by Madanmohan Rao
India’s Mahindra Group of manufacturing, agricultural and IT companies has organised a range of outstanding cultural festivals over the years These include the Mahindra Theatre Festival, Mahindra Blues Festival, Mahindra Kabira Festival, and Mahindra Roots Festival.
The third edition of the Mahindra Percussion Festival (MPF) kicks off in Bangalore this weekend, with an impressive lineup of performers from across India. See our earlier writeups on the 2024 and 2023 editions.
“This year, we have expanded our musical horizons by blending traditional percussion forms with contemporary sounds, providing audiences with an even richer sonic experience,” VG Jairam, Founder of Hyperlink Brand Solutions, tells World Music Central.
Emerging artists are showcased alongside legendary maestros There is also enhanced storytelling, immersive stage designs, and a deeper integration of digital formats.
“The Mahindra Percussion Festival aims to put percussion on center stage and explores the multitude of percussive instruments and styles,” says Jay Shah, Vice President of Cultural Outreach at Mahindra Group.
Curating MPF calls for a dynamic balance between tradition and innovation. “We start by identifying the artists for the year and engaging in discussions with them about exploring new collaborations, showcasing specific regional styles, or introducing unconventional instruments into the mix,” Jairam describes.
The lineup this time includes Carnatic vocalist Aruna Sairam and the Thrillana Project; drummer Ranjit Barot and theatre director Roysten Abel’s BeatRoute production; sitarist Ravi Chary and his project Crossing; the Trilok Gurtu Project; and Chennai percussion duo Snax.
Tribute to Ustad Zakir Hussain
The two-day festival at the Prestige Srihari Khoday Centre for Performing Arts will dedicate a tribute to the late great tabla maestro Ustad Zakir Hussain, who passed away in December 2024. The Grammy Award-winning artist helped put Indian classical and fusion music on the global map.
“Ustad Zakir Hussain’s influence on the world of music is immeasurable. By globalizing Indian classical music, he has taken the tabla beyond borders, transforming it into a globally recognized and revered instrument,” Jairam explains.
Traditionally viewed as an accompanying instrument, the tabla has emerged as a leading voice in music, thanks to Zakir Hussain’s virtuosity, improvisation, and storytelling through rhythm.
“Through his performances, compositions, and teaching, he has nurtured countless musicians, ensuring that the art of percussion continues to evolve while remaining rooted in tradition,” Jairam adds.
Trilok Gurtu
Legendary multi-instrumental percussionist Triok Gurtu explains that Indian percussion instruments – whether from Hindustani, Carnatic, or any regional folk tradition – possess distinct sounds that are hard to find anywhere else in the world.
“Much like how our food and language change every 30-40 kilometers across the country, our music and folk traditions also vary greatly,” he observes.
India’s rich treasure of musical heritage would take several lifetimes to fully explore, according to Gurtu. “Personally, I was introduced to the dholki before the tabla. Yet, it remains relatively unknown, both nationally and internationally,” he laments.
He is working on a new album, which he hopes to be released in the next couple of months. “I love creating and writing new music and collaborating with different artists. The working title of my new album is Mirrors,” he says.
His musical works are inspired by his spiritual guru Sadhguru Ranjit Maharaj. “His teachings have given me confidence to be fearless, and that helps me in my music and creative process. I am just the medium, and whatever music I make is because of the effect of his teachings,” he describes.
“When I took a different path in music, my mother Vidushi Sobha Gurtu told me that the journey will be full of hurdles, but to always listen to the voice which comes from within,” he recalls.
For effective musical collaboration, Gurtu feels musicians must be grounded in their own roots and traditions. “This balance helps create something unique. It is also crucial to understand and respect each other’s styles, allowing enough space for everyone to contribute and express themselves,” he suggests.
Aruna Sairam
“Indian percussion stands out for its intricate rhythmic structures, improvisational depth, and dynamic interplay between instruments like mridangam, kanjira, ghatam, and thavil,” vocalist-composer Aruna Sairam explains.
She describes the creative process in Carnatic music as coming from deep introspection and external influences. “The inner voice is shaped by years of learning and emotional connection to ragas, while exposure to other musicians, styles, and life experiences adds new dimensions. Improvisation keeps each rendition fresh and unique,” she adds.
For a successful collaboration in a music project, it is important to have an understanding of each artist’s strengths. “A shared vision is needed for creating both a traditional classical music experience or a fusion with world music. Respect for tradition is key, while staying open-minded so that each musician brings a different sound and energy,” Sairam affirms.
“Communication and adaptability boost the experience of live performances, where improvisation is central,” she says.
She is working on projects that blend traditional Carnatic compositions with contemporary sounds. “My upcoming album features rare padams and javalis with modern orchestration, and a devotional album highlighting the spiritual depth of ragas,” Sairam enthuses.
Ravi Chary
“Indian percussion is unique for its complex rhythms, improvisation, and deep cultural roots. Instruments like the tabla, mridangam, and dholak bring dynamic interaction and spiritual depth to music,” explains sitarist-composer Ravi Chary.
His creative process blends tradition with external influences. “A strong foundation in classical music guides my work, while collaborations, global trends, and personal experiences shape fresh expressions. Improvisation allows these elements to merge naturally,” he describes.
He is working on The Ravi Chary Folk Project, which blends traditional Goan folk music with contemporary global sounds. “This project features collaborations with artists from across India, creating something fresh while staying deeply rooted in rhythm. While we are still working on new pieces and collaboration, we intend to bring more contemporary sounds and artistes to the fore,” he adds.
Chary also calls for preservation of folk percussion through greater visibility. “This includes festivals, workshops, and modern collaborations. Education and documentation can help sustain these traditions. We must not only preserve them as part of our heritage, but also adapt them in ways that keep them alive and exciting for the future,” he urges.
SNAX
Chennai percussion duo SNAX comprises drummer Ramkumar Kanakarajan (‘Kanaxx’) and mridangam player Sumesh Narayanan. They draw on the Carnatic and Hindustani schools of Indian classical music.
“We as SNAX love blending electronic music with the mridangam, and this way we bridge two worlds. Bands like Bloodywood who use the dhol in a metal music context are a step into taking our Indian percussion instruments into a whole new light,” they describe.
They use recording technology to capture ideas that come out of the blue. “There are times when we listen to music and something very small and subtle blows our mind. We then start ideating in that direction,” they explains.
The last song in their debut album THRILLEX features South Indian folk percussion instruments such as tavil, thappattam, parai and thudumbu. “We blended them with very heavy metal guitar riffs,” they recall.
They call for reimagination of such folk instruments to keep their music alive and carried forward. The duo has a lot of jam material that will be used to construct their second album.
Author: Madanmohan Rao
Madanmohan Rao is an author and media consultant from Bangalore, and global correspondent for world music and jazz for World Music Central and Jazzuality. He has written over 15 books on media, management and culture, and is research director for YourStory Media. Madan was formerly World Music Editor at Rave magazine and RJ at WorldSpace, and can be followed on Twitter at @MadanRao.