The OPENING ACT…

Indian bands opening for international bands, quite a phenomenon now… Take a look!

 

Parikrama and Iron Maiden, Thermal and a Quarter (TAAQ) and Megadeth, Anoushka Shankar and Jethro Tull, Metaclix and Sepultura, DJ Suketu and Boney M – if you are wondering why are we mentioning the cult western bands and Indian musicians in the same breath, then maybe we also need to mention that all these Indian artistes have performed on the same stage as these international artistes. For a music culture where there have been endless cases of musicians being ‘inspired’ by western influences, it is an honour indeed that original content made by Indians finds a platform alongside the international acts. Rudy David, the bassist for TAAQ, says, “The fact that we were even considered to play before Machine Head and Megadeth took to the stage, is recognition in itself.”

When Parikrama played for Iron Maiden for the first time, Bruce Dickinson and the party were so impressed by their performance that they came out of their green-rooms to the mosh-pit to listen to Parikrama playing and invited them to open the shows for them in other concerts as well. This also gave Parikrama the opportunity to play in the Download Festival in UK alongside the likes of Dream Theatre, Motley Crue, Velvet Revolvers, Linkin Park and Evanescence. According to the band, it’s been pure exhilaration since Iron Maiden ‘happened to them’. Subir Malik, the keyboardist, Parikrama, says, “Being applauded by Iron Maiden and then the invite to open for them and then touring UK, where we also got the chance to open for Saxon and Evanescence – it has been awesome!” During Boney M’s performance in the capital recently, DJ Suketu opened for Marcia Barrett’s group and couldn’t stop gushing about it. “I have been forever inspired by them. Who hasn’t been?” Suketu said. When asked if he would remix Boney M’s numbers, he said, “I don’t think they will like to listen to their own songs remixed. The idea is to play original content here and so I will be playing those songs which I have remixed originally.”
 

On why Indian bands are becoming a popular option to open for big, international bands, Rudy David says, “While audience relates to international bands because they are big names, they also relate to bands like ours because we’ve been playing for the past 12 years or more and have our own fan-following. We play music which Indian audience reacts to better.” Indian bands also jump at opportunities to open for foreign bands because it gives them a chance to reach out to a huge audience. Subir Malik says, “Organisers have understood that getting local involvement is important because that involves the audience better. Now Indian bands are getting due credit.” Another reason for organisers to sign up Indian bands, as Rudy explains it, is the ‘cost factor’. “Bringing international cult acts to India is a very costly affair. Roping in an Indian band brings down the costs, because a foreign band of our stature is more expensive.”

So, if one were to set apart the fame, how cool is it to play with international bands of cultish stature? Vishal Dadlani of Pentagram, who played for the Megadeth concert in India, remarks, “It was cool, just like playing festivals anywhere in the world is cool. We’ve played alongside some major names before too, so it’s all good. But, yeah, we had a chat with Dave Mustaine, and were pleasantly surprised to learn that he’s into many different types of music, and isn’t just a stereotypical metalhead. Quite a cool guy, really. That was fun.”

 

(Source- The Times of India)

IT ’SROCKING

Great Indian Rock, Rock Idols, Jazz Utsav, Independence Rock… These are but just a few names that have helped Delhi rock, and make it a hub for music festivals. And thanks to Delhi, India has found its place on the world rock music map

 

For those who missed Woodstock in 1969, New Delhi should be the next destination for Rock’n’Roll, or for any genre of music actually. Delhi has emerged as the capital hub for music festivals in India, what with Great Indian Rock (GIR), Independence Rock, Rock Idols, Delhi International Arts festival, Jazz Utsav and the latest entrant, Eastwind, being held here.

WHY DELHI?

Surojeet Dev, drummer, Them Clones, a popular Delhi rock band, has an answer for this, “Delhi, contrary to popular perception, is the hub of rock music. In fact, there is a huge scope here for all genres of music because there is a balance of different moods here. Mumbai and Bangalore have a more metalrock audience. Kolkata is more inclined towards classical rock. In Delhi, a band playing any genre of music will find a big audience.” Siddharth Menon, events manager, RSJ events, which conducts GIR, Jazz Utsav and Rocktober Fest amongst others, agrees with Surojeet. “Bangalore and Mumbai have a very defined taste for music. Delhi does not have one unified music culture and that’s what adds to the flavour of music here. Also, people in Delhi are willing to explore.” For those who might think of music festivals as just ‘Rock’ festivals, this is what Siddharth has to say. “Festivals are a huge hit in Delhi because this city is very
culturally aware. The enthusiasm
doesn’t border on just rock. Delhi has a huge audience for classical music as well.”
 

