In a conversation with Loudest.in, he opens up about his journey, creative collaborations, global recognition, the impact he hopes to make, his new album Gandhi, and his vision for the future of the music industry.
.jpg)
Ricky Kej is a globally renowned Indian music composer and environmentalist, and a three-time Grammy Award winner. Known for his powerful fusion of music and activism, Kej uses sound as a force for change,creating compositions that resonate far beyond the stage, inspiring global action for the planet.
In a conversation with Loudest.in, he opens up about his journey, creative collaborations, global recognition, the impact he hopes to make, his new album Gandhi, and his vision for the future of the music industry.
Here are edited excerpts:
Q1.You've now won three Grammys and recently received the Padma Shri,what does this recognition mean to you at this point in your career?
I think every award can be looked at in two ways. One is through the lens of vanity,like, “Yeah, I won this award, so I must be really good,” which I believe is the wrong way to see it. The way I see awards is as a platform.
My music has always focused on social causes,whether it’s environmental issues or something that promotes positive social impact. These are things I feel strongly about. Before I won my first Grammy in 2015, some people took me seriously, and some didn’t. But after winning the Grammy, a lot more people began to take me seriously. That’s why I believe every award is important,it gives you a bigger platform to amplify your message and share your music with a wider audience. It helps elevate your art.
That’s how I look at awards. The Grammys, for instance, are always tied to a specific project,an album or a song. They’re recognition for one particular body of work. The Padma Shri, on the other hand, is very different. It felt more like a lifetime achievement award,recognition for your entire career and who you are as a person. That’s why the Padma Shri is incredibly important to me. In fact, I consider it the greatest honor I’ve ever received, because it acknowledges not just your work, but your life and it comes from your own country, which makes it even more meaningful.
Q2.Your music blends Indian classical with global sounds and environmental themes. How do you approach this balance between message and melody?
I make music about things I feel strongly about. For me, music is a way to express myself. In India, though, the music industry is heavily dominated by the film industry. So much so that whenever I tell someone I’m a composer, the first question they ask is, “Which movie have you composed for?” And if a singer says they’re a singer, the first question they get is, “Have you sung for a movie?” That’s how deeply intertwined the film and music industries are here.
Of course, there have been times,like in the early 2000s,when we saw a big wave of independent pop musicians emerge. Artists like Anida, Namika, Priya, Adnan Sami, Shaan, and Sagarika made their mark. But then things declined again. Now there’s a resurgence happening, though I suspect it may dip once more, because the movie industry and Bollywood music and film industries across India,continue to dominate.
The truth is, very few musicians in India are creating music from the heart. Very few composers are making music that reflects their own thoughts or emotions. Even fewer are making music that expresses their personality. You’ll find composers who claim to care deeply about issues like gender equality and women’s rights,but then they turn around and produce item songs that completely objectify women and portray them in a terrible light.
That’s because many people here see music as just a job. You get paid, you follow a script, you cater to someone else’s vision or to what the audience wants. But I believe music should be an art form that reflects who you are. That’s why I made a decision early on in my career: every piece of music I create must represent my personality.
I had to make a choice,either chase mass popularity by making music that didn’t represent who I am, or risk being less popular but stay true to myself by creating music that reflects me. I chose the latter.
So, whenever I feel strongly about something,whether it's climate change, human-elephant conflict, or natural farming,I dive deep into the topic. I study it thoroughly, gather accurate information, meet with experts, and draw inspiration from them. And then, the music just flows,just like how someone might give a powerful speech or write a meaningful poem about something they care about. That’s how I create my music—it's always rooted in what I truly believe in.
Q3.You’ve long championed the environment through your music. What role do you believe artists can play in driving climate awareness and action?
It’s not just about climate awareness and action,it’s about so much more. I truly believe that with all the problems we face on our planet today,whether they’re environmental issues like climate change, species extinction, deforestation, air and plastic pollution, or social challenges like poverty, hunger, malnutrition, gender inequality, gender-based violence, and lack of access to clean water and sanitation,the greatest threat to us as a species is the mindset that someone else will fix it.
We’re always waiting,for governments, intergovernmental bodies, politicians, and world leaders,to make a difference. But the truth is, real and meaningful change can only happen when we begin by changing our own behavior.
Everyone talks about changing the world, but very few talk about changing themselves and that, I believe, is the most important step when it comes to addressing the climate crisis. This isn’t because people are bad or indifferent. It’s because we’ve been taught, for so long, that we’re insignificant. We’ve internalized this idea that, “If I stop using plastic, will it really make a difference?” or “If I don’t litter, does it really matter?” or “What harm can one small act like throwing garbage into the ocean do?”
