Musicians are not getting paid. Music doesn’t come cheap, despite what we’re told about the ethereality of art. Instruments have a price, as does studio time and travel. A great track might generate applause, but applause doesn’t pay the bills. Of course, no one who follows India’s local music circles is actually unaware of the fact that bands aren’t getting paid. It is a common lament, yet we seem to have sadly made peace with the fact that this is part of being a musician.

Nolan Lewis of Kryptos fame recalls, “Back when we were eager to play any shows that would come our way, we’d fall for anything anyone would tell us when it came to payments and other things like travel reimbursements etc. But after a while we’d just had enough and we decided it was time to put our foot down and get paid in advance. Of course, we weren’t offered as many shows as before due to our stance, but it’s been good for us in terms of being in control of things from our end, rather than depending on someone else. We’ve gone through many instances where we haven’t been paid what was promised even after hounding the organisers for months, or we’d get stranded in some godforsaken place because we didn’t get paid or reimbursed.”

Srikanth, the artist manager for MotherRoot has a similar story, “Delayed payments to artists is a big issue. Unfortunately, there aren’t any standard terms or contracts with most venues. Booking of artists is still largely through verbal contracts or just a basic mail exchange. So bands/artists have to keep following up with venues to get their payments; it often goes bitter because bands have no option but to first resort to public shaming and defamation before going legal. As everyone in India knows, legal action itself is a very long drawn out process. It firstly requires the bands to unite and file a case together because individual cases hardly make a dent and most bands don’t have the financial means or know-how of such processes. Artists need to unite and the industry needs a standardised process for booking and paying artists.”

Bangalore-based rock band Rainburn’s vocalist Vats Iyengar says, “It is hard to get promised payments out of venues and promoters. There’s very little support for bands in the scene. You can see how some of the bigger bands have been completely silent – they’d rather forgo their money than speak out against the injustice.”

Muttering along the lines of how making it big is a struggle, especially in creative circles only serves to reinforce the idea that it is okay not to reward someone for good work until they are famous. It is hard enough to put up song after song on Soundcloud hoping that someone will notice and offer a record deal or self-fund an album and a tour and hope to get booked at a festival. To deprive the artist of payment, signals a fundamental lack of appreciation for the effort they put in. Creative work is still work, and musicians also have bills to pay.

Sahil Makhija of Demonic Resurrection considers himself one of the few lucky ones, “Thankfully DR has not had too many issues with non-payment of dues. It has happened maybe 2 or 3 times at best.” Nonetheless, the example he gives is telling of the larger picture, “Once at a college festival we were supposed to be paid Rs. 5000 in cash before leaving the venue which didn’t happen because the students made some excuse and then of course no matter how much we tried after the show they were not reachable. Another time in Delhi an organizer messed up the cabs and the whole band missed the flight. We were asked to book the tickets and were told that he would transfer the money later. He vanished after that gig.”

Gaurav Vaz of The Raghu Dixit Project says that while they do not face outright denial of payment, delays are still prevalent. For people who invest both soul and finance into their music, this spells a fair amount of trouble. As he puts it, “There have been instances in the recent past when our payments have been delayed by quite a bit, but they have eventually come through and while it is not the best thing in the world to keep following up for what is rightfully yours, you need to know how to deal with the situation.” He is quick to affirm that this is an issue that plagues every business in the country, especially the creative industry, but also follows up with the fact that artists themselves need to be more assertive of their right to remuneration. “The artists have a lot of control and they need to exert that when required to ensure that payments don’t become a bottleneck. This is where management needs to step in and shield the artist from all that goes on in this regard.”

Vaz and TRDP were forced to deal with an unsavoury promoter at Octoberfest, receiving their payment only at the intervention of Kingfisher itself. “We performed there and we did not get paid for it. The promoter who runs that festival completely failed all the artists who were booked and was defaulting on our payments, but Kingfisher, the sponsors of the festival stepped in and ensured that all commitments to artists were honoured and it was they who paid us.” 

He does empathise with the plight of promoters who find themselves at the mercy of sponsors that delay or deny the money, “From the promoters point of view, and I have been there as well, money from sponsors takes its own sweet time to arrive or sometimes doesn’t arrive at all, and they are paying out of pocket for most immediate expenses, so in turn, they end up delaying things and defaulting, so it’s not one person who can take the blame for this and it requires everyone involved in this eco-system to work together to ensure that things get done right.” 

