass. But when I come back to creating my own music, I try not to fall into the trappings of creating a particular style and borrow different things from different styles to create something new.

WTS: How has the response been from the traditional folk artists that have heard your material?

Karsh: From the get-go, I have gotten a very positive response. On my very first album, I had got a call from Ustad Sultan Khan who happened to be in New York and he said if you’re working on an album I’d like to come down. Besides that, I have mainly been working with local artistes. Once these artistes started getting involved in what I do it was definitely very encouraging. Since then I think that more than listeners and more than people who keep the construct of the institution alive, the musicians and the artistes themselves – theyabsolutely understand where the music is coming from and more so they see where it can go in the future. That’s why we get so much support from people like Zakir bhai and Pandit Ravi Shankar, they have great respect for what is it that we’re trying to do and where is it that we can try and take it.

WTS: You’ve collaborated with a number of artistes including Anoushka Shankar. How has the experience been and how does it help you musically?

Karsh: For me especially, I don’t have an actual formal Guru who I turn to for musical advice, I’ve always listened to my own voice, my own instincts. So when I get to work with people, it’s a learning experience for me as well, I try and absorb a lot from them. Working with Anoushka for instance, we didn’t just go to the studio for a couple of weeks and write. We spent almost 3 years between the time that we started writing the music and between the time we released and started performing the music. Being around her and learning so much of Pandit Ravi Shankar’s repertoire through that and being in the studio with people like Shankar Mahadevan and Vishwa Mohan Bhat – these are people who you learn from when you’re writing with them , and when you’re recording with them. So I’ve had the opportunity to be around such great artistes. I tend to absorb what’s around me. For me, I’m fortunate that I can really absorb a lot from an artiste if I’ll be able to spend time with them. So, what I learn from collaborating with people like them is that I take a little piece of them with me.

WTS: Tell us a little about your musical background and how your solo work came about.

Karsh: Before I work with different artistes, I tend to assess what it is that they are going to bring to the table. Because for me, I can do a lot of different things – I can sit down a guitar, on a piano, on a computer and start programming and I can sit on tabla, harmonium, and start training Indian minds and things like that so it depends on who I’m working with. When I was working with Anoushka I was mainly playing acoustic guitar while she was on sitar. And we were trying to figure out the different places where we can take these traditional lines and bring them into a western context. When I’m working with The Midival Punditz our frame of reference is different. I might be sitting and programming with them and Gaurav might have composed some keyboard parts, so it really depends on who is bringing what and I try to fill in this gap. What we did with ‘Karthik Calling Karthik‘, I was doing more string arranging while these guys were doing a lot more of the electronic programming sounds which all came together to make the soundtrack. So it really depends on the project and who I’m working with.

WTS: Tell us about your association with The Midival Punditz.

Karsh: Well we’ve done a tremendous amount of stuff together (laughs). We met in 1998 in London, and we had both been playing each other’s music in our DJ sets. At that time it was very exciting to meet artistes who were doing something similar because all of us started with the feeling that we were alone, that we were the only ones trailblazing this sound. So when I met the Punditz, we met on a musical level but firstly we got along on a personal level so well that we’ve become family and over the years our families have become family as well. In that way that’s first and foremost what our association had become. But then more than anything, we recognized that we bring so much to each other, because we come from such different places because they tend to come from a DJ culture even though they grew up listening to rock music and are very well versed in Indian music, from film music to Indian classical music. So we get to meet on a lot of different levels. When I can sit with an artiste and reference Jimi Hendrix, Ravi Shankar and Stravinsky at the same time that’s when the associations, for me, tend to continue and that’s what it’s like for me and the Punditz. We can come together on so many different levels.

WTS: Is the audience an important factor to consider while composing?

Karsh: I think it depends. We need to think differently when we are working on a project like a film because first and foremost you’ve to think in terms of the director’s vision. It’s not just your own artistic vision that you’re adding, you have to be in line with the main theme and the main idea of the story and what the vision of the director is in the direction of the film. When I was working on Cinema, I really kind of went in and every time I’d hit a wall and think this is what’s expected of me, I tended to turn the other way and do something else that I felt going to be more challenging. But that’s what I like to do as an individual artiste but if I’m working with somebody else and they say I want to do something for the radio then I know how to think that way. Personally, I would much rather challenge my audience, make them scratch their head a little bit and then come back and realize and discover something new, as opposed to giving them something that they have already heard before.

