Bollywood songs of the year – Beyond Bollywood

Stalwart A.R. Rahman returned to form with Chamkila, while Sachin-Jigar had a prolific year, delivering one chartbuster after another. It’s hard to keep Arijit Singh down, but others also made an impression. A couple of unheralded female playback singers announced themselves on the big stage.

By Mayur Lookhar

Without music, life would be a blank canvas, devoid of colours, emotions, and the pulse that keeps the heart alive. Thankfully, Indian cinema’s legacy is built around its music. In the modern era, playback singing has taken a bit of a backseat, but a good song is likely to spread the word about a film more effectively than PR-orchestrated trailer launches or dull celebrity interviews. While not necessarily tied to box office success, 2024 has seen some promotional songs hype up a few films.

Every era has its flavour, and in recent years, Bollywood playback singing has acquired a Western influence. This year, even some rural-based stories have adopted that flavour. Then again, music has no language. What truly matters is: does your music appeal to the audience at large? That’s not to say we didn’t hear some Hindustani playback tracks.

In 2024, stalwart A.R. Rahman returned to form with Chamkila, while the composer duo of Sachin-Jigar had a prolific year, delivering one chartbuster after another. It’s hard to keep Arijit Singh down, but others also made an impression. A couple of unheralded female playback singers announced themselves on the big stage.  One may be surprised by a few omissions, mainly Doubtwa and O Sajni Re from Laapataa Ladies, which, though popular, were more appreciated in the film’s context but didn’t have much recall value afterward. Similarly, the popular Tauba Tauba track from Bad Newz saw Vicky Kaushal mesmerising audiences with his dance moves, but the rest of the track didn’t leave much of an impact.

Hard luck to them, but without further ado, Beyond Bollywood presents the most memorable Hindi film songs of the year.

14 Heer Aasmani – Fighter

The film didn’t soar, but the Heer Aasmani track showcased how Hrithik Roshan’s true love in the film was flying. The lyrics are simple, but the Vishal-Shekhar composition and B Praak’s jet-like vocals certainly took off in the minds of listeners. How’s the josh? Certainly high for our Fighter Hrithik Roshan.

13 Nazar Teri Toofan – Merry Christmas

Over the years, Pritam has rightly prioritized quality over quantity. The ace Bollywood composer scored the soundtrack for Sriram Raghavan’s Merry Christmas. Opinions are divided, but most would agree that the best part of the film is the first 30-40 minutes, where Maria (Katrina Kaif) and Albert (Vijay Sethupathi), though strangers, feel as if they have known each other for years. You get lost in these moments, reflected in the soulful number Nazar Teri Toofan. Varun Grover’s fine lyrics complement Pritam’s beautiful Western score, and Papon’s enchanting vocals.

12 Tenu Sang Rakhna – Jigra

Karan Johar-produced Jigra didn’t appeal much to audiences and critics alike. Yours truly was among the few who were moved by the Vasan Bala directorial. One of the positives to come out of Jigra was its music, which blended finely with the corresponding scenes. Achint Thakkar’s composition Tenu Sang Rakhna was our pick from the Jigra soundtrack.

Good lyrics are like gold dust, and one can trust Varun Grover to pen words that have a profound meaning in the context of the story. The lyrics are a mix of Punjabi with a few Hindi words. The opening line Tara na disse, ya chaann kho jave is a poetic expression often used to convey feelings of longing, loss, or a missing presence. Jigra’s sibling saga has Satyabhama (Alia Bhatt) missing her brother Ankur (Vedang Raina), who is facing a death sentence in a fictitious foreign land. Grover’s lyrics reflect the internal turmoil of the siblings, particularly Satya. But the lady doesn’t care if the stars don’t appear, or the moon loses its light, or an army arrives; the elder sister is determined to rescue her brother and ensure he is always by her side. After all, he is the only family she has. Grover’s fine lyrics play to a soft, soulful melody by Achint Thakkar. Arijit Singh is the master of ballads, but it’s the female vocalists who impress here. As the first name in the credits, we presume Anumati to be the lead female voice of this song. Thakkar is the last name in the credits, and you wonder what her contribution is. Is it the recurring gentle opening ‘huh’? It doesn’t matter, as this is a fine team display. Arijit and Anumati’s closing relay is a true delight. If you appreciate good music, then this Achint Thakkar ballad should be a must in your 2024 playlist.

