Thirty-five-year-old Radhika Das, the global kirtan artiste recently concluded his second India tour in five months. Das grew up in a Gujarati home in London as Ravi Pattni, where spirituality wasn’t prioritised but like most Indian homes, was in the background. His parents often played Bollywood classics, Gujarati folk and the occasional bhajan during festivals. It wasn’t until he met the Bhakti community in London that devotional music entered his life. In his teens, Das encountered Bhakti Yoga: its philosophy, teachers and music. “For the first time, I felt like something in me had clicked into place,” says Das, who has also been a property and investment consultant. He gained visibility on social media through his videos, wherein he’d explain older religious teachings as simple, usable strategies for today and connected with the youth. That he has come in at a time when spirituality is a larger trend and something Gen Z is interested in has helped with his popularity. Excerpts from an interview:
You did a nine-city tour in India and 2025 and returned with three concerts last week. What is drawing you back so quickly?
The response was incredibly moving. Across every city, there was such openness, sincerity, and devotional connection. We witnessed some of the largest gatherings of people chanting together and that leaves a deep impression. What draws me back is that energy and the feeling that something meaningful is happening in the spiritual growth of both the people and I. There’s a genuine appetite for these kirtans, so you naturally want to return and continue serving that community.
We are amidst a war. Do you think large-scale devotional gatherings distract from real issues like inequality, unemployment, climate crisis and risk becoming escapism in the face of real-world issues? Should spiritual leaders like yourself encourage followers to stay engaged with social and political realities rather than just inner peace?
Spiritual practice and real-world awareness don’t need to be separate. In many ways, genuine spirituality should make us more compassionate, more aware and more responsive to the world around us. For me, these gatherings are not about escape but about grounding in spirituality: creating the inner clarity that allows people to engage with life in a more meaningful and balanced way.
While bhakti traditions have been inclusive in the past, religion and politics are increasingly intertwined in India. Do you worry that your platform may unintentionally get linked with a larger political or ideological narrative?
My focus is purely on devotion and creating inclusive spaces for people to connect through music. Bhakti, at its core, is about unity and shared humanity. I’m mindful to keep the intention clear and ensure that what we offer remains welcoming for all.
There is a sudden interest in spirituality with Gen Z trying what is being called ‘bhajan clubbing’.
Do you feel India is at a unique spiritual turning point compared to other parts of the world?
India has always carried a deep spiritual foundation. What feels different now is how that tradition is being rediscovered by the young. There’s a curiosity and openness that’s very visible.I see it less as a sudden shift and more as a reawakening, a return to something that has always been present, now expressed in ways that feel relevant to modern life.
Does blending devotion with performance, lights and electric instruments not risk turning spirituality into a staged experience?
It depends on intention. The external elements: lighting, sound, instrumentation are just tools. What determines sincerity is the inner mood. If the focus remains on the mantra and the experience of collective chanting, then the setting simply becomes a vessel.
Ticketing can exclude people who seek spiritual connection but cannot afford it. How do you address this?
It’s something I think about carefully. While there are real costs involved in producing large-scale events, we always try to include more accessible ticket tiers wherever possible. Alongside ticketed concerts, I also continue to support and participate in community gatherings, temple events, and initiatives where people can experience kirtan without financial barriers. The aim is always to balance sustainability with accessibility.
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Can you talk about your own spiritual genesis? When did Ravi Pattni become Radhika Das?
It wasn’t a single moment, but a gradual journey. In my late teenage years, I encountered Bhakti Yoga and kirtan in London, and it deeply resonated with me. Over time, that practice became central to my life. The name “Radhika Das” reflects a commitment to service, given to me by my Guru, within that tradition. It wasn’t about becoming someone else, it was about aligning more closely with what felt true.
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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