This is an archive article published on March 8, 2025
Punjabi musician Talwiinder: ‘The paint on my face is a reminder that art is bigger than the artiste’
San Francisco-based Punjabi musician Talwiinder on singing anonymously, Punjabi music going global and his performance at the ongoing Lollapalooza Festival
San Francisco-based Punjabi musician Talwinder Singh Sidhu aka Talwiinder is one of the most streamed Punjabi artistes on various platforms. He is from Taran Taran, the 5th century city believed to be one of the most sacred places for Sikhs, is 26, and paints his face while performing in public to “strip away the ego” which he feels can often take over in performing arts. For the last seven years, he is making Punjabi music with global influences and finding attention as a popular independent artiste. “I write what I feel,” says Talwiinder, whose track Tu suddenly went up the charts. “‘Tu’ was personal. That soft, raw emotion— that’s where I feel most at home. But I’m not boxed in,” says Talwiinder, who, unlike many other Punjabi artistes, isn’t brandishing everything he has and wants on social media. He will be performing at Lollapalooza Festival in India on March 8.
You wear face paint and perform. At a time, when many Punjabi popstars base all of their music on their image and personality, portraying how many cars and girls they have, why and how did this decision to perform behind a mask come about? Why is anonymity so significant?
It was never about hiding — it was about shifting the focus. Music should be felt before it’s seen. The paint strips away the ego, the distractions. It’s a reminder that the art is bigger than the artiste.
Face paint and anonymity is often used to make political music. Did that idea, to create music that rose from the political, for example farmers’ protests in Punjab, occur to you?
Everything around me influences my music, whether it’s love, loss, or resistance. I don’t box my art into categories, but if a song speaks to something bigger than me, I embrace that.
Punjabi music has gone global at this point with artists like Diljit Dosanjh, AP Dhillon and Karan Aujla. What is your take on this movement?
It was always global. It just took the world a little longer to listen. The energy, the storytelling, it’s universal. I think, we’re just getting started.
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If one is to remove the orchestration, your voice sits very well in the realm of the older folk music of Punjab. Who were your inspirations growing up?
Punjab’s folk legends—Surinder Kaur, Gurdas Maan, Asa Singh Mastana. Their melodies had soul, and that soul found its way into me.
You grew up in Taran Taran in Punjab. How did music happen for you? Were your parents interested in music?
Music was always around, but it wasn’t the plan. My parents had a simple life, they worked hard, focused on family. But somewhere in that simplicity, I found sound — on the radio, in the streets, in the air.
Were you also listening to other genres? Where and how did the access happen?
Hip-hop, alt-rock, electronic — I was listening to whatever I could find. The internet was a gateway, but music also came through friends, older cousins, even random CDs lying around. Every genre taught me something.
How did you start recording? Who helped you find your feet?
Trial and error. A cheap mic, cracked software, and a hunger to make something that felt real. No big studios, just a bedroom and a dream.
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While recording is a relatively easy game, it is performing live that’s usually a game changer for an artiste.
Studio is control. Live is chaos. Performing makes you let go, trust the moment. It’s unpredictable, and that’s the beauty of it.
What are your plans for the Lollapalooza India 2025 in Mumbai?
Lollapalooza is all about energy, connection, and pushing boundaries. I want to bring something fresh to the stage — sonically and visually. Expect an experience, not just a set.
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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Punjabi singer Talwiinder.