But the truth is, it does make a difference. Small, consistent, incremental changes in our daily lives can lead to a massive collective impact.
So, in response to the question: how do we encourage people to believe that they can be the change they want to see in the world? I could give a thousand speeches,it might not make a difference. I could share analytics, graphs, and scientific data and while that information is important, it often doesn’t move people to act.
What does inspire action is emotion. That’s where music comes in. Musicians have the unique ability to take complex ideas and turn them into something emotionally powerful through storytelling, music, and visuals. When you connect with people on an emotional level when you reach their hearts and souls—that’s when real change begins.
That’s why I believe it’s the responsibility of artists,musicians, filmmakers, storytellers to put these messages out there in a way that truly connects with people. Because once people are emotionally moved, they go from being aware to feeling, “Now I must act.” And that’s when transformation truly begins.
Q4.From ‘Shanti Samsara’ to your UN performances, you often create music with purpose. Do you ever feel the pressure to entertain while educating?
You have to. Because the truth is,if your music doesn’t entertain, energize, or emotionally connect with people, then the message behind it won’t matter.
That’s why, at all my concerts, I make it a priority to get the audience singing, dancing, and fully immersed. For those one-and-a-half to two hours, they should feel completely transported. The music has to mesmerize. The art has to be excellent.
Because only when the music truly resonates,when people love it,will they even begin to pay attention to the message. If the art isn’t good enough to hold their attention, the message won’t land.
So the quality of the art must always come first. If you’re a musician trying to say something meaningful, your first job is to be a great artist. The message can only follow once the music moves people.
Q5.Your new album Gandhi was recently released,can you tell us more about it?
Gandhi has always been a hero of mine,not just for leading India’s freedom struggle through nonviolence, but for his progressive stance on deep-rooted social issues like the caste system, women’s rights, and the rights of widows. He was far ahead of his time and inspired not just Indians, but global leaders like Martin Luther King Jr. and Nelson Mandela to launch their own powerful movements.
Another person I deeply admire is Nobel Peace Prize winner Kailash Satyarthi. In 2024, I had the honour of touring with him across four cities. He would speak for 30 minutes, followed by my 90-minute performances. That experience, along with time spent at his inspiring Bal Ashram in Jaipur where rescued children are rehabilitated,sparked many deep conversations between us about Gandhi's legacy.
Interestingly, both my Grammy-winning albums featured tracks dedicated to Gandhi,Winds of Samsara had “Mahatma” and Divine Tides had
“Gandhi.” I’d long wanted to create an entire album around his ideals. So Kailash ji and I decided to do just that. We focused on themes of peace, love, nonviolence, environmental awareness, and spiritual consciousness.
We reimagined five hymns that Gandhi cherished,like Vaishnav Jan To, Raghupati Raghav, The Lord’s Prayer, and Abide With Me and composed six original pieces. The album became a massive global collaboration involving over 200 musicians from 40 countries, with rich orchestration and diverse cultural influences. That’s how Gandhi, the album, was born and we released it on the 14th of this month.
Q6.You’ve collaborated with global icons like Stewart Copeland and the Royal Philharmonic Orchestra. Which collaboration has left a lasting impact on you and why?
Without a doubt, my favourite collaboration has been with Stewart Copeland. We ended up winning two Grammy Awards together for Divine Tides, and the journey behind it is incredibly special to me.
It all started during the pandemic in 2020. Like most of us, I was locked down at home,but thankfully, I had access to my home studio, where I began composing what would eventually become Divine Tides. Early on, I realized I wanted a collaborator,not just to make the process more exciting, but also to push myself creatively and learn from someone truly exceptional.
Stewart Copeland had always been a hero of mine. I had posters of him on my wall growing up, was obsessed with his music, and he’s widely regarded as one of the greatest drummers in history. So I thought,why not reach out? Through a mutual friend, I emailed him some of my early compositions.
To my surprise and delight, Stewart loved the music. I knew he had a passion for global percussion,he’s often picked up ethnic instruments during his travels, but rarely had the opportunity to use them professionally. This album felt like the perfect space for him to experiment with that.
He called me, excited, and we decided to co-create the album together. Everything was remote,he was in Los Angeles, I was in Bengaluru—but over the course of a year, we developed not only the album but a deep friendship. Despite never having met in person, we became incredibly close. I was going through some personal challenges at the time, and Stewart was a huge emotional support. He became like an older brother.
The first time we actually met in person was at the Grammy Awards, where we were nominated. That first hug was a moment I’ll never forget,emotional, surreal, and beautiful. Then we won the Grammy, and it sealed what was already an unforgettable collaboration.
