From Prayagraj to the Grammys: The story behind ‘Sounds of Kumbha’
Singer and producer Siddhant Bhatia, who is nominated at the Grammys for the Best Global Album, on his collaborative project, Sounds of Kumbha, which is backed by the UP government, including field recordings from Prayagraj, and what a Grammy nomination means for him.
Delhi-based musician Siddhant Bhatia, who is nominated at the 68th Grammy Awards that will take place in Los Angeles tonight, has come up with a 12-track album and collaborated with musicians Kala Ramnath, Charu Suri, Kanika Kapoor, Aditya Gadhvi and Pravin Godkhindi, among others for it. While very few melodic ideas in the album actually manage to develop in the album, the nomination is perhaps more a reward for cultural framing. In an email interview with The Indian Express from Los Angeles, Bhatia opens up about the album. Excerpts from an interview:
Your Grammy-nominated album is closely tied to last year’s Mahakumbha and was commissioned by the Uttar Pradesh Government. What was their brief like?
The project was envisioned as a cultural and spiritual representation of the Mahakumbha through music. The Uttar Pradesh Government wanted an authentic, respectful and globally relevant musical expression that could capture the scale, energy and philosophy of the Mahakumbha. The brief was very clear in intent but open creatively. It was about preserving the true spirit of the Mahakumbha in a form that could travel across the world. My role was to translate that intent into sound and create an album that stayed rooted in Indian spirituality while speaking a universal language.
Did you anticipate a Grammy nomination for Sounds of Kumbha? What does the recognition mean to you?
We did not create the album with awards in mind. The focus was always sincerity and purpose. The Grammy nomination came as a humbling surprise. This recognition is not for a state or an individual. It is for the country. It represents Indian culture, Indian spirituality, and the collective energy of the Mahakumbha, all acknowledged on a global platform. Personally, it feels like gratitude and responsibility for being allowed to serve something larger than myself and responsibility to continue representing India’s cultural voice with integrity.
What has been the response of Yogi Adityanath and the UP government like?
The Uttar Pradesh Government has been supportive of the vision behind the project from the very beginning. This album emerged from the Mahakumbha and from the land of Uttar Pradesh, but its impact is national and global. The nomination reflects the success of a cultural initiative that was enabled with foresight and commitment. It is a proud moment for the state, and equally a proud moment for the country.
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You are competing with Anoushka Shankar as well as Shakti in the category ‘Best Global Album’. What do you think of the competition as well as your chances?
I do not see this as competition. Artistes like Anoushka Shankar and Shakti have contributed immensely to global music and have carried the Indian sound to the world with depth and dignity. To be mentioned alongside them is an honour. Each project has its own journey and intention. Sounds of Kumbha represents a very specific cultural and spiritual narrative and being recognised in this space itself is meaningful.
What was the process of creating the album like? How did all the musicians and recordings come together?
The process was intense, organic and deeply collaborative. We began by recording real sounds at Prayagraj during the Mahakumbha. Those field recordings became the foundation of the album. As the project took shape, musicians from India and around the world began joining in naturally. It felt guided by intuition more than planning. Recordings happened across multiple studios globally, but everything was unified by one shared purpose: to create a musical offering rooted in oneness.
Could you describe the process of recording the album: from composition to final production? How much of the music was composed by you and how did the sonic landscape of Prayagraj influence the compositions?
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I served as the principal composer and producer, shaping the overall sonic narrative of the album. Some compositions originated from my musical ideas, while others evolved collaboratively with the artistes involved. A large part of the recording and production was done at SoulTrax Studios in New Delhi, with additional recordings taking place internationally. Many compositions grew directly from the field recordings themselves. The sound of the rivers, chants, footsteps and moments of silence guided the music. Instead of imposing a rigid structure, the compositions were allowed to unfold naturally.
Are you yourself interested in spirituality or were you following through on a commission?
Yes, spirituality has always been central to my life and my music. A major influence on my spiritual journey has been Gurudev Sri Sri Ravi Shankar. His teachings on inner silence, compassion and the idea that the world is one family have deeply shaped how I view life and creativity. His guidance inspired me to approach music as a form of service and awareness, not just performance. Sounds of Kumbha is deeply influenced by that philosophy and carries the intention of unity and inner stillness.
How did your musical journey begin, and what kind of training laid the foundation for your career?
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I am a classically trained Indian vocalist from the Patiala Gharana. My training under respected gurus instilled discipline, humility and emotional depth in my music. Alongside classical training, I developed a strong interest in sound engineering and production. Over the years, my journey expanded from performance to composition, recording and large-scale musical storytelling. I founded SoulTrax Studios in New Delhi as a space dedicated to high-quality sound and creative exploration.
You have described your work as a fusion of science and musical intuition. Please elaborate.
My work sits at the intersection of musical intuition and sound science, and a key part of that is my research and practical expertise in binaural beats – a scientific auditory phenomenon where two slightly different frequencies played separately in each ear create a third perceived frequency in the brain. This can influence brainwave activity and help guide listeners into states of calm, focus, meditation or heightened awareness.
I have spent years studying and applying binaural beat principles in real musical environments. In Sounds of Kumbha, binaural techniques were used subtly to enhance depth, space and immersion. They help the listener feel present within the soundscape, almost as if they are standing at the Sangam.
Suanshu Khurana is an award-winning journalist and music critic currently serving as a Senior Assistant Editor at The Indian Express. She is best known for her nuanced writing on Indian culture, with a specific focus on classical music, cinema, and the arts.
Expertise & Focus Areas Khurana specializes in the intersection of culture and society. Her beat involves deep-dive reporting on:
Indian Classical Music: She is regarded as a definitive voice in documenting the lineages (Gharanas) and evolution of Hindustani classical music.
Cinema & Theatre: Her critiques extend beyond reviews to analyze the socio-political narratives within Indian cinema and theater.
Cultural Heritage: She frequently profiles legendary artists and unearths stories about India’s tangible and intangible cultural heritage.
Professional Experience At The Indian Express, Khurana is responsible for curating and writing features for the Arts and Culture pages. Her work is characterized by long-form journalism that offers intimate portraits of artists and rigorous analysis of cultural trends. She has been instrumental in bringing the stories of both stalwarts and upcoming artistes to the forefront of mainstream media.
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Siddhant Bhatia, who is nominated at the 68th Grammy Awards, opens up about the album Sounds of Kumbha.