"Follow Trends, But Stay True To Your Sound,That’s The Key To Survive In Bollywood”-Kavita Seth

Kavita Seth is not just a singer; she's a storyteller whose transcends trends. From the meditative ache of “Iktara” (Wake Up Sid) to the yearning in “Tum Hi Ho Bandhu” (Cocktail), seth brings soul to sound. In an industry that often prizes volume over vulnerability, she remains a quiet powerhouse—rooted in Sufi traditions, yet open to sonic experimentation.

In an exclusive conversation with Loudest.in, Seth opens up about the evolving dynamics of the Bollywood industry and shares insights into her latest track “Khumari” from the upcoming film Kesari 2.

Here are edited excerpts:

Q1. Your voice has long acted as a bridge between tradition and modernity. How conscious are you of that role when approaching a Bollywood project?

My approach to songs has always been the same. Whether I’m working on a Bollywood project or something else, my focus has always been poetry-centric. If the poetry is good, then everything else is built around that. So, you could say that it naturally becomes a beautiful blend of modern and traditional elements; it just feels right. That has always been my approach. My songs are always centered around poetry.

Q2.Your songs often carry a spiritual or poetic undercurrent, in contrast to the commercial pop that dominates Bollywood. Do you believe there’s still space for depth and nuance in mainstream cinema music today?

Yes, absolutely, I agree. If that weren’t the case, I wouldn’t have been able to sustain myself in Mumbai for the past twenty years, working both in the mainstream and independently. That means there is definitely a demand for people who listen to and appreciate my kind of music. Commercial music has its own place, of course, but at the same time, people do crave something meaningful.

When a film is releasing, songs with more mass appeal flashy and upbeat are often used for promotion. But regardless of whether a film does well or not, a good, meaningful song tends to stay in people’s minds for a long time. That’s always been my approach to work. Maybe that’s why people are liking it. And more than anything else, it gives me deep personal satisfaction that I’m able to create the kind of work I truly want to do.

Q3.With "Khumaari," you’ve brought the ghazal into a contemporary soundscape. How do you preserve its soul while making it resonate with a digital-age audience?

When we composed Khumaari, we approached it in our own way. We wanted it to be a raag-based composition. Later, during a jamming session with Kanishk, I shared it with him, and he felt like he could shape it in a jazz style, based on the situation in the film. So when we combined both styles, it turned into something really beautiful.

Now, coming to your question about the digital-age audience they still appreciate anything that’s soulful, anything that touches them deeply. No matter how mechanical or tech-savvy the world becomes, real peace is found in nature. Even if you work with computers all day, when you need a moment of calm, you often turn to nature and it feels good. This music is just like that.

The purer the music is, the more it connects. Sure, there’s all kinds of techno and electronic music out there, and people do listen to it all but when you hear something spiritual or calming, it gives a kind of peace that nothing else does. So I think music like this appeals to audiences of all ages.

Q4.From “Tumhi Ho Bandhu” to a potential Cocktail 2 soundtrack, how do you envision blending your spiritual and folk-rooted sensibilities into today’s electronic- and pop-heavy Bollywood soundscape?

I think what I said in the third answer also applies here. There's a similarity that’s essentially my answer to this question too. In today’s pop-heavy Bollywood soundscape, the way my voice fits in is by offering something that connects with people on a deeper level. If my voice brings someone peace or comfort, that’s what draws them in.

As for Cocktail 2, I don’t know much. I've only heard the announcement. If they ask me to sing, I’d love to. Whether it's a new version of Tumhi Ho Bandhu or something entirely fresh, we’ll see what the situation calls for at the time. People today are open to different sounds. For example, I’ve collaborated with DJ KSHMR, who is a major electronic artist. I’m doing a lot of collaborations with artists across different soundscapes, and I’m enjoying discovering how my voice fits into each one.

I’m always open to experimenting. It all depends on the creator’s vision. My role is to see how I can shape and present my voice, and how the other artist can play with that to uplift the song. Sometimes, these collaborations bring out entirely new shades in the music.

Q5.Collaborating with your son Kanishk on Khumaari adds a personal layer to the music—how has this creative partnership evolved your relationship, both musically and emotionally??

While we do share a mother-son relationship, that never interferes with our work. We make a conscious effort to prioritize the project we’re working on whether it’s a particular song or subject, the focus is always on creating something meaningful.

When I compose something, I share it with Kanishk, we discuss how to enhance it, what style to bring to it, and we work on it together. I think we’re evolving every day as collaborators, constantly trying to make each new project better than the last. That growth both musical and emotional keeps us creatively connected.

Q6.You’ve seamlessly moved across indie, film, and devotional music. How do you maintain a consistent artistic identity while navigating such diverse musical landscapes?

I don’t think any artist wants to be confined or tied down and that’s my approach too. I sing what I genuinely enjoy. Sometimes it’s a bhajan, sometimes it’s a poem, a ghazal, or a film song. I simply follow what I feel drawn to at the moment.

But whatever I do, I give it my 100% with complete devotion and dedication. That’s what makes it fulfilling. In fact, I feel like I’m constantly exploring and rediscovering myself through music. I ask myself, “I’ve done this now, what's next?” So in that way, my journey is a search for my own self.

Just keep watching, there's always something new around the corner.

Q7.As more women take the lead as composers and music directors, how do you view your own legacy—not just as a voice, but as a creative force shaping the path for the next generation?

Yes, it's true that there have been fewer female composers in India, but that’s changing now. More and more women are stepping forward, and it feels really good to see.

Honestly, I never gave it much thought. I’ve been composing since childhood, but people are only now beginning to recognize me as a composer. Earlier, I used to hesitate. I wouldn't openly say that I compose music. But I’ve come out of that fear now.

I want the next generation, especially young women, to step forward with confidence, without hesitation. Show your art to the world. There will always be all kinds of people, but if you do good work, it will be appreciated.

So my message to the next generation is: don’t hide your talent. Step up, share your work, and keep creating, give it your best, always.