The Bharat Sangeet Utsav, presented by Carnatica in association with Sri Parthasarathy Swami Sabha—which is marking its milestone 125th year—featured a series of thoughtfully curated programmes. Musician Sashikiran, known for designing festivals with distinctive concepts such as the Pallavi Darbar series, once again demonstrated the effort required to bring together a wide array of musicians over multiple days and themes. Coordinating artistes, managing logistics, and securing sponsorship year after year is no easy feat, and sustaining such a festival for nearly two decades is noteworthy.

A striking feature of this year’s Utsav was the visible increase in non-Carnatic music listeners and younger audiences. At a time when organisers often express concern about turnout and youth engagement, this shift felt significant. If unique and innovative programming can draw in fresh audiences, it presents an opportunity to introduce them to the depth and richness of classical music.

The ensemble programmes by Dushyanth Sridhar, Saketaraman, Subhashri Thanikachalam, Saindhavi, and Shravan received an enthusiastic response. These sessions offered audiences a space to unwind, participate, and sing along. The seamless blend of film, light classical, and classical pieces made raga and melodic exploration engaging and accessible, enhanced by tasteful orchestration.

 “Melodic Hues” – Sandeep Narayan at Bharat Sangeet Utsav 2025

Sandeep Narayan’s concert for Bharat Sangeet Utsav began on an energetic note with Swaminatha in Nata, taken at a brisk pace with lively swarams that immediately set the tone. He moved to Marivere in Ananda Bhairavi, handling the raga with his characteristic ease across octaves.

The Hamsanandam segment unfolded with a clean, unforced musicality, leading into the much-loved Banturiti, which naturally drew a strong response from the audience. One of the strengths of the evening was the overall teamwork on stage. B. Ananthakrishnan offered steady and responsive support on the violin, aligning closely with Sandeep’s ideas. The addition of Sameer Rao on a long bansuri turned out to be a thoughtful choice—the mellow, unhurried tone of the flute balanced Sandeep’s fast-paced phrases and added a different texture to the concert.

The percussion section played a big role in holding the concert together. Sai Giridhar on the mridangam kept the rhythmic flow tight and engaging, while Karthik Bhat on the tabla added clarity and a lighter touch when needed. Their rapport contributed to the overall cohesiveness of the programme.

Sankarabharanam with a detailed ragam-tanam-pallavi showcased Sandeep’s open-throated singing. It also reflected how much he has grown as a performer. Those who heard him a decade ago would notice the shift—from a slightly nasal tone to the fuller, more confident sound he brings today. The pallavi line inspired from Subramania Bharathi’s Jaadhigal illaiyadi paappa, kulam thaazhthi uyarththi sollal paavam endraar was refreshing.

What was striking was the mix of listeners in the hall. Along with regular rasikas, there were many non-Carnatic listeners who responded enthusiastically. Sandeep’s willingness to explore collaborations and different musical formats, while staying rooted in classicism, has widened his reach, and it showed in the crowd’s reaction. The concert moved briskly, and the energy never dipped. Overall, “Melodic Hues” was a well-rounded concert with solid coordination, smart programming, and an artist clearly comfortable with his craft.