WTS: For a performance such as yours, what do you aim for in your music? People don’t seem to realize skill in such music, what do you think of that?

Karsh: I think that just comes from people’s ability to be able to see it in different ways, visually being able to see a concert and see what people are doing because otherwise, we don’t necessarily know what we’re hearing when we listen to a piece of music unless you hear live music and see how they interact with electronic musicians and things like that, because this is a new phenomenon as well. What we’re doing now in a live context is taking the aspect of electronica and DJing and bringing together the aspect of interaction between musicians. I think the audience is growing with more and more that they get to see of what it is that we do.

As far as what we want to accomplish, I think it’s more on a level of making people have an experience, letting them lose themselves. For me that’s what music is. Music is an intoxicant that takes you to another world, takes through your own thoughts and animates your life. That’s what we try and do with our music, we try and let people go into their own space and let this music become the score for their own life. As opposed to drawing their attention to my fingers or to somebody’s skill on the sitar, which is impressive when you see a concert, but it tends to take away from the cerebral experience, what we try and do is focus our music more on the mind experience. For me, there’s a fine line between music and sports (laughs).While growing up as a table player, as a drummer, I grew up in that competitive environment but I realized right away that is not where it ends for me, music is much more than that. It goes beyond than somebody’s doing or their dexterity on the instrument, it goes to what is the story that’s being told and how profoundly can you tell that story.

WTS: Where do you think the future of electronica lies?

Karsh: When people say electronica, it’s almost as if it’s something different or separate from live music. I think it’s just another instrument and another dimension that’s been added to music. So when people see music in the future they are going to see musicians who have incorporated technology in whatever they are doing. Think of the tabla, as a traditional instrument the way it sounds today is not the way it sounded even 50 years ago. There’s a lot of technology involved and there’s a lot of audio analysis that has gone into how to present the music on an international platform. We can’t think of electronica as something brand new and challenge that. It’s just a natural progression of something traditional. Because otherwise there’s no way to fill that space with sound and there’s no way to be able to make those instruments so eloquent. All these great artistes have been part of the development of these instruments. And now I use electric tablas on stage, I have modified my tablas so that i can go through the laptop and modify the sounds, and I can control the instrument, but what you’re hearing is something certainly new.

WTS: Tell us about your connection with Bollywood and about your upcoming projects.

Karsh: Bollywood is something we’ve always talked about, not as a style but as an industry that we’d love to break into, that we’d like to use as a platform to expose what we do as artistes. It was once again a natural progression for us to get to that point where the audience is ready to hear what we’ve been developing all these years. If you look at any scene or any exposure for a particular style of music, you’d think that it became popular when it was discovered. But usually when you look into it there are years or decades of development that went in to that before the major or general audience came to know about it. What I feel what we’re bringing to it now is a natural progression because it takes time to develop something before it is time for it to be exposed.

WTS: You’ve expressed a desire to work for Hollywood projects, has anything come up yet?

Karsh: We’re not doing anything right now but we’ve collaborated with a lot of independent artistes in the States, we have worked with Ajay Naidu, who’s a Hollywood actor and has his own independent film that he’s produced directed and we have done the music for that. It’s called Ashes which is now playing in film festivals across the States and of course we have higher hopes to do more. For us it’s not necessarily about Hollywood/Bollywood as much as it’s about a good film. Rahman for that matter – he’d just done a Hollywood film last year and it wasn’t a very good film, but it was Hollywood. I think the differentiation has to be made about a good film because genres put out all kinds of different products. As an audience we have to differentiate between what’s quality and what’s not.

WTS: You’ve said you enjoyed collaborating with Sting the most. What was so different in this collaboration?

Karsh: Well I think for me it was that I got to write the song as opposed to him coming and writing the song with us. When we worked with Norah Jones on the album, we sat together and had written the song together. He’s another hero of mine, he’s somebody I had been listening to since I was 12 years old, studying his music and style, even when he was with The Police and as a solo artiste. Getting to the point, writing a song for him was like a final exam, it was that moment where you have to prove what you know and I had to prove it with a man who for me is one of the best song writers in the world. To be able to write something like that is like writing a novel for Shakespeare!

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Priyanka Shetty

Priyanka Shetty is the founder of What's The Scene? Follow Priyanka on Twitter @priyanka_shetty