Arpan Peter of Overture India prefers to see it as a combination of disappointments, “I don’t think I have a very clear solution for this but these struggles are pretty frequent. It is usually okay with clients who follow a payment cycle of 30-45 days after the submission of invoices. There are times when you collect 50% advance and clients make you run for the other 50%. It all comes down with how stern you are with the client who is giving you the show.” 

The uncertainty that plagues indie musicians possibly emerges from the idea that music not sanctioned by appearance in a movie, Bollywood or otherwise, or by the parameters of traditional classical greatness is not indispensable. Given that the tracks of Madboy/Mink or Parvaaz have begun to make their way into people’s playlists only recently, the populace still possibly considers indie music a fascinating but passing phenomenon. In addition, while India has a rich history of albums and music videos, the go-to destination for a new song has been, largely, a new film. However, this reason is no justification for the fact that independent art is taken for a ride every time it claws itself into some form of prominence. While the blame game does not make sense when targeted at a particular individual or section, it must be acknowledged that the system needs greater organisation and most importantly, greater accountability. It is deeply unfair if only artists with major fan-bases can command the right to be paid for work.

Manojna Yeluri, Legal Consultant, Researcher and Founder of Artistik License thinks the problem “crops up frequently enough to be considered a menace.” She explains that the very nature of the industry does not facilitate binding agreements, “The issue is a difficult one largely because of the informality in which business is conducted. The entertainment industry, particularly the process of securing and performing a gig is still something that goes largely unregulated or rather follows a pattern that is more personal and less formal. There has been a change in the attitude of artists; however, we are still seeing many artists and venues/organizers struggle with resolving this problem. The fact that there is often nothing in writing accompanied by the fact that not too many people have the resources to invest in pursuing this legally, makes the entire problem a rather murky and difficult one.

The independent performance scene continues to be ruled by a strong sense of informality. While we are seeing a number of professional artists, the scene itself is marked by a strong lack of professionalism and this leads to non-payment for performances and services rendered by an artist. Having said that, non-payment is only the tip of the ice berg and we need to see and invest in a bigger change of attitude towards the arts and artist community, if we want to see lasting changes.”

Her words would serve one well if they are planning to venture into the scene:

“For starters, it is always good to get things in writing. Even if it is an email, it is worth something, more than just someone’s word. Even if you have the opportunity to work with a friend or someone you’ve known for years, it’s always important to remember that things need to possess a certain degree of formality. In addition, always make sure that you are aware of your rights as a content creator and performer. Insist on systemic change rather than an individual one wherein we work towards building a culture where artists are treated as professionals and it’s okay to receive a part of the money upfront too if required.”

Some people understand that these conditions exist, but some don’t. We call these oblivious people artists. They grow like wild shrubs – conspicuous in a tamed garden but also oblivious to the fact that their untamed appearance is frowned upon.

Which is fine. There are always going to be “socially acceptable” ways of doing things. Some of these mores are even essential for a society’s smooth functioning, and thus form the basis for laws, rules, and regulations. Some other things – though matters of personal choice – are also labeled “unacceptable” in this society. People talk. People ridicule. People bully. People vandalize. People attack. People assault. Where does the scale of the acceptability of these violations turn from grey to black?

Recently, a musician named Martin John Chalissery (of Oorali fame) was beaten up viciously by the policemen in Ayyanthol, Thrisshur. There were no charges against him. He was targeted for daring to walk the streets with long hair and “appearing to have affiliations with a drug addict”. He was on his way to meet his guru with whom him and his peers practice and come up with program ideas, in a paddy field by the countryside. A passerby asked him if he cared for a lift, which he accepted – but there were policemen around who noticed that the gentleman on the bike was without a helmet. In the conundrum that ensued, Martin was the one who was caught, questioned, and forcibly made to enter a jeep which took him to the Ayyanthol police station.

There he was questioned by several policemen before he finally snapped and asked why he should answer questions when he was not even charged properly. He said he was on his way to attend a meeting concerning a government-related art project. The police misconstrued this to be a scare tactic. It’s telling that the times we live in equate the government to be scary, but that is a different topic altogether.

