The Trichur Brothers commenced their concert with the Vasantha varnam, which included an engaging round of kalpana swarams. They followed it up with Muthuswami Dikshitar’s Ganarajane Rakshitoham in Arabhi, weaving in swara patterns reminiscent of Sadhinchane, typical of the raga’s lively character.

The next piece, Ma Ramanan in Hindolam by Papanasam Sivan, brought out the raga’s meditative and plaintive quality. A pleasant surprise followed in Nata, with the brothers choosing Jagadanandakaraka, the first of Tyagaraja’s Pancharatna kritis, rendered at a steady madhyamakala tempo. The niraval at Indra neela mani beautifully elucidated the imagery of Lord Rama—from his sapphire-blue complexion to his repose on Adisesha.

They continued with Padavini in Salagabhairavi set to Adi tala, followed by Papanasam Sivan’s Kavava in Varali. Their ragam-tanam-pallavi in Hamsanandam—Mylapuriyil Dinam