Renowned lyricist and screenwriter Javed Akhtar recently delivered a cultural critique, reflecting on the growing preference for Western musical styles in India. Speaking alongside filmmaker Imtiaz Ali at a public event tied to the theatrical re-release of the film 1942: A Love Story, Akhtar argued that contemporary Indian commercial music risks trading its distinct emotional core for imported production trends that even Western markets have begun to abandon.
India Is a Country of Singers, Not Just Listeners
At the center of Akhtar’s commentary lies a fundamental divergence in how communities engage with music. According to Akhtar, the West treats music primarily as an auditory product meant for consumption. “In the West, music is made to be heard. There, the common man doesn’t sing,” he explained during the panel discussion, as reported by Rame Global. By contrast, Akhtar emphasized that India operates under a different cultural paradigm. “India is a country of singers. Our connection to music is different.”
This participatory tradition runs through social rituals, spiritual practices, and daily life. From folk tunes echoing across rural landscapes to devotional bhajans in temples, music in India has long been a participatory experience. Yet, Akhtar warned that modern production pipelines are diluting this heritage by manufacturing tracks that lack cultural necessity. “Today, we’re creating music that isn’t really needed,” he stated, pointing to a proliferation of mechanical beats and digital enhancement over authentic lyrical depth.
Echoes of Lata Mangeshkar and the Reality Show Indicator
To illustrate the creative deficit in contemporary composition, Akhtar invoked a witticism from the legendary singer Lata Mangeshkar. Reflecting on shifting industry standards, Mangeshkar once observed that earlier, “music was made to give singers some rest, but nowadays, music is such that music gets some rest.” This observation underscores a sentiment among industry veterans regarding the modern prioritization of rhythm, beats, and digital enhancement over melody, lyricism, and emotional depth.
Akhtar pointed to a telling indicator of this disconnect: the song choices of contestants on television singing reality shows. Instead of performing recent releases, young children appearing on these programs overwhelmingly gravitate toward compositions from 30 or 40 years ago. “Kids come to singing shows and they sing 40-year-old songs, not those which were released a few days ago,” Akhtar noted, as highlighted by India New England. For the veteran lyricist, this enduring reliance on legacy tracks suggests a lack of lasting impact in today’s music.
The Irony of Chasing Declining Western Trends
Beyond creative stagnation, Akhtar took aim at the adoption of foreign musical stylings. He questioned why Indian composers and producers actively chase Western genres that Western audiences themselves have already started to move away from. This creates an irony where India, with its robust musical traditions, risks trading its originality for borrowed aesthetics that may not resonate globally anymore.
Defending Diljit Dosanjh Amid Geopolitical Backlash
Shifting from music production to cultural politics, the conversation also addressed the recent controversy surrounding singer-actor Diljit Dosanjh. Dosanjh faced public criticism for casting Pakistani actress Hania Aamir in his upcoming feature film Sardaar Ji 3, sparking debates over nationalism and cross-border tensions. Akhtar stepped forward to defend Dosanjh, arguing that the backlash was unwarranted.
“How was he to know? Pakistan won’t lose money over this—our own countryman will. Laws can’t be applied retrospectively,” Akhtar asserted regarding the timeline of the film’s production. He urged regulatory bodies to exercise moderation rather than punitive measures. “The Censor Board and the government should approach this with sympathy. They can say it shouldn’t happen again, but punishing this now isn’t fair.”
Filmmaker Imtiaz Ali, who shared the stage during the discussion, echoed sentiments regarding Dosanjh’s integrity. According to coverage from India New England, Ali defended the artist’s character by emphasizing his public demonstrations of national pride. “I can’t comment on the controversy directly, but I know Diljit. He’s full of patriotic spirit. He’s a son of the soil. At all his concerts, he proudly waves the Indian flag. He’s not someone who pretends.”
The Path Forward for the Indian Soundscape
As 1942: A Love Story returns to the big screen, Akhtar’s critique challenges both creators and consumers to reexamine the value placed on indigenous originality versus fleeting global trends.