Soon after, Martin was beaten up brutally, before people showed up. They wrote up a public nuisance charge against him and “bailed” him out. This may seem like an innocuous one-off incident, but it isn’t. This contempt of the way people dress, express, and function is an integral part of the Indian social sensitivity. It is a part of the thing we call “culture”, but we refuse to let culture exist as a shifting, dynamic organism. We are constantly on the lookout of ways to cement it to be something that fits the likes of some.

Several musicians have faced some prejudice because of their hair, clothing, body, or style. Several of them have been mocked because their choices strayed from the stereotypical battery chicken alternatives of medicine and engineering and business and law. Not that those professions are inherently bad, but making them benchmarks for respectability, intelligence, and talent is not the best way to build a nation.

When What’s The Scene contacted Martin Chalissery, he said that what hurt him was the brash display of power which was enforced through force. He said that this is a systemic problem which has affected him and several others like him, people who have longstanding affiliations with the Laloor School of Drama – an institution responsible for producing and creating several art programs throughout history. This blatant disregard for artists is an attitude rooted in misconceptions about their supposed drug habits and anti-social interests. There is no basis for this in reality other than some anecdotal instances. To extrapolate the behavior of some and apply it to everyone who matches certain attributes is regressive thinking.

Martin insists that as an artist, he lives, eats and breathes art. He only cares about bringing about a positive change through this medium and little else matters. He wonders if there’s a bigger crime than violating someone’s bodily autonomy – laying claim to their self without their active consent.

When our society is at the stage where we allow this creative endeavor to be mistaken for an anti-social attitude, it is time to recognize that we have a huge problem.

This problem is bigger than one isolated incident. As Martin says, “It’s not the physical wounds that they’re inflicting that hurts. They are not trying to break your body, but your spirit, and your art.”

Oorali’s Facebook page had this message to send (author’s translation of the original Malayalam text):

“You showed us that you were The Police. Now it’s our turn to show you that we’re Artists.

And they did. Watch this video that explains what transpired and how they dealt with it through a protest of art:

These policemen need to rethink their actions and decide what side of history they want to be on, because one day they’ll either be hailed as heroes or painted as fascists. What characters they want to play as is up to them.

“I have been part of the entertainment business for years doing a bunch of things like DJing, dance choreography, workshops, production, corporate events etc. It was my personal dissatisfaction with the kind of work that was happening in the city that made me start Smoke Inc. Smoke Inc allowed me to do the work I wanted to, work that would personally appeal to me and it allowed me to be in control. The idea was to put together quality events and to promote the independent scene. I was also doing regular commercial and corporate work. Over the years, we have been able to focus more on the indie scene and I am happy with the way it’s turning out.”

Smoke Inc is one of the best things that happened to the inhabitants of Kolkata because it spawned Jamsteady, the live gig series that unfolds at Princeton Club on select Fridays.

“Jamsteady is Smoke Inc’s first child so it’s very special. The idea was formulated by me and a friend, Sammy. We wanted to start something that would be regular, original and fun. The idea for Jamsteady was simple – do weekly gigs featuring original acts and with time this scene would become larger and bigger. There would be more musicians, more acts, more audiences and takers for original music and more venues hosting gigs. Over time we have been able to create a consistent following for Jamsteady. I would say Jamsteady is our Mothership and a lot has happened for us, because of this.”

The point of Jamsteady is to feature talent, be it local or national, new or veteran. And it has seen some success. When music-lovers know that they have a place to go where they can catch great gigs, they find the city becoming a space more conducive to their interests. Which is really the point of all music, if you think about it.

Nishit has been intrumental in spreading the good word of great sound. And though it has seen results, he knows, more than anyone else, how much is left to be accomplished:

“Kolkata’s music scene is seeing a shift. There is a lot of stuff happening in terms of original and alternative content and that is super exciting. Bands are working hard not just on their music but on their presentation as well. A lot of bands have a solid fan following which is growing with every gig that they play. These are all good signs.  But, Kolkata still needs to push more and everyone needs to be more involved and more focused. I see Kolkata’s music scene becoming the best in the country. We will see bands coming from different parts of the country to play here and be part of this scene. I always believe content is king and in that respect Kolkata has a lot to offer. It just needs to get out there and more people need to experience it. That’s it. We have four gigs a week happening in the city in different venues. I think that speaks for itself.