Since then, we've worked on two more albums: Police Beyond Borders and Wild Concerto, which came out in April this year. He also features on my latest album Gandhi, and we’re already discussing our next project.
This collaboration isn’t just about music,it’s about trust, friendship, and mutual respect. And I know it will continue for years to come.
Q7.Can you share a moment or story where your music visibly sparked change or inspired someone to take climate action?
One of the projects I’m most proud of is something I did a while back called My Earth Songs. It’s a collaboration with UNICEF,a collection of 30 children’s rhymes that are all centered around themes of sustainability and the environment.
Each song tackles a different topic in a fun, engaging way. For instance, there's a song that explains what a carbon footprint is, with lyrics like: “I’m going to leave a mark on this Earth, but it’s not going to be a carbon footprint.” We also have songs about endangered animals like rhinos and elephants, a track called Plastic War about fighting single-use plastic, and others focusing on water conservation and environmental awareness.
What makes these songs unique is their tone,they’re full of energy, joy, and hope. We didn’t want to scare or depress children with doom-and-gloom messaging. Instead, we aimed to inspire them through positivity. They’re easy to sing along to,usually, a child picks it up in just one listen.
The impact has been incredible. These songs now appear in nearly 20 million school textbooks across India. The lyrics are printed alongside QR codes, so parents or teachers can scan and instantly play the songs,or free. It’s a completely non-commercial project,anyone can use the songs however they like, with no royalties involved.
Every year, at the start of the school year, we get thousands of messages from children on social media, telling us how the songs have changed their daily habits. Kids tell their parents to turn off the tap while brushing, to stop using plastic, or to be more mindful of the environment. Many schools,over 20,000 across the country,have shared feedback too. Some have gone plastic-free because of student-led initiatives sparked by these songs.
There’s even one school in Delhi where students protested a proposed construction plan that would’ve removed green space and trees from the campus. The kids stood their ground and convinced the school to preserve the area. That kind of impact is deeply moving.
I’ve always believed that the songs we learn in childhood stay with us forever. Unfortunately, many of the classic rhymes we grow up with,like Twinkle Twinkle Little Star or Baa Baa Black Sheep,don’t actually teach us anything meaningful. Worse, some even carry problematic histories. So why not use music to instill values, spark curiosity, and build a better future?
That’s the spirit behind My Earth Songs,fun, memorable music with a message that lasts a lifetime.
Q8.You’ve shown that Indian musicians can make a mark internationally without chasing Bollywood. What’s your message to emerging indie artists in India?
There’s a common misconception among many Indian artists,that to earn Western recognition, you have to sing in English, adopt Western musical styles, or write about non-Indian themes like global politics or events such as 9/11. But that’s simply not true.
In fact, every Indian artist who’s achieved global acclaim,whether it’s a Grammy or widespread international recognition,has done so by staying true to their roots. Think of legends like Pandit Ravi Shankar, Ustad Zakir Hussain, Anoushka Shankar, or Pandit Vishwamohan Bhatt. They didn’t conform to Western styles; they embraced and showcased the richness of Indian music.
If global recognition is your goal, the answer isn’t to imitate the West,it’s to dig deeper into your own culture. Find what makes your sound uniquely Indian. Understand who you are as an artist. Create from that place of honesty and authenticity. When your music reflects your true identity, it resonates,because people everywhere connect with sincerity and originality.
So, instead of trying to become a Western musician, become a deeper version of yourself. That’s how you’ll stand out and be celebrated,on a global stage.
Q9.What’s your perspective on AI in music? Do you personally use it in your creative process?
Yes, I use AI quite extensively in my music. I genuinely believe AI is a powerful tool, especially in music creation. After all, technology has always played a role in music,it’s not something new.
Let me explain. AI is no longer a futuristic concept,it’s a present-day reality. And the sooner we, as creators, accept and embrace it, the better it will be for us in the long run. AI is only going to get more advanced and accessible. So, it's crucial that we learn how to use it creatively.
Technology has always been a part of music. For example, in the early 2000s, there were debates around electronic instruments. You could program a violin or simulate an entire orchestra through a computer. Even human voices and drum kits could be digitally recreated using software and octapads. People feared that real musicians would become obsolete. Why hire a live drummer or a flautist when you could replicate them digitally?
But what actually happened? Only the musicians who lacked creativity and depth became obsolete. The ones who evolved into more thoughtful, expressive performers thrived. Today, I can’t imagine not inviting musicians into the studio. Because when I work with live artists, I’m not just getting an instrument’s sound,I’m getting their ideas, their emotions, their musical instincts. They improvise and bring new life to my compositions, elevating them beyond what I could envision on my own.
