‘Keep audience so engrossed they won’t look at their phones’: What Nita Ambani told sitar maestro Niladri Kumar before his musical set at Anant-Radhika wedding

How did your father Guru Pandit Kartick Kumar shape your musical journey?

Niladri Kumar: My father Pandit Kartick Kumar treated me like an experiment in his musical lab. He comes from a remarkable background — he is the fourth generation of sitar players in our family, and I am the fifth. Our family came from Dhaka to Kolkata during the Partition, starting with nothing.

My father, as a teenager, worked incredibly hard to elevate the family’s status. He and my grandfather even made a sitar because they could not afford to buy one. That same sitar helped my father win the President’s gold medal in 1958. He later studied under Bharat Ratna Pandit Ravi Shankar ji.

All his experiences and musical knowledge were imparted to me through his rigorous training regime. Looking back, I realise how challenging it must have been for him to instil discipline in a young, rebellious child. My respect and admiration for him have only grown over the years.

Kumar talks about the brief given to him by Nita Ambani before his performance in front of world’s top dignitaries (Source: PR Handout)

You are known for revolutionising the sitar with your innovative electric sitar. Can you tell us about this creation and how it differs from a traditional sitar?

Niladri Kumar:  I would like to clarify that my electric sitar, often referred to as the ‘zitar’ in the media, is not a cross between a sitar and a guitar as some have suggested. It’s purely an electric sitar. The main differences are that it has fewer strings than a traditional acoustic sitar, and the strings are made of materials that can conduct electricity.

I also changed its appearance to a distinctive red colour to differentiate it visually from the traditional instrument.

The key difference lies in how the sound is produced. A traditional acoustic sitar relies on its hollow body and the science of resonance for sound. The electric sitar, however, uses a pickup to convert the acoustic signal into an electric one. This allows for a wide range of sound processing options like distortion, drive, reverb, and even synthesiser effects. The possibilities are vast, but ultimately, it is up to the musician to make it sound good.

 How have your cross-genre collaborations influenced your approach to Indian classical music?

Niladri Kumar: Cross-genre collaborations are incredibly enlightening. They not only teach you about other genres but also help you discover new aspects of your own genre and yourself. When you collaborate with musicians from different backgrounds, you inadvertently learn more about your own style and the nuances of your genre. This new knowledge and perspective inevitably influences how you approach your own music, whether consciously or unconsciously. It is a natural process of growth and evolution as a musician.

You recently performed at Anant Ambani and Radhika Merchant’s wedding, presenting your set ‘Sound of India’. Can you tell us about the composition?

Niladri Kumar: The brief I received from Nita Ambani was fascinating. She wanted two main things: first, to keep the audience so engrossed that they would not even think of looking at their phones, and second, to highlight Indian music, musicians, and culture to the world dignitaries present at the event. She wanted to showcase that Indian music is not just on par with other genres but offers much more.

These objectives resonated with my own mission as a musician. The zitar, for instance, is my attempt to translate the sentiment of Indian classical music into a language that appeals to a wider audience. The challenge was to create a composition that could showcase each musician in their best light while meeting these objectives. The composition needed to be exciting and enthralling from the start, which is tricky in Indian classical music as it typically builds momentum slowly. We managed this by creating a kind of musical mirage — the melody grows slowly, but the rhythm makes it feel fast-paced from the beginning.

Niladri Kumar is optimistic about the future of Indian classical music in the age of AI (Source: Instagram/Niladri Kumar)

What was going through your mind when you were playing in front of so many people at such a high-profile event?

Niladri Kumar: It is difficult to explain what goes through my mind during any performance, not just this one. When I am playing, I may be looking at the audience, but I am not really seeing them. My focus is entirely on the music. For this particular concert, my intention was to bring out the best in all the talented musicians on stage. We had to be prepared for last-minute changes, which is where the improvisational nature of Indian classical music really shines.

How do you balance your classical roots with your desire to innovate and evolve as an artist?

Niladri Kumar: I don’t see innovation and classical roots as separate or conflicting elements. In fact, I believe that being a classical musician provides the best foundation for innovation. All great classical musicians have created their own unique sound and style within the existing tradition. Tradition itself is not static; it evolves over time. What is crucial is understanding where the tradition came from, its rules and regulations, and how it can reach out to the current era. Indian classical music, in my opinion, is one of the best genres for innovation, especially in terms of melody.

You have composed popular film songs like ‘Tere Bina,’ ‘Ahista,’ and ‘Mehram.’ Can you give us insight into your creative process for composing songs?

Niladri Kumar:  I love composing songs for films. It is an exhilarating process, almost like giving birth to a baby and watching it grow. It starts with a seed — a melody, a thought, or an emotion — and then builds from there. You add music, rhythm and lyrics, and keep refining until it all comes together. Then it gets picturised and becomes larger than life. Despite being quite different from classical music, I thoroughly enjoy this process. It is exciting and brings out a different side of my creativity.

What are your views on the future of Indian classical music in the digital age, especially with the rise of AI?

Niladri Kumar: Interestingly, I believe AI might actually benefit Indian classical music. While AI can replicate and combine existing musical data, it cannot truly replicate the spontaneity and improvisation that are at the heart of Indian classical music. True Indian classical music does not come from collecting data; it comes from the heart and mind of the performer in the moment. As AI potentially infiltrates other genres, the unique, human element of Indian classical music may shine even brighter.

What advice would you give to young musicians looking to pursue a career in Indian classical music while also exploring contemporary styles?

Niladri Kumar: I don’t like to give advice as I am still receiving advice myself. However, I can share some of my learnings. There’s so much to know and learn, and time seems to be moving faster than ever. The world has an immense amount of information to offer about any craft, including music. My suggestion would be to keep gathering knowledge and enjoy the journey. There is no specific destination to reach; the path itself is the reward. Whatever path you choose, keep walking and learning.