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Gandhi is known for singing several popular songs in films over the last several years, and her most recent work is in the newly released film ‘The Diplomat’. She has also worked with musicians like A.R. Rahman, who she credits for helping craft her journey in the industry.
1. How was it working with legends like A.R. Rahman and Anirudh Ravichander?
I feel incredibly fortunate to have the opportunity to work with some of the greatest talents in the industry. A.R. Rahman Sir is, of course, a living legend, whose music transcends borders and time, with creativity that knows no bounds. His work continues to inspire and awe. I have been blessed to have had him as my mentor. On the other hand, Anirudh brings a fresh, energetic, and passionate vision to the world of music, capturing the spirit of the new generation. I’ve been a fan of his since I first heard the humorous yet incredibly classy track ‘Kolaveri Di.’ As a session vocalist from India, I truly feel privileged to collaborate with such extraordinary artists—both the current icons and the rising stars of the global music scene.
2. You’ve sung for films like Jawan, Thiruchitrambalam, Dhootha, and Tamasha. Which project challenged you the most and why?
Tamasha was both a challenging and rewarding project for me. Singing in French was a unique experience, and drawing inspiration from the legendary Edith Piaf made it even more demanding. The song was designed to take the audience on a journey—like driving through a small island in France with a local radio playing music that feels familiar and nostalgic. Rahman Sir gave me the freedom to interpret the song in my own way, which pushed me creatively and made it one of the most intense yet fulfilling recording sessions of my career.
3. What’s your process for interpreting a composer’s vision while recording for film scores?
The moment I enter the recording studio, my job is to interpret a composer’s vision—understanding the brief, feeling the music, and connecting emotionally to the scene, while delivering a performance that helps viewers connect with the composer’s intent. I aim for precise delivery while staying open to direction. Collaboration is key—refining each take to fit the film’s mood and enhance the story. Ultimately, my goal is to bring the music to life while adding my own unique touch.
4. How do you bring emotions into wordless vocals?
I believe music, especially a melody, is not confined by language. As a singer, I feel expression is about emotion, and emotion is a feeling that doesn’t need words to be communicated. For wordless vocals, I focus on understanding the emotional state of the character or scene. A melody, supported by sounds like vowels (a, e, i, o, u), creates a beautiful and powerful soundscape, allowing listeners to interpret their own emotions as they connect with the visuals on screen. In this way, they become part of the creative process, experiencing the music and enhancing the storytelling.
5. J’aime La Vie in Tamasha beautifully captured the Corsican setting. How did you prepare for this unique French track?
I was asked by Rahman Sir to come to his Mumbai studio for a recording session. When I arrived, I was introduced to the Tamasha film scene and given a reference to a sweet, melodic Edith Piaf track. I was encouraged to draw inspiration from her style of singing while bringing my own interpretation to the melody. The challenge was delivering a love song in French, balancing both Piaf’s influence and my own creative touch. As a session vocalist, it really pushed my abilities, and that recording session is definitely one of the most memorable moments of my career.
6. You’ve worked across multiple languages and genres. How do you adapt your voice to different styles?
A significant part of my musical journey comes from the exposure I gained at KM College of Music and Technology, Chennai, where I explored both Indian and Western vocal techniques. My training as a professional singer across multiple genres has proven invaluable. Working closely with my mentor, the Oscar and Grammy-winning international music composer A R Rahman, I’ve had the privilege of collaborating across various languages and genres. As a session vocalist, I blend these diverse styles to create a unique sound that transcends genre boundaries, always serving the emotional intent of the film score.
7. What can audiences expect from The Diplomat (2025) and Devara: Part 1 (2024)?
In The Diplomat, I perform Uzma’s theme, which captures the complexity of her internal mental state—emotions and thoughts that words alone cannot fully express. Through the music, I aim to convey the depth of her character and the nuances of her journey throughout the film. In Devara: Part 1, my vocals underscore the emotions and add a certain “warmth” to the scenes between Devara and his mother, helping to intensify the emotional build-up of the story.
8. How do you ensure artistic and technical perfection in every recording?
It starts with understanding the power and versatility of your instrument—my voice, and my ability to blend Indian and Western music styles. Early in my career, after a long recording session, A R Rahman sir gave me invaluable advice: “Arpita, you’ve learned your techniques; now it’s time to unlearn. Believe in your voice and let it flow.” That was one of the most important lessons I’ve ever received.
I trust the teachings of my gurus and focus on my sincere intention. I visualize the music clearly, allowing that vision to guide my voice in the direction of the composer’s vision. By balancing technical skill with emotional expression, I aim to deliver recordings that are both precise and true to the artistic vision.
9. Playback singing is evolving with the rise of independent music. Where do you see its future?
The Indian film industry, where playback singing plays a central role, allows the audience to connect with a character designed for the story and sing along. In contrast, independent music offers creators the freedom to define their vision without the constraints of a story. Both serve distinct purposes and contribute positively to the music landscape. The Indian music industry is vast and diverse, with playback singing and independent music each showcasing the unique cultural versatility of our industry.
I am a strong advocate for both, as they are irreplaceable. Personally, I see myself striking a balance between the two, performing globally, and embracing the best of both worlds.