G Arjun, the bassist of the Delhi-based electronic band Jalebee Cartel, also feels that acceptance for music played in such festivals is not just limited to rock anymore. These festivals are huge platforms for musicians of other genres as well. “Lately, the music scene in Delhi has seen a lot of change. People now accept new artistes along with their style and genre. Festivals are probably the best way to introduce new talent to people.”

Advaita is a fusion band that has found music festivals in Delhi a good testing ground for original music by young composers. Says Anindo Bose, the keyboard player for the band, “Eastwind, Delhi International Arts, Jazz Utsav, Independence Rock, GIR, Rocktober Fest, Big Horn Festival and the SAARC Festival all happened here last year. The SAARC fest had bands from all the member nations and the concerts were held in Central Park, Connaught Place. The Delhi audience has matured to listening to different sounds. These days, it’s not just the youngsters who go to these festivals, but their moms and dads are also interested.” Adds Anindo, “The audience loves festivals because one ends up seeing so many live acts by bands for a minimal charge of say, Rs 100-150!”

WHAT’S IN IT FOR THE BANDS?

For the audience, music festivals mean a chance to be exposed to a large number of live acts and for the bands, it is a chance to serenade a large crowd. “The concept of rock festivals is an adaptation from the West. For the audience it works because they get to see many bands under one umbrella. For the bands, it is an opportunity to reach out to mammoth turnouts of say, 5,000 people who have gathered to listen to all the bands, while one band alone performing a gig will draw around 1,000 people, at best!” says Surojit. Advaita, which was founded by young college-goers who wished to move away from doing covers of famous bands to promoting original music made by them, finds music festivals the right medium. “Festivals are such a success in India because of the number of bands here. Today, bands want to do original music rather than covers and college-bands are also doing a great job, so festivals make a lot of sense,” says Anindo.
Arjun feels that it is the live-wire feeling and the adrenaline rush that makes the artistes very keen to perfrom at music fests. “I think the internet plays an important role too. People now have the access to a lot of music. They can see international shows and festivals sitting at home. They love what they see. So when they can experience music live, they love it, and that goes for us artistes too.” While bands that have not made it big on the Indian and international scene come to these fests to get greater exposure, those successful are here for the money part of it too. As Arjun says, “Most artistes, including us, perform either for free or for a very nominal fee. But I hope in time this will change so that artistes also benefit from these festivals.” Lekin, as Subir Malik, keyboardist, Parikrama says, “It also pays well. But while money is an important part, it’s also the fun involved that draws us.”

SO WHERE’S THE MONEY, HONEY?

Eastwind Festival is just a year old, but has met with huge success. That is because of the unique concept of the festival, where three bands get to perform simultaneously. The audience, therefore, has the option of choosing during the three-day long event. Adhiraj Mustafi, the organiser, says, “We promote both regional and contemporary music. We wanted Eastwind to be a cultural platform for bands to get global attention. The vibes for content and originality are at an all time high in India right now.” Ask him how he got started with this concept and whether he does it only for the love of music, and Adhiraj says, “I yearned for a festival like Eastwind even when I was 22. I joined the corporate sector, but then I realised that I wanted to be associated with music, so I got into this. Whatever profits we make, we roll it back into the company.” Bridging the differences between music and money, music festivals have become a means to make profits to fuel talent. “People like to go and listen to music and they don’t mind paying for it. Music is an art which now comes with a premium and there are takers for it. Before GIR, Indian rock scene meant doing covers, but now originals have come into fashion. Jazz Utsav began in 1984 as a free-for-all event, but is now a ticketed event. This has enabled the organisers to bring in increased international flavour. Music binds everyone and audience also appreciates listening to international bands,” clarifies Siddharth from RSJ, before adding, “You need to make profits to be able to invest. But we do it more for the love of it. That is where it started from actually! There is a lot of good music in India and it should get a global platform. We now have a voice of our own.”