A lot is happening already, but there is need for more. In my opinion, there are three aspects to this: One, the audience needs to open up to new music. Kolkata needs to come out and be part of all the new and exciting stuff that is happening. Second, bands and musicians need to connect more with their fans and audiences. As soon as this connect happens, you see things moving. Third, venues and promoters need to work hard, invest in good sound and technical gear and most importantly get more involved in the scene. The point is not to just host the gig, organize the show but to create an overall experience which is in sync with the scene.”

Having peeked into the entrails of the indie scene in Kolkata, he finds no reason to capitulate to all the negativity that the city’s reputation seems to reek of, even now:

“I am not discouraged at all, because this reputation is wrong and completely undeserved. We have seen people come out and listen to a variety of bands. The numbers are very high on days when some established, traditional bands play. Whereas on days with new acts with an unusual sound these numbers dwindle. This is something that will not change overnight. It needs time, effort and constant pushing. That is what I mean when, I say people need to push more, come out more and be part of the stuff that is happening. I am not discouraged at all, because then I won’t be able to do what I am doing. I am very hopeful and optimistic. The fact that there is new stuff happening across the city is encouraging enough.”

And now, Smoke Inc is setting up something big. Quite literally, if we go by the name.

“…on December the 13th we are launching our very own music festival and it`s called Jamsteady’s Big Sunday. We are very excited about this one. This is our big jump into doing a large-scale event and we hope to give Kolkata the best festival experience ever. That’s the plan. We are working very hard to put it together. We aim to make this one of the best festivals in India in years to come. “

If accomplished, Big Sunday will become Kolkata’s own unique addition to India’s roster of enviable music festivals that are attracting global attention.  And Nishit Arora exhorts Kolkata’s crowd to keep their hopes high:

“Expect some amazing new music to come out from the city in the next few months. Watch out for Kolkata’s very own music festival – Jamsteady’s Big Sunday. Big Sunday is a celebration of all the great music coming out from the scene for the past 3-4 years. We want everyone to join in. So the message is loud and clear – If you love good music, you should be at Jamsteady’s Big Sunday!”

His insistence on the presence of great music in Kolkata comes with a list of favourites that we think makes a great list of recommendation:

“Pinknoise, Zoo, The Ganesh Talkies, Nischay Parekh, Big Family, Srinjay Banerjee, Neel and the Lightbulbs, Gingerfeet, Underground Authority, Chronic Xorn to name a few. There is so much good music happening in Kolkata.”

Debojyoti Nath, however, managed to forsake that loyalty and break out of the mindless interaction between phone and computer screens that was replacing actual human communication. He took on the avatar of The Busking Man and got people to look up from a glowing LCD to watch him strum out a tune. And he did it in all 29 Indian states becoming  the first one to do so. He started with….well, he tells the story better :

“I was working for Radio City 91.1 FM in Delhi and saw a lot of mindless violence and fighting all around me in the city, in India and pretty much all over the world. After I left Radio City I started working for ScoopWhoop.com as their Social Media Manager and realized first hand how human socializing and interacting was getting limited to their phone screens or laptops. I was also going through a difficult phase in my life where everything around me was falling apart and where I wanted to do something I loved. And one evening it just hit me that I should take my guitar out to the streets, play my music and spread the message of Peace and Love and be the change I want to see happen in this world. I love music and travelling and meeting new people and making them happy in whatever little way I can. So I decided to start busking in Delhi while working. My first busking session happened on a Sunday at Connaught Place on a November evening. I busked a couple more times in Delhi with an amazing response and soon after decided to quit my job and busk all across the 29 states of India within 7 months before I turned 30 on July, 2015. I started busking from the 1st of January 2015. Everything fell into place, I would play music on the streets, I would in my own little way talk about and help spread the message of peace and love and also travel and meet new people. It was the perfect amalgamation of all my dreams.”

And so it began. But, of course, anyone wishing to replicate his lifestyle is probably wondering about the pitfalls of busking in a country where its not a thing ( and by “not a thing”, I mean a lot of people don’t know the word exists). Debo however says a potential busker has very little to worry about :

“Considering that busking is something unheard of in India and never been done on the scale I was doing, it actually wasn’t difficult at all to busk in India. The only difficult thing for me was when I first set out to busk. I was insanely nervous and scared and had no idea how people would react. But once I took out my guitar and started playing, everything was super fantastic after that and the people loved it too even though it took them by surprise. So the only difficult thing for me was to convince myself that I could actually do it and let go of all inhibitions.” 