11 Aayi Nai – Stree 2

A horror film and a fun song – this was unimaginable in the days of traditional desi horror. Comedy has now blended into the genre, paving the way for entertaining tracks with mass appeal. Stree had the brilliant Aao Kabhi Haveli Pe track. Six years later, Sachin-Jigar have brought the fun to the fields in Stree 2. While in the first film, Kriti Sanon invited a date to the haveli, in Stree 2, the guy laments how the girl promised to come but didn’t show up. Aayi Nai is highly enjoyable for its choreography, with the hook step naturally going viral on reels and shorts. Rajkummar Rao surprises with his energy and vibrant dance moves, but it’s Shraddha Kapoor who steals the show, charming us with her expressions, desi attire, and sparkling dance.

The simple lyrics by Amitabh Bhattacharya come alive with groovy music, which is largely desi but with hook beats that have dancehall vibes—similar to Sean Paul’s Temperature. The opening pungi (been) tune sets the tone for the rest of the composition. Pankaj Tripathi adds a pause to the rhythm, but even that is enjoyable. The singing is a collective effort by Pawan Singh, Simran Choudhary, Divya Kumar, with additional vocals by Sachin-Jigar. With Pawan Singh leading, the song naturally carries a catchy Bhojpuri flavour.

One of the most underrated aspects of the song is the costumes and props. The women, clad in sleeveless sarees, perform the hook steps with ease, while the men, mostly seated and nodding in their conical hats, add a quirky touch. Set against the backdrop of sunflower fields, the visuals are vibrant and playful. It would be unfair to label Aayi Nai as just a massy number; even connoisseurs would appreciate its lyrical, creative, and visual appeal.

10 Naina – Crew

Hindi cinema hasn’t quite done justice to actor-singer Diljit Dosanjh. His stardom shines brightest in his music, especially his concerts. Dosanjh is very selective about his playback singing, only agreeing to Bollywood songs that feel right to him. The tunes of Naina from the comedy film Crew were hard to ignore, especially with Dosanjh sharing the stage with the likes of Kriti Sanon, Tabu, and Kareena Kapoor. This promotional video song is arguably the film’s highlight. Raj Ranjodh’s music flows like a gentle breeze, while the lyrics and picturisation give wings to a voyeuristic passenger’s flight of fancy. If the crew features stewards like Kriti, Kareena, and Tabu, who could blame them? Farah Khan, as the song director, ensures you can’t take your eyes off the trio. However, Diljit’s melodious tone is equally captivating, making Badshah’s rap feel somewhat like a distraction. Thankfully, composer Raj Ranjodh limits Badshah’s contribution, allowing Diljit to beautifully close the track. The soft pop vibe lingers with you long after the song ends.

9 Soni Soni – Ishq Vishk Rebound

The song title might lull you into believing that this could be another Hindi-Punjabi track using the overdone word soni. However, the opening electric guitar riffs make it clear that this Soni Soni is a breath of fresh air. Gurpreet Saini’s lyrics are desi, but Rochak Kohli’s soft pop score will have you hitting the dance floor in a jiffy. In fact, this breezy number is perfect for a beach party. While we’re not sure if the song was shot near the sea, the overflowing spirit of the track makes it clear that this is a moment to revel in fun and love. Darshan Rawal’s mellow and even slightly tipsy tone complements the lyrics beautifully. Jonita Gandhi adds energy and passion to the antara, yet maintains a mellow vibe. She complements Rawal’s tipsy tone perfectly. Perhaps Rochak Kohli has added a dash of Soni Soni (vocals) to the track. The choreography may not be perfect, but that hardly matters when the spirit is flowing through your veins. Rohit Saraf and Pashmina Roshan share great chemistry here. We may not know about Ishq Vishk, but this song certainly rebounds again and again.

8 Akhiyaan Gulaab – Teri Baaton Mein Aisa Uljha Jiya

Two years ago, Indi-pop artists Anmol Ashish and Pratik Singh from Gorakhpur shot to the limelight with the Akhiyaan track. That’s how Mitraz came about. Maddock Films roped in Mitraz for their quirky science fiction love story Teri Baaton Mein Aisa Uljha Jiya. The only memorable aspect of the film was the Akhiyaan Gulaab track. Don’t look for voice quality, because this is a heavy DAW composition. However, the intro lyrics and the singing are full of deep passion. The lyrics by Mitraz are slightly better than their popular Indi tracks. It’s the digital music that has the nation, and the globe, in a trance. Pop a few spirits, turn on the Akhiyaan Gulaab track, and most will be grooving. The song, and a particular tune, has similar vibes to Oliver Cheatham’s 1983 party track Getdown Saturday Night. The desi pop, though, has its own flavour.

