Indian music composer and singer AR Rahman believes that music can transcend linguistic boundaries, connecting audiences through melody, rhythm and performance even when they do not understand the lyrics. The Oscar-winning musician is not particularly troubled by criticism over the prominence of Tamil songs at some of his concerts, arguing that musical appeal cannot be judged solely by the language in which a song is performed.
In an exclusive interview with Indian newspaper Hindustan Times, Rahman discussed the challenges of preparing concert setlists, balancing songs in different languages and responding to the varied expectations of audiences across India. His comments come as he prepares for the Indian leg of his ‘The Wonderment Tour’, which is scheduled to include performances in Mumbai and the Delhi National Capital Region (NCR).
Selecting songs for a diverse audience
Rahman described choosing songs for a concert as one of the most challenging aspects of live performance. India’s linguistic and cultural diversity gives him an opportunity to reach audiences across the north, south, east and west of the country, but it also makes the selection process more complicated.
He considers the opportunity to perform for such a varied audience a blessing. However, bringing together songs that appeal to listeners with different musical tastes and linguistic backgrounds requires careful judgement.
Rahman said he relies on his own musical instincts when preparing a setlist. He tries to approach the task from the perspective of an audience member, asking himself what he would want to hear if he were attending the concert.
Not every listener will have the same expectations. Some may prefer familiar Hindi film songs, while others may look forward to Tamil compositions or music in other regional languages. A concert that satisfies one group may not necessarily meet the preferences of another.
For Rahman, the answer is not to prioritise one language over another simply to avoid criticism. Instead, he focuses on the overall musical experience and the songs he believes will work best in a live setting.
Tamil songs draw criticism, but the composer remains unfazed
Some audience members have previously criticised one of Rahman’s concerts on social media because of the number of Tamil songs performed. Other fans defended him, pointing out that Tamil music forms a substantial part of his extensive repertoire.
Rahman’s career has involved composing music for films in multiple languages, giving him a catalogue that appeals to audiences across different regions. The resulting diversity is a natural feature of his musical identity, although it can also create competing expectations at live performances.
He explained that performing Hindi songs in Tamil Nadu could prompt questions from some listeners there. Equally, audiences in other parts of India might question the prominence of Tamil songs at a concert in their region.
The issue reflects the difficulty of balancing regional preferences in a country where language is closely associated with cultural identity and popular entertainment.
Films such as Roja and Bombay illustrate how Rahman’s compositions have reached audiences through different linguistic versions. Their Tamil and Hindi songs have found listeners across regional boundaries, although individual audiences may have their own preferences.
Rahman believes it is unrealistic to expect a performer to accommodate every individual preference when thousands of people gather for a concert. Although questions about the language of his songs have arisen in the past, he has come to regard the variety of his repertoire as one of the distinctive features of his live performances.
Why music can speak beyond words
For Rahman, a song’s emotional impact does not depend entirely on whether listeners understand its lyrics. Melody, rhythm, instrumentation and the quality of a performance can all influence how audiences respond to music.
A familiar composition can also acquire a different character when presented through a new arrangement. The musicians’ interpretation, the use of instruments and the atmosphere created on stage can transform the listening experience.
Rahman recalled an especially memorable moment from his second concert in Dubai, when the song ‘Mustafa Mustafa’ generated an unexpectedly enthusiastic response. Audience members participated by lighting lighters rather than using the lights on their mobile phones.
He performed that evening despite having a fever. The audience’s reaction made the experience particularly memorable, demonstrating how a song can create a shared emotional connection between an artist and thousands of listeners.
The response also illustrates the enduring power of familiar melodies. Listeners do not always need to understand every lyric to recognise a song’s emotional character or become involved in its performance. A well-known tune can encourage audiences to sing along, move to the rhythm and participate in the atmosphere of a concert.
Audiences continue to embrace his musical legacy
Rahman has observed that a generation of concertgoers now knows the lyrics of many of his songs by heart. Their enthusiasm is not restricted to popular film tracks. He has also been impressed by the audience response to performances centred on piano and vocals, including symphonic arrangements.
The response suggests that his connection with listeners extends beyond nostalgia for his best-known hits. Audiences can also appreciate different interpretations of his compositions and arrangements that present familiar music in a new form.
Rahman emerged as a major force in Indian film music during the 1990s, establishing a distinctive musical identity through his compositions and arrangements. Many of his songs from that period continue to attract listeners, while his more recent work demonstrates his continuing involvement in new creative projects.
His forthcoming concerts are expected to bring together popular compositions from the 1990s and more recent material. The programme will offer long-standing fans an opportunity to revisit familiar favourites while introducing different aspects of his musical work to newer audiences.
Mumbai and Delhi concerts scheduled for November
As part of ‘The Wonderment Tour’, Rahman is scheduled to perform at Jio World Garden in Mumbai on 1 November and at Backyard Sports Club in Delhi on 21 November.
The concerts are expected to last approximately three hours, combining some of his best-known compositions with more recent work. By drawing on different stages of his career, the performances will showcase the breadth of his repertoire.
The combination of established favourites and newer material is also likely to reflect the diversity that Rahman considers central to his music. His catalogue spans different languages and musical styles, making the selection of songs an important part of shaping the experience for each audience.
Meanwhile, Rahman has begun a new collaboration in film music with Hollywood composer Hans Zimmer. The pair have worked together for the first time on the music for the film Ramayana.
The project brings together two internationally recognised composers with experience in different musical traditions and cinematic styles. Their collaboration adds another dimension to Rahman’s continuing work across the film industry, although further details of the project’s music and its eventual reception remain to be seen.
Rahman’s comments on concert setlists underline a consistent principle in his approach to live music: language is one element of a song’s identity, but it does not define the limits of its appeal. For him, the ability to move an audience, create a shared experience and leave a lasting impression matters far more than ensuring that every listener understands every word.