 

Musical Evolution

Indian classical musicians have been collaborating with the biggest foreign names for decades now, but popular Indian musicians and entertainers have also been in great demand abroad these past few years. Here’s to an encore…

 

It’s fusion music of the most popular kind – pop musicians and entertainers from Bollywood have teamed up with some of the biggest names in music abroad, and they’re doing a collaboration like that every other day. Kylie Minogue’s the latest to join the gang – she’s singing for an AR Rahman composition from the upcoming B-town movie Blue.

Rahman, who hasn’t been called the Mozart of Madras by Time magazine for nothing, has collaborated many times with foreign artistes, and his tracks have featured in movies like The Lord Of The Ringsand Elizabeth. He’s worked with Cat Stevens aka Yusuf Islam for his song, Indian Ocean, the proceeds from which went towards helping orphans in Banda Aceh, one of the areas worst affected by the 2004 Indian Ocean tsunami. In 1999, Rahman, along with choreographers Shobhana and Prabhu Deva Sundaram and a Tamil cinema dancing troupe, performed with Michael Jackson in Munich, Germany, for his Michael Jackson and Friends Concert. Three years later, he composed his maiden stage production called Bombay Dreams, an Andrew Lloyd Webber production and a success in London’s West End. With Finnish folk music band Varttina, he wrote the music for The Lord of the Rings theatre production and in 2004, composed the piece Raga’s Dance for Vanessa-Mae’s album, Choreography. His compositions have been reused in film scores abroad, in movies like Inside Man, Lord Of War and The Accidental Husband. The buzz now is that rapper Akon, who came to India this year, might be tying up with Rahman. Rahman confirms that there have been “some feelers from his side,” but also says that “nothing has been formalised.”

Asha Bhonsle’s been singing with phoren artistes for much longer now. She has collaborated with Robbie Williams, Boy George, Nelly Furtado, Code Red and Black Eyed Peas, and will soon sing for a Hollywood film too. In 1997, she sang a love song with the boy band Code Red, at the age of 64. She also recorded the song, The Way you Dream, with Michael Stipe that was used in the movie Bulletproof Monk. In 2001, the CD single of Nelly Furtado’s, I’m Like A Bird included a Nellie vs Asha remix. In 2005, the Black Eyed Peas used excerpts from her songs, Ae Naujawan Sab Kuchh Yahan and Yeh Mera Dil Yaar Ka Diwana in their single Don’t Phunk With My Heart. A year later, Asha collaborated with Australian cricketer Brett Lee on You’re The One For Me, which reached number two on the desi charts.

Singer and now TV show host Shaan hasn’t been far behind. His most memorable collaboration has been with Blue for a recreation of their song One Love, called Kya Maine Socha. He has also sung with ex-Spice Girl Mel C and with boy band Michael Learns to Rock for Take Me To Your Heart. But he doesn’t think such collaborations are tough anymore, or that they’re ‘partnerships’ in that sense. “Thanks to technology, I end up recording my parts here, while the other artistes record their work in their country. So where’s the interaction for the so-called partnership?” he has said.

Sona Mohapatra, the sister of ex-Viva girl Prachi, has collaborated with Aussie band INXS (for Afterglow) and says that she has more such songs in the offing. Khiladi Akshay Kumar rapped with Snoop Dog for Singh Is Kinng, and Abhishek Bachchan teamed up with Wyclef Jean in Miami for a track that’s a tribute to Hindi cinema and to his dad, Amitabh Bachchan.

Allah ka banda Kailash Kher has collaborated with Eddie Vedder, Pearl Jam’s lead singer. “I had received many offers earlier, but since I liked what Eddie had done with Nusrat saab (Nusrat Fateh Ali Khan) for the film, Dead Man Walking, I finally decided to take the plunge,” he has said. Music director Sandeep Chowta has to his credit, a collaborative album called American Pilgrimage, featuring jazz artistes like John Scofield, Bunny Brunel, Dave Valentine and Jay Oliver. Oliver gave the lounge version of Chowta’s single, Mallika I Hate You. “I’m well networked now, in India and abroad, where I’ve worked with Spyro Gyra and Bunny Brunel, and so international collaborations will be easier, too,” he said. And Will.i.am of Black Eyed Peas, who seems to have a thing for everything Indian – he’s been inspired by Lord Ganesha for his album Elephunk and by Lord Hanuman for Monkey Business – the Grammy-winning American hip-hop singer goes for someone down to earth: Sophie Choudhary. “I don’t want to talk about it. It’s not done yet, but it is happening,” says Sophie.