Vijay Ganguly’s saucy dance moves were bound to be enjoyed by lead actors Shahid Kapoor and Kriti Sanon. Unsurprisingly, the hook steps became a global rage, as seen from the millions of Reels/Shorts. Kriti Sanon’s sex appeal also added to the song’s global reach. Though usually not a fan of contemporary Bollywood pop, the sheer magic of Akhiyaan Gulaab’s music won us over. Unfortunate though, after this success, Mitraz suffered a jolt as Pratik left the band to pursue other goals.

7 Aaj Ki Raat – Stree 2

Keep the music aside, Amitabh Bhattacharya’s lyrics, lead vocalist Madhubanti’s singing style, and Aaj Ki Raat would perhaps have been a quasi-ghazal song in a Bollywood film from the golden era. Though not a ghazal, for some reason, the core melody in Aaj Ki Raat partly rekindled memories of Mohammed Rafi crooning the second verse, “Khuda kare ke qayamat ho aur tu aaye,” from the couplet in the classic song Hum Intezaar Karenge. We’re in 2024, and music labels might not find ghazals saleable, so Sachin-Jigar gave it a rollicking desi pop score. What’s admirable is that Madhubanti remains unaffected by the pop score, crooning in her own languid tone. In the good old days, composers first scored the music, and then lyrics were added to it. We sensed something similar in Aaj Ki Raat. The vibrant hook beats playing to the titular lyrics transport you into a glittery auto rickshaw blasting a DJ mix of a romantic classic. Divya Kumar’s voice reflects the admiration, perhaps a certain desperation, of the male cast in the video.

Tamannaah Bhatia lights up any frame with her mere screen presence. But give the lady credit for how she opens the track with a nazm in her sensual tone. The full video opens with Hindustani music in the classical tone of Madhubanti before desi pop takes over. More than her beauty, Bhatia wins you over with her warm expressions, which excite her admirers but also keep them at bay. It’s interesting how Vijay Ganguly crafted his choreography around Madhubanti’s languid tone. Save for the vibrant and innovative hook dance step, Tamannaah moves at a leisurely pace in the video. Phew, from its music and singing to its choreography, Aaj Ki Raat is a well-crafted contemporary desi track you can watch on loop.

6 Tu Kya Jaane – Chamkila

As we enter the top six, Imtiaz Ali’s widely acclaimed OTT film Chamkila makes a strong impression. A.R. Rahman, Mohit Chauhan, and Imtiaz Ali reunited after Tamasha (2015). While polygamy can never be condoned, it is music that brings Amarjyot Kaur (Parineeti Chopra) and Amar Singh Chamkila (Diljit Dosanjh) together. Does the Imtiaz Ali film glorify infidelity? No, because Chamkila didn’t disclose his first marriage to anyone. This beautiful melody arrives early when the disciple starts developing feelings for her mentor, Chamkila. No words are spoken, but the song Tu Kya Jaane reflects Amarjyot’s inner emotions. Irshad Kamil’s beautiful lyrics are paired with a delightful desi score by Rahman, while unheralded singer Yashika Sikka seizes her big career opportunity. Her voice quality and passionate singing cast a spell on you. The best part of the song is its closing, where Sikka’s falsetto simply melts your heart.

5 Naram Kaalja – Chamkila

Staying with Chamkila, this feminist track is the stuff of dreams, completely changing the conventional idea of pleasure. From old to young, director Imtiaz Ali chooses de-glam but real faces to bust the myth of sex only being a pleasurable act for men. It’s these ordinary-looking women who embody the spirit of this song. We can only imagine how delighted Irshad Kamil must have been to write this song, especially given his disdain for toxic masculinity. The song is a soothing voice against patriarchy and societal norms.

The women here unleash the Chamkila in them. Well, only women in Punjab are capable of expressing themselves without strings attached. In the context of this story, this track was the women’s way of paying an ode to their pied piper, who all along wasn’t even aware of the popularity of his edgy songs among females. Make no bones about it, this song and the visuals are in no way woke. There is nothing vulgar here. Period. 

The track has to be enjoyed with the visuals. Add to it A.R. Rahman’s joyful music, and Alka Yagnik’s powerful tone, which will transport you to the ’90s.

4 Yaad Aave – Murder Mubarak

The most annoying thing about Bollywood press conferences isn’t the endless wait but the constant looping of audio, often from a trailer or song. Last summer’s Pathaan success bash had Jhoome Re Pathaan blasting on repeat, leaving this writer frazzled. However, the trailer launch of Netflix’s Murder Mubarak offered a rare exception. For 90 minutes, the stirring love ballad Yaad Aave played on loop, leaving us mesmerised and humming along. 

