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Artist Profiles: Kiran Ahluwalia

Kiran Ahluwalia

Kiran Ahluwalia is a performer of two distinct styles of vocal music from the Indian subcontinent, now divided into India and Pakistan. Kiran sings ghazals and Punjabi folk songs.

The word ghazal is an Arabic word that means “to talk to women.” Given that men have traditionally spoken to women a great deal about lovethe name attached itself to a form of poetic sung verse that originated in Persia about 1000 years ago and reached India around 400 years later. This happened about 600 years before Kiran Ahluwalia was born but was to have a profound effect on her life.

Kiran Ahluwalia was born in the state of Bihar in Northern India to Punjabi parents. The family moved to New Zealand for the first four years of Kiran”s life and back to India for another five before moving to Canada where Kiran grew up, in Toronto.

In the seventies the Indian community in Toronto was relatively small. Cultural events took place in people’s homes. Singers would perform in basements and living roomsconcerts were promoted by word of mouth. These concerts were not primarily for children. They featured a repertoire, language and content that was both demanding and beyond the experience of a child. Kiran was, however, entranced by the sound and feel of the music.

Later, like many other children of immigrants, she went to classes in the dance and music of her country of origin, and performed occasionally at her home or those of friends of her parents. And there it might have ended if Kiran had not “got the itch” as she describes it.

Having graduated from the University of Toronto with a degree in Industrial Relations, Kiran was ensconced in the Human Resources department of a credit union. Educated and employed, her parents were beginning to raise the next item on a young woman”s agenda – marriage. Kiran, however, was haunted by a recurring vision of waking up as an old woman and realizing she had never done the one thing she really wanted to do – pursue music as a full time occupation.

Having studied Indian music on a part-time basis throughout high school and university, in 1990 she quit the job and went to India to immerse herself in the rigorous life of a full time music student. Her parents were dismayed. “Doors were slammed and tears were shed,” says Kiran. “But they saw that I was adamant about it and this was something I needed to do. And before I boarded the plane for India, I had their support.”

Everything was hard: finding the right teacher, the studying, the loneliness, the culture shock, the weather, the life of a single woman in a patriarchal society. But when Kiran Ahluwalia came home she knew she had found what she really wanted to do.

After receiving her training in classical music in Bombay, she traveled to Hyderabad. There she found Vithal Rao, one of the last living court musicians of the Nizam (King) of Hyderabad. A man of legendary vocal ability and kindness, he is a living link to the centuries old ghazal tradition. Rao took on Kiran as his student. She was exposed to a bygone era, a time before Indian independence when princes and kings employed court musicians to put music to poetry. Rao entered the palace of the King of Hyderabad as a young boy and carries rich memories of those days; memories that he passed onto Kiran along with the techniques and intricacies of ghazal performance and composition. She returns regularly to India to continue her studies in greater depth with this living master of the ghazal tradition.

It was monsoon season in Bombay when I called Vithal Rao,” Kiran recalls. “I went into a phone booth”it was noisy with all the rain pouring down as I dialed. I spent three minutes explaining who I was, where I”d come from, and that I wanted to come and learn from him. To this, he simply replied, “Well, then when are you coming”” And within a couple of days I was on a train from Bombay to Hyderabad.”

Kiran Ahluwalia

Although her family is originally from Punjab, Kiran herself had never visited the region until the mid 1990s. Taking advantage of an extended period of study in India, Kiran decided it was time to learn first hand the folk songs of her ancestral region. Traveling to small villages Kiran immersed herself in the daily life and celebrations. She spent time with a number of traditional singers absorbing their style and approach and regularly performs some of these songs. “I was familiar with Punjabi music from the club scene, bhangra and all of that. But I was more interested in the acoustic roots Punjabi music. And I always had my eyes out for poetry books and scholars for new material that I could compose.”

For the last years Kiran has bounced between studies in India, performances in Canada and the United States, and more mundane pursuits: she picked up an MBA in Halifax and spent six months as a bond trader in Toronto. She discovered her musical skills and business degree could land her jobs closer to her art. She worked for Saturday Night Magazine, helped produce three segments for Women”s Televison Network (WTN), and spent a year at CBC radio, producing for Global Village, Two New Hours, and Stereo Morning. She even managed to get some Indian music on the air.