And he has met other buskers, though not too many. He jammed with one in Mumbai, met two others in Delhi and found a few in Darjeeling who regaled the skies with the sarangi and were singing traditional folk songs.

But there is more to Debo’s art than merely eschewing the shackles of repetition inherent in everyday existence. It emphasises “peace and love” and uses the much-spoken of topic of conveying harmony and espousing the undesirability of violence. To quote the man himself :

“Everything I did while on my busking tour had everything to do with peace and love. Peace and Love is not about being hippy. Peace and Love to me means that people live in harmony and not harm or kill each other. Like I once said, I’d rather see people holding hands or people kissing on the streets and being there for one another than people holding guns, sticks or stones and killing each other. Wherever I busked on the streets across India people came to me and would ask me about the little Peace and Love placards I display and I tell them the same and till date each and everyone agreed to the fact that this world could use a little peace and love. This is the age of advertisements and so I think it be fair to say that this was my way of advertising and endorsing peace and love. I strongly believe there is hope in this world which is plagued with depression and fleeting humanity and it doesn’t take much to be kind and caring to one another. And like the Dalai Lama said, the planet does not need more successful people. The planet desperately needs more peacemakers, healers, restorers, storytellers and lovers of all kinds.” 

And it has been rewarding. Turns out, if you give the world a chance and open yourself up to it by taking a chance, its not all that bad. When asked about Debo’s memorable experiences, he had plenty to say :  

“…every place was memorable in its own way. The thing is that every place comes with its beautiful memories. My memories range from bridging religions, to composing impromptu Hindi songs in the North to connect with people, to playing songs for children still suffering at the site of the Bhopal Gas Tragedy, to meeting some of the most amazing people along the way who shared their lives with me, to having an eunuch slap me and then become friends, to playing bhajans for the old women at an old age home, to meeting and singing with the kids at Dharavi, to meeting fellow buskers and jamming with musicians in a train, to shooting an impromptu jam with a French guy in Goa, to helping raise over Rs. 5000 within a span of three hours for the Nepal Relief Aid in Darjeeling, to meeting Rudy Wallang and Tipriti Kharbangar of the famous Indian blues band Soulmate and spending my most memorable time with them, to playing songs for an auto rickshaw driver in his auto, to reaching McLeodgunj with just Rs. 250 and having the best time there, to being detached from the world of technology when my phone stopped working which was a blessing in disguise, to simply taking a shower under a waterfall in the wild!”

So, one can’t blame him when he articulates his affinity towards the life of the busker in the following words:

“Busking gives me the pure unadulterated joy of connecting with people through music. It is freedom in the purest form to me. Busking also helps me become a better performer, because its not just the music itself but how you present it to people and how you keep them hooked.”

And he’s reaching hearts, because he has been all over the country. While he asserts that every location he has crossed has been “fantastic”, he singles out Bangalore, Delhi, Shillong, Darjeeling and McLeodgunj as the top 5. Future buskers, heads up?

Debo admits that the life of the busker isn’t for the majority, especially since the majority are led to believe in the sacrosanct nature of the stagnant, unchanging, predictable existence that is unfairly idolized. But if one did try it…

“If there are people who would love to adopt the busking life, I can assure them that it will change their life in many ways. But personally I would love to see more buskers in India and not just playing music but doing all sorts of performing arts like painting, dancing, street plays, comedy, tricks etc. Wouldn’t it be lovely to see an outburst of art on the streets? I remember that I would tell people to make the streets their stage. People could go about doing their jobs and taking care of all their family or personal business but hit the streets for a couple of hours on weekends or whenever they have free time. It would certainly bring back the glory of human interaction and socializing and not just limiting all these basic human traits to just a screen.” 

And it has certainly changed his life. To the extent that now, he cannot imagine it without taking the guitar out on the road. He might be on a hiatus after a 7-month sojourn around the country, but as he puts it : 

“I don’t think I will ever stop busking. I will keep busking for as long as I possibly can and whenever I feel like it. That’s the best part that whenever I want I can just take my guitar out and hit the streets and start playing anywhere.” 

Don’t get him wrong. It wasn’t all flowers and unicorns as he traipsed across unknown lands inhabited by unfamiliar souls. Fear was real. But so was faith in people.