The largely Punjabi lyrics are no barrier, as the song’s emotions vividly convey its story: the harder you try to forget someone, the more their absence lingers. Lyricist Priya Saraiya ends with a poignant nod to Punjabi folk through Hai Mere Dadea Rabbah, a verse that recalls DJ Karunesh’s magnetic track Punjab from the ’90s. Timeless folk lyrics blend seamlessly with Sachin-Jigar’s composition, making Yaad Aave unforgettable. 

Simran Choudhary’s rich, mellifluous voice carries the song. She opens with a soulful verse before Varun Jain takes over, and The Rish’s smooth Hindi rap adds a modern touch. The baton then returns to Simran, who delivers a tour de force in the final stretch. Her high notes during Hai Mere Dadeya Rabbah deliver the song’s crescendo, followed by a tender fadeout, evoking a dying flame. 

3 Ishq Mitaye Hai – Chamkila

This isn’t a song, but it is the Chamkila story, particularly its end, rolled into an inspiring, entertaining, yet tragic A.R. Rahman composition. The Imtiaz Ali film and this song perhaps define Chamkila’s legacy, which for decades never found mention in mainstream society or cinema. As one line in the lyrics says, “Main hun Punjab.” Chamkila’s music had a cathartic effect on then-Punjab. Who else but Irshad Kamil to pen Ishq Mitaye? The subtitling would help non-Punjabi viewers, but the collective visuals from the film that play in this soundtrack are good enough to give you a brief idea of the Amar Singh Chamkila story. Good music, however, has no language. A.R. Rahman doesn’t disappoint in paying his tribute to Chamkila. Punjab’s music originates from the tumbi, but you don’t quite hear it in the composition. What we get is perhaps a designed tune playing in tumbi style. It complements the mellow guitar strain beautifully. The various instruments used do not overpower each other. To the simple ear, the arrangement is just about perfect. The power here is totally provided by singer Mohit Chauhan, who always reserves his best for A.R. Rahman and Imtiaz Ali. Chauhan was the voice of Rockstar’s Janardhan Jakhar, and he gets to croon the original soundtracks in Chamkila. But Diljit is a singing star too—why not have him be the voice of Chamkila? Director Imtiaz Ali didn’t tinker with Amar Singh Chamkila’s song; they placed it in the original form. He, however, was right in picking Mohit Chauhan for just a couple of original compositions. Just like Chamkila’s legacy, Ishq Mitaye can’t be erased from our conscience.

2 Mere Mehboob – Vicky Vidya Ka Woh Wala Video

The song title might suggest a remake of Anu Malik’s popular 90s track from Shah Rukh Khan’s Duplicate (1998), but that was remade in another Tripti Dimri starrer, Bad Newz (2024). Besides, the Sachin-Jigar duo don’t do remakes. This Mere Mehboob is completely original, a captivating desi pop. It features a gorgeous seductress, proud of her beauty and hard to please. Priya Saraiya’s lyrics aren’t poetic, yet it reflects the girl’s vanity and the suitor’s intense yearning. Shilpa Rao performs well, but it’s Sachet Tandon who truly mesmerizes with his passionate singing. Tandon’s chivalrous tone is sure to melt hearts. The song has a largely Western feel, but the desi tunes create a great blend. This is arguably Sachin-Jigar’s finest composition of the year.

Some dance moves were considered edgy, but Tripti Dimri justifies her National Crush status. However, the choreography doesn’t match the top-notch music, with Rajkummar Rao being the weak link, as he’s not known for dancing. His discomfort is noticeable in a shot where he awkwardly pulls off leggy moves on a haystack while the professional dancers perform acrobatically. Nevertheless, Mere Mehboob is a highly entertaining track, and the only thing worthy of going viral in Vicky Vidya Ka Woh Wala Video.

1 Mere Dholna 3.0 Sonu Nigam – Bhool Bhulaiyaa 3

Such has been its influence on pop culture that the mere sound of ghungroo became synonymous with the track Ami Je Tomar (Mere Dholna). When Bhool Bhulaiyaa was turned into a franchise, it was natural for T-Series to revisit the song for Bhool Bhulaiyaa 2 (2022). T-Series released a few versions. Shreya Ghoshal returned, but it was Arijit Singh who brought a refreshing touch to the popular track. For the third film, T-Series offered Ami Je Tomar and Mere Dholna, two tracks with a common spirit but distinct tales of their own. In a nutshell, experiencing Ami Je Tomar or Mere Dholna feels like a musical journey. Vidya Balan and Vineeth created magic in Bhool Bhulaiyaa (2007). While the original can never be recreated, the key question is whether the new version offers a unique experience. Arijit Singh achieved this in the second film, and now Sonu Nigam has set the bar even higher.