So no, technology didn’t replace musicians. It pushed them to evolve.Now, AI is doing the same. Take a filmmaker who wants background music for a horror or comedy film. If all they need is a generic score, they can use AI. It’s fast, it can generate multiple options in seconds, and for simple use cases, it works.
But when a filmmaker wants something unique,something that’s never been heard before,AI falls short. AI learns from existing material. It can’t create what has no precedent. Look at the Oppenheimer score by Ludwig Göransson, or Dune by Hans Zimmer. These soundtracks used instruments in ways that were completely unconventional,sometimes even inventing new ones. Zimmer and his team, for instance, went to a Home Depot, bought pipes, drilled holes, and created custom wind instruments. That level of experimentation and originality? AI can’t replicate it.
So, AI won’t replace good composers,it will replace generic ones. The ones pushing boundaries, creating new sonic languages, will always have a place.
Personally, I use AI for mockups and experimentation. For example, recording a full symphony orchestra can cost $20,000 to $30,000. So before committing, I use AI to generate an orchestral mockup. It helps me hear the composition and decide if I need to make adjustments before spending that kind of money. Sometimes, I use AI to test if a piece sounds better with a flute or a sarangi.
Since I’m not a singer, I also use AI voices to demo my compositions. I write the lyrics and compose the melody, then use AI to generate a vocal version. It gives me a clear idea of how it will sound and helps me guide the singer better during actual recording.
In short, AI is a brilliant tool,but it’s still just that: a tool. It helps speed things up, save costs, and aid experimentation. But it can never replace human creativity, instinct, or emotion. And the musicians and composers who understand that,who use AI without losing their artistic voice,will continue to thrive.
Q10.What’s your take on music royalties and copyrights in India? Are you part of any rights bodies, and how do you see revenue generation shaping up for artists today?
For independent musicians in India, the collection societies aren’t functioning effectively at all. In fact, I’d go so far as to say they’re practically of no use when it comes to supporting indie artists.
Abroad, you have multiple well-functioning organizations,for example, in the U.S., there's BMI, ASCAP, and SESAC; in Australia, there’s ARIA; in South Africa, there's SAMRO. These bodies are far more efficient and inclusive when it comes to independent musicians.
In contrast, the Indian collecting societies tend to primarily serve major labels and artists with extremely popular tracks. Independent musicians often get sidelined, so being part of such organizations doesn’t really offer them any tangible benefits."
Q11.Are there any upcoming projects lined up? Any events we are performing. What's next?
Right now, my focus is entirely on the album Gandhi: Mantras of Compassion. I’ve invested a lot of hard work and resources into it,over 200 musicians from 40 countries have contributed. My heart and soul are in this project, so I want to ensure it gets the attention it deserves.
I plan to dedicate at least the next six months solely to promoting this album. The reality is, as soon as you start working on a new project, the previous one tends to fade into the background,you stop thinking about it and shift all your focus to what's next. I don’t want that to happen here.
This album carries an important message, and if people don’t hear it, then that message is lost. So I’ll continue promoting it for the next few months and only then consider starting something new.
Q12.So how do you see music industry next? 2, 3 years?
Globally, I believe the music industry is going to be significantly disrupted by AI. It’s a reality that everyone in the industry needs to accept and prepare for. That said, I think one major source of income for musicians that will remain relatively untouched,for now is live concerts. AI hasn’t yet figured out how to replicate or disrupt the live concert experience, and I’m not sure it ever truly can.
Personally, I perform a lot,this year alone, I’ve done concerts in more than 13 countries and have already crossed over 40 shows. I do more than 70 concerts a year, and I can confidently say that the energy and connection of a live performance is something AI cannot replace.
However, AI is certainly going to play a powerful role,not just in music creation, but in music dissemination too. It will shape what people listen to and how they discover music. As musicians, we need to embrace that reality and figure out how to benefit from it rather than resist it.
Creativity doesn’t stop at composing a piece of music. It extends to how we market it, how we reach our audiences, and how we make sure people truly hear and appreciate our work. Especially in a genre like mine, which isn’t mainstream, this is critical.
There are two kinds of music: mainstream and non-mainstream. Mainstream music is made with mass appeal in mind,crafted for all ages, regions, and tastes. But when you create niche music like I do, you have to make music from the heart,music that you love first. The real creative challenge then becomes finding your audience, the people who connect with your sound and your message.
We can’t compare our numbers to those of artists like Beyoncé and wonder why her video has 200 million views and ours has only one million. That’s not the right mindset. If you’re making music that you love, it’s your responsibility to find the people who will love it too. That’s part of the creative journey.
So, in the age of AI, musicians will need to be creative not just in making music,but in sharing it, marketing it, and connecting with audiences in authentic ways.