“There are always safety issues everywhere but I also try to remain cautious and careful as much as I can. I have to be honest that I was a little scared when I was travelling all through the North East and also in Kashmir. But once I was in those places the people were very kind to me and I never faced a problem anywhere. The thing is if you approach people with genuine kindness and love you will always get that in return. People everywhere have been exceptionally kind, loving, supportive and caring to me.” 

The romance of Debo’s busker’s life seems far too poetic to belong to the laidback guy who, in his words:

“I keep telling my friends or anyone I meet to take a break and enjoy what life has to offer and pursue what you love doing the most. I love listening to music almost all the time. I love watching a lot of documentaries and I love reading too. I have a keen interest for reading about or watching biopics of successful people and understanding what drives and motivates them. Apart from all this I would love to be an avid listener basically meaning listening to people talk about their lives, issues and problems. “

This apparently contradictory individual has had his share of revelations :

“One thing I realized during this busking tour is that there are loads of people who just need someone to listen to them. If people could open up more about their worries and troubles and talk about themselves, it would cure many people of depression. People need that release. So during this entire tour I became the perfect stranger for most people to open up to and pour their heart out to me. I would love to do this professionally someday, so fewer people have to depend on anti-depression medications or visit psychiatrists. I strongly agree with the quote from the movie Into The Wild which says “Happiness only real when shared.” I just want to see people happy.” 

Framing himself into an informal therapist inviting people into the confessional chamber of his music might be the attribute that most succinctly provides a glimpse into the change enacted within him by his movement towards freedom.

And freedom it is, to pursue interests more conducive to a world less terrifyingly abhorrent. He leaves one, and only one message for anyone that has listened to him singing ‘Stand By Me’, ‘Cant Help Falling In Love’ by Elvis, ‘Imagine’ by John Lennon, ‘Redemption Song’ by Bob Marley, ‘Shaam’ from the movie Aisha, ‘Jeena Isi Ka Naam Hai’ and some of his original compositions like ‘Love Is For All’, ‘Nafaratey Bhulao Yaar’ or ‘Let There Be Peace, Let There Be Love’. It’s a bit of a cliché, but it’s a reasonable cliché, one we could really profit from paying greater heed to :

“always follow your heart and reach for your dreams because there can be no greater happiness than that. And you should always follow your heart because it will never steer you to the wrong direction. I wish everyone loads of love, peace and happiness.” 

The Busking Man in his element: 

Support him by visiting: 

Facebook page: Facebook.com/thebuskingman

YouTube Channel: YouTube.com/deetornadokidd

SoundCloud Page: Soundcloud.com/debojyotinath

And watch out for the book that he is planning to write! 

Jayashree Singh 

If there is anyone who is entitled to the title of The Queen of Kolkata Rock Circuit, then that person is Jayashree Singh. Jayashree came to prominence in the 90s during her stint with the aptly named pop act Pop Secret. But it was her spell with Skinny Alley, one of India’s pioneering indie acts, which shot her straight to the doorstep of fame. Not only was Skinny Alley the forerunner of indie in India, it was also one of the first Indian bands to release an English album on a major label. The magic of Skinny Alley was carried forward in another avatar, PINKNOISE and Jayashree has been incredible as the frontwoman of two of India’s leading bands.

Both Jayashree and guitar god Amyt Datta were founding members of Skinny Alley and PINKNOISE, and not only have they been band members and musical collaborators, Amyt is also one of Jayashree’s closest friends. There are very few people who know her as well as he does. “We’ve known each other for more than 30 years now. Her music is singular and that aids the bond we have. We have been bandmates, friends, family and more. It’s unique what we share and it’s safely beyond conventional tags. I suppose we’ve arrived at “that”, what we have is “that”.” explains Amyt Datta about the unique bond he shares with Jayashree Singh. The one thing he envies about her is her ability to do nothing! And when quizzed about what she envies about him, he quips “Absolutely nothing!”