Mere Dholna 3.0 had to be deliberately underplayed in promotions because of the suspense, the backstory it carried. So, there was never going to be a video song here.  The audio track was wisely released three days after the film’s release.  The film was not a great experience, but just listening to Mere Dholna 3.0 in the voice of the master Sonu Nigam gave left us stunned.

Sameer tweaked his original lyrics to align with the story. Here, there is no chahatein (love) but nafrat (hate). The pain is so intense that the subject wants his/her hatred to cause destruction and spread like wildfire. The lyrics are fine, but Sonu Nigam’s emotionally gripping tone and Amaal Mallik’s stunning desi-classical-style music cast a spell on you.

Many Indian instruments, classical sargam, and a dash of Sanskrit make this composition a great advert for Hindustani music. But listen carefully, and one must admire how Amaal Malik and his team have also woven in bass, a few strokes of mandolin, and bouzouki. The most captivating element is perhaps the rabab stroke that gently plays in the final antara before the closing classical sargam. Music has no language, and while we respect mainstream cinema increasingly using Western instruments, Mere Dholna 3.0 reminds us of the beauty, emotions, and power of Hindustani music. Perhaps T-Series were so proud of the music that they ensured the first credit fittingly belonged to Amaal Malik.

The best praise is often reserved for last. Honestly, who are we to judge the master, Sonu Nigam? He doesn’t sing by the dozens, but the few tracks he chooses often end up as masterpieces. Having buried the hatchet with Bhushan Kumar and T-Series, Sonu Nigam has gifted us a couple of magical tracks. In 2022, it was Kahaani from Laal Singh Chaddha. Two years later, Sonu is not just singing, but telling a kahani (story) through Mere Dholna 3.0.

He gives his best to most songs, but give him great music, and Nigam takes the track to divine heights. Nuanced—we use this word to describe an act, but how often do we use it to describe one’s singing? As good as Arijit Singh is, he, too, would admit that in the millennium, no one emotes vocally better than Sonu Nigam. The opening lyrics and music describe the film’s protagonist as an innocent soul, and the same is reflected in Nigam’s tone. The protagonist is so innocent that s/he still can’t digest what’s really hit him/her. It’s only when s/he is turned to ashes that the rage begins to reign. From an emotional tone, Nigam swiftly unleashes the rage within the protagonist. Jeez, that tone when Nigam croons the line, Mere dard ki dhun, is so full of pain. You sense something similar when you hear the word nafratein. On both occasions, Nigam switches to a melodious tone in the subsequent line. Phew, just when you’re absorbing this, Nigam mesmerizes you with the classical Tana Nana Dhum. The chorus artists serve as a bridge between the two antaras. Their Sanskrit and the powerful classical music playing over it have an electrifying effect on you. Jeez, this is Taandav stuff. The Hare Ram Hare Ram, Hare Krishna Hare Rama bass rendition blends beautifully with the Indian classical notes. Sonu Nigam gets a breather, but this particular musical arrangement is giving us goosebumps. Nigam returns with the second antara, further telling the protagonist’s story. His tone is both melodious and intense. The raging Nigam returns with a promise of burning down thrones and dynasties. It’s here that a listener is perhaps both in awe and fear of Nigam. The following aalaap hits you like a cry. The last minute is a Classical Sargam encore, with the tabla beating ferociously. Then that final aalaap—uff, it’s like the soul is ripped out of the body. A deafening silence engulfs the final four seconds, with most listeners likely to have their eyes closed and left all numb.

Phew, the gamut of emotions we experienced—Mere Dholna 3.0 will make for a great musical on Broadway or a must at India’s new cultural temple, NMACC. Before he made a Bollywood film, Sanjay Leela Bhansali had presented the French opera on Padmavati in Paris in 2008. Inspired by his visit to the Chittor ruins, French playwright Albert Roussel turned Padmavati into an opera in 1923. The Bhool Bhulaiyaa 3 story and Mere Dholna 3.0 merit an opera, too, but it’s not Anees Bazmee, but Amaal Mallik and Sonu Nigam who should take this story to the global stage. Mere Dholna 3.0 is the best Hindi film song of 2024 by a country mile.