When Farah contacted me and told me the story and vision behind the project I was immediately interested. Our premiere performance in San Francisco was a highlight in my career, and I hope to bring those vibes to the LA premiere.
What is it like playing with a dancer and specifically, this story/project? How is it different from other projects you have worked on?
Though I had worked once with a dancer before, this project is different than that because it features a story, set cues, and a lot more content-related music. It’s definitely a bit more challenging but also really fun, and I really appreciate that music is such an integral part of telling the story.
You are one of those young artists who has found a way to maintain a deep commitment to the classical style, but also do a lot of work in the realm of fusion type of music. How do you balance those two areas, and what have been the challenges in doing so?
Playing Indian Classical music and doing fusion music has opened up a lot of opportunities for me. Because I was classically trained since childhood, I prioritize highlighting the musical aspect of that in every fusion thing I do. I think some of the challenges that arise in particular is finding an identity. In the end of the day, I do want to be recognized as an Indian Classical musician but I also do not want to be categorized as just one type of musician. Overall, it’s been a good challenge because it pushes me to immerse and familiarize myself in new styles of music as well as styles I’m familiar with.
In 2014, you released a new album. Can you tell us a little more about that and what else you have coming up?
I released my first solo album on October 2014 titled Beach Chair. It was the first time I displayed my music productions and original compositions on a body of work. Currently, I’m working on more music production and collaborating with a few artists and will also have my own single out in the next few months.
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