Jivraj Singh or “Jiver” as he is popularly known is another pillar in Jayashree’s life. This dynamic duo is not only known for the mother-son bond that they share, but also because they are both band-members and musical partners-in-crime. “How does one begin to describe someone who is son, friend, philosopher, guide, bandmate, fashion consultant and critic, driver for provision shopping and escort for late night gigs? That pretty much sums it up right there, doesn’t it?” explains Jayashree. Jivraj Singh’s all-time favorite song by Jayashree is ‘Dollar $cience’ the video for which is soon to be released and his message to all the female musicians in Kolkata would be “Try to learn and grow constantly, work on your craft and build a really strong foundation of music basics to depend on. Regardless of what style of music or what culture you want to be a part of.” 

Arunima Banerjee 

The Saturday Night Blues Band is not only the top blues band from the City of Joy, it is arguably one of the best mainstream blues acts of the country. The band has been enthralling listeners at Eastern India’s music mecca, Someplace Else, for years – but the band has also played a fair share of gigs at some of India’s most prominent live music venues. Indeed, it would difficult to envision the success of The Saturday Night Blues Band without the telling contribution of vocalist Arunima Banerjee. But she would probably be the first person to tell you that she owes a large part of her success to her sons, Nikhil and Josh.

Nikhil and Josh are the special men in Arunima’s life “because they keep things real and always keep me grounded and no matter how impossible things get they always make me laugh!” When we spoke to them, Arunima’s children told us what makes her special to them “She is special to us because she is our mom and she does everything for us.” One thing they envy about her – she has a Mont Blanc fountain pen and that she can do whatever she wants whenever she wants like watch TV and use the internet! One thing they suppose she envies about them is that she can’t do gymnastics and turn cartwheels or ride a horse or a bike! Their advice to her would be to “keep smiling and laughing and play with us all day long and NO STUDIES!”

 Tanya Sen

In 2005, Someplace Else Kolkata in collaboration with The Telegraph organized Boom-Bass-Stick: The Band Hunt – a competition to unearth some of the city’s latent musical talents. This competition was noteworthy not only because it provided a huge platform for the winning band Crystal Grass, but also for bringing to the fore-front a vocalist who has undoubtedly made it big in the years that followed. For Tanya Sen, her musical journey post-2005 has been nothing short of phenomenal. As front-woman of Crystal Grass, Tanya has never failed to captivate her core audience. And she has carried this vibe forward in her new four piece electronic-alternative outfit ZOO, which is currently the rage of India’s top music festivals. If comparisons may be made, then Tanya’s voice is like a swift flowing river, sweeping everything and anything that lies in her path – and probably no one would agree with this more than her Crystal Grass and ZOO bandmate, and long-time boy-friend, drummer Rohit Nandi.

Tanya and Rohit met in school and have been making music ever since. They work and hangout together and Rohit has been her closest friend and she says “I have to say I consider myself the luckiest to have found such a great friend in my partner.” On asking Rohit what makes Tanya so special to him he says “When one has spent more than a decade with someone it might get a little difficult to recall how one found someone to be special and also on the other hand if you are still wondering why you fell for that person it just means that all’s right, you can’t possibly point out how someone is so special – they just are!” He goes on to say that at times he just reflects and appreciates – he really appreciates her ability to deal with complex situations with ease and dignity and goes on to say that very few people have this gift! “What most of you don’t know about Tanya is that she is a brilliant cook…anybody who has had her Asian or Italian creations can vouch for that!”

Chandrani Banerjee

1993 was a huge year for Indian Rock. For the first time ever an effort was made to bring together rock music artistes from across the country under the same umbrella. The brainchild of Amit Saigal (founder of The Rock Street Journal), The Great Indian Rock (or GIR in short), showcased musicians from the four corners of the country – and one of these artistes to be featured was a young woman named Chandrani Banerjee. Chandrani’s song ‘The Ministrel’ successfully showcased her singing and song-writing talents, which led her to becoming an over-night success.

Currently, Chandrani is vocalist of the legendary Krosswindz, one of the pioneers of the Bangla rock band movement. Krosswindz has also made huge strides in the genre of World Music, and Chandrani’s contribution to the band’s success has been huge – and her husband, and Krosswindz lead guitarist, the legendary Vikramjit “Tuki” Banerjee would be the first person to acknowledge this fact, “She is a big-hearted musician. She is really special because of her unassuming ways and she never imposes her presence. She is always ready to play a supportive role in any situation if required and is always there to lend a shoulder and a keen ear. She makes me a better person, just being with her has been a huge privilege and I have grown to be the person I am today due to her healing presence in my life. I envy her humility.”