How A.R. Rahman is reimagining himself for the stage

From a composer to a performer, how A.R. Rahman has reimagined himself?

The loud cheer from the Chennai crowd at A.R. Rahman’s concert last Sunday, as part of his Wonderment Tour, echoed through the cool night sky. It was a dazzling fusion of lights, beats and hit melodies. In the past few months, Rahman has emerged as a performer, who loves to engage with different genres of music.

Audience in Mumbai and Delhi witnessed this recently as the Oscar-winning composer delved deep into Classical ragas and sufi mysticism. Aptly titled ‘JHALAA’, it wove together his musical and spiritual thoughts. In doing so, Rahman reminds us that the future of culture lies not in reinvention alone, but in thoughtful continuity—where beauty, discipline and meaning endure across generations.

The 12-member JHAALA team, mentored by A.R. Rahman. | Photo Credit: Special Arrangement

Formed after a global talent search that received over 500 entries, JHALAA brought together 12 young artistes, trained in Indian classical arts, and mentored by A.R. Rahman. The ensemble is defined by its commitment to live, acoustic performance, free from pre-recorded tracks or digital enhancement. Its repertoire spans compositions by legendary masters such as Ustad Bade Ghulam Ali Khan, Ustad Munna Shoakath Ali, Oothukkadu Venkata Subbaiyer, Ustad Ghulam Mustafa Khan, Pt. Laxmanprasad Jaipurwale, Kunwar Shyam Ji and Amir Khusrau, alongside select works by Rahman.

Each performance unfolded as a carefully structured journey through sound and movement. It began with a bandish in raag Bhatiyar, a morning raag, which belongs to the Marwa Thaat. A favourite of Rahman, it was delineated beautifully enveloping the whole place with its movement in Vakr — Sa dha, pa, dha, ma, pa, ga, ma, dha, Sa; in Aroha Re; in Komal touching tivr Ni — creating a stir, as the alaps and the taans overlapped harmoniously.

The evening also featured compositions such as ‘Aao balma’ in raag Yaman Kalyan, ‘Bhor bhayi’ in raag Gurjari Todi and Carnatic compositions like ‘Alaipayude’. Classical dance forms, including Kathak, Bharatanatyam and Kuchipudi were seamlessly interwoven, most strikingly in ‘Aigiri Nandini’, where the trishul became a visual invocation to Devi.