For the next two years, first in New York and then in San Francisco, she worked as Assistant General Manager of Putumayo World Music, a leading North American world music record label. While helping to sell other people”s recordings Kiran planned how to make her own.

Finally in June of 2000 Kiran decided to return home to Toronto and throw herself fully into a life devoted to the making of her own music. Kiran finished her first full length recording, Kashish – Attraction. She found the musicians in Canada and England to realize her vision on stage, and began to share with audiences one of the grea t vocal traditions of the world”s cultures.

Kiran is not only an interpreter of ghazals but has composed music for several poems. Her own compositions are firmly rooted in the tradition while taking a modem turn. Kiran Ahluwalia has become an organic part of the long line of singers who have preserved and reinvented the ghazal form over the last thousand years, just as she has.

Kiran Ahluwalia performs in several different configurations depending on the nature of the event. On her first recording she was able to work with some extremely talented musicians, one of whom is Canadian, the other two coming from the vibrant South Asian music scene in England. She toured with this ensemble in the summer of 2001.

In 2004 Kiran”s CD Boundaries won the 2004 Juno Award for Best World Music album.

Kiran”s self-titled CD (released May 31, 2005 on Triloka Records) features new ghazals she composed. In this sense, Kiran may be one of the only composers of contemporary ghazals in Canada and even the Western Hemisphere. Because there is such a vast repertoire of this music today, there are very few ghazal composers, even in India. Singers usually stick to the true classics. But Kiran has long been on a path to mastery so that she could one day compose for the sensual and highly literary poetic form.

It started with learning songs from her parents, both ghazals as well as Punjabi folk songs. “When I was growing up in India, very few people had recordings of any kind,” Kiran recalls. “There were state sponsored concerts that people from all over would walk to and crowd into. While some children would get bored, I was perfectly content taking it in, even if I had to stand up the whole time. We had lived in New Zealand for a time and on the way back to India my father bought a reel-to-reel tape player in Hong Kong. We would listen to tapes of Indian music. We would also listen to Bollywood on the radio, and when a song came on that I wanted to learn, my mother would quickly write down the lyrics for me.”

With all the traveling and searching, quite a surprise was in store for Kiran much closer to home in Toronto. “One day a poet friend of my mother invited us to a recital of various poets belonging to an organization called Punjabi Kalma da Kafla (Caravan of Punjabi Pens),” says Kiran. “This turned into an immensely important night. Imagine how ecstatic I felt; I sing in a genre that emerged in Persia in the 10th century and traveled to India in the 14th century, and here we were in the present day. I was composing music in this genre and I found poets writing beautiful lyrics in this poetic form of ghazals right here in Canada. A huge door opened up for me.” Kiran composed for one of the poems she heard that night and she and this circle of poets became a part of the evolution of ghazals, thousands of miles away from the song forms origins.

On her self-titled CD, Kiran Ahluwalia, she further cements her Canadian roots on two previously unreleased collaborations with Cape Breton Celtic fiddler Natalie MacMaster. “What a thrill to be brought into Kiran’s world of Indian music,” Natalie says. “Her voice is beautiful, natural and so capable and she is a great talent and a wonderful person. It was a pleasure to have the opportunity and I think we created some very special music together.”

Kiran’s 2011 album Aam Zameen – Common Ground won the 2012 Juno Award, World Music Album of the Year. The album is the result of a close collaboration with Tuareg band Tinariwen. Aam Zameen – Common Ground’s influences span four continents and mixes contemporary Indian song with Saharan desert blues. Produced by Justin Adams (Robert Plant, Tinariwen) and Rez Abbasi in France, the U.K. and Canada, Aam Zameen – Common Ground also features guitar work by both. Ahluwalia and Tinariwen are joined on the record by fellow Tuareg artists Terakaft and Gambian ritti player Juldeh Camara, who lends his craft to several tracks.

The album’s lead track “Mustt Mustt,” a cover of the Nusrat Fateh Ali Khan classic, signifies the border-crossing nature of the album: a song from Pakistani Islamic tradition performed by Ahluwalia, her band and the northern Malian musicians of Tinariwen. According to Ahluwalia it was not long before the musicians settled upon a firm musical common ground. “The hand claps of Tinariwen were different in style but similar to the concept of hand claps in qawwali,” she notes, “and the call and response between the main vocalist and the rest of the group was also something familiar to their own music.”

Her 2018 album, 7 Billion is a combination of blues, R&B, rock, and jazz with Indian vocals. In Kiran’s words, “When you take different styles and merge them together and you don’t want a simple cut and paste then you’re really developing a new hybrid genre. There are blueprints to help you. For me it’s important to blur the musical boundaries between my Indian background, influences from Western sounds and the things I love from West Africa namely Mali. It’s incredibly invigorating when I feel a connection in expressions from different cultures and then figure out ways to connect them seamlessly in my music. Those moments of discovery are nothing short of sublime. It’s really the essence of everything for me.”

Kiran’s songs speak of fighting civil wars within ourselves, realizing female desire by throwing away shame, untying knots that bind us to stale embraces, seducing a shy lover, of not having learned how to live, and about rage against the middlemen and institutionalization of religion. The album also includes her composition of a 1990s Pakistani Urdu feminist poem – We Sinful Women.

Saat (seven) – the title song of 7 Billion explores aspects of cultural intolerance – the loss of ‘brotherhood’ in mankind. Says Kiran, “It is a theme close to my personal experience. My story is that of an immigrant born in India and raised in Canada. As an immigrant child the hardships we faced were touted as temporary – the effects were permanent. On the one hand, I developed a wonderful double culture – two sets of wardrobe and multiple languages to think in. On the other, I developed conflicting etiquettes and ways of doing things that were neither ‘fully’ Indian nor ‘fully’ Canadian. The earth now holds seven billion people; for me this means there are seven billion unique ways of interpreting things. Yet wherever we live, the majority’s way of doing things becomes the norm; and whatever is different and foreign can be easily mistrusted. The consequence in a large immigrant based population such as ours is cultural intolerance and difficulty in embracing newness.”

Kiran currently lives in New York City.


Kashish — Attraction (Kiran Music, 2000)
Beyond Boundaries (Kiran Music, 2003)
Kiran Ahluwalia (Triloka Records, 2005) 2005
Wanderlust (Four Quarters Entertainment, 2007)
Aam Zameen – Common Ground (Kiran Music, 2011)
Sanata – Stillness (Magenta, 2014)
7 Billion (2018)


Invigorating Cross-Genre Expressions by Kiran Ahluwalia

Kiran Ahluwalia – 7 billion (Kiran Music, 2018)

Composer and vocalist Kiran Ahluwalia is an explorer and innovator in the field of modern Indian music. On her 6-track album 7 Billion she incorporates the energy of electric guitar, organ and bass, along with drum set, tabla and global percussion.

7 billion is progressive world fusion, where fascinating South Asian traditions and Indian-language vocals are combined with irresistible funk, powerful rock, and tasty Saharan desert blues.

The band on 7 Billion includes her producer husband Rez Abbasi on guitar; Louis Simao on organ, accordion and synthesizer; Rich Brown on electric bass; Davide Direnzo on drums; Nitin Mitta on tabla; and Mark Duggan on jembe and hand percussion.



7 billion is a beautifully-crafted album where various global music traditions are connected impeccably.

Buy 7 billion


Mundial Montreal & Drom to Present Showcase Today

Mundial Montreal & Drom will present several free world music showcases today, Friday, January 6 at the Drom club in New York City.

The selection includes

7:00 p.m.
Roopa Panesar
(London, UK)
British-Indian sitar master

7:45 p.m.
Kiran Ahluwalia
(Toronto, Canada)
Contemporary Indian with Saharan desert blues

8:30 p.m.
(Montreal, Canada)
A mix of Balkan and Quebecois music

9:15 p.m.
Leyla McCalla
(New Orleans, USA)
A rising star in the American roots music movement, Leyla will deliver American folk, jazz, Cajun and Haitian music.

10:00 p.m.
Betty Bonifasi
(Montreal, Canada)
Tribute to prison songs collected by Alan Lomax.

10:45 p.m.
Banda Magda
Jazz, world music, Latibn American and more by this ensemble led by Greek-artist Magda Giannikou.

10:45 p.m.
Vox Sambou
(Montreal, Canada)
Traditional Haitian rhythms fused with reggae & hip hop
11:30 p.m.

Orkesta Mendoza
12:30 a.m.
Mexican-style cumbia, mambo and rancheras plus psychedelia from the American southwest.

85 Avenue A New York, NY 10009
Phone: (212) 777-1157


Kiran, Ghazals To Die For

Kiran Ahluwalia - Kiran Ahluwalia
Kiran Ahluwalia – Kiran Ahluwalia

Kiran Ahluwalia

Kiran Ahluwalia (Triloka Records, 2005)

It’s a long time since we’ve heard ghazal in a crossed-over format as good as this. The blend of western and eastern musicians, instruments and styles gels perfectly behind Kiran Ahluwalia’s impeccable vocal delivery, the like of which we’ve not heard since Najma Akhtar’s groundbreaking series for Triple Earth records back in the late 80s/early 90s.

Kiran was born & raised in Toronto, Canada’s most successfully integrated city and scene of a growing world music network which brings together musicians from many diverse cultures. The ever-so-subtle coalescence of instrumentation, under the direction of producers of Andrew Hurlbut and Rez Abbasi brings together instruments from the Indian classical tradition, such as sarangi, tanpura, harmonium and a variety of percussion with guitar, fiddle and kit drums.

Kiran’s vocal touch has all of the delicacy and intricacy of the finest classically-trained singers, her ability to slide through scales with quiet potency stands her out as a sublime performer. Supernatant in the mix, the clarity and consistency of her vocal tone sustains the interest throughout this long set of 10 (mostly) self-penned songs.

The arrangements develop nicely and the mid-to-dance pace set on most of the songs is an encouragement to the feet as well as the ear. With brief but informative sleeve notes and lyrics in original Punjabi & Urdu and, thankfully, in English translation to further enhance one’s enjoyment.

A softly-tread entry onto the international stage and a sign of great things to come from this beautiful young singer.


Enthralling Ghazals

Kiran Ahluwalia – Kiran Ahluwalia
Kiran Ahluwalia – Kiran Ahluwalia (Triloka/Artemis TRI-CD-82055, 2005)

The musical style called ghazal (not to be confused with the duo of the same name) originated in Persia ten centuries ago and crossed over to India a few hundred years after that. Ghazals are, in essence, poems set to music, and to this day it’s a form that’s neither strictly classical nor popular but very much its own.

Indian-born, Canadian-raised Kiran Ahluwalia developed a passion for ghazals as well as Punjabi folk music at an early age, carrying that passion halfway around the world when she moved with her parents to Toronto. Against their wishes she decided to pursue music full time, making her way back to India to study classical formats and the poetic structures that are at the heart of ghazal (the latter was more elusive, since there are not too many ghazal masters in the limelight these days). It’s to our great benefit that Ahluwalia was thus driven, since the result is her new self-titled CD.

With so much new Indian music veering toward the club-friendly bhangra style and the like, it’s refreshing to hear an emerging artist not only aiming more for the roots but doing it from a home base in Canada that may well make her the only composer of contemporary ghazals in the Western Hemisphere. And while the disc is clearly built around the strength of Ahluwalia’s original ghazals (her music, others’ words), she tackles some traditional Punjabi songs that are equally lovely.

Dense but lilting foundations of tabla, sarangi, harmonium and other familiar Indian instruments are heard, enveloping Ahluwalia’s clear, agile high vocal tones as she sings poetic/parabolic lyrics dealing mainly with love on various levels.

Opening up the fusion possibilities of ghazal a bit, some songs echo with a folksy feel one might associate with Ahluwalia’s adopted homeland, including typically fine fiddling by Cape Breton’s Natalie MacMaster. An inspired and heartfelt album, sure to please.

Buy Kiran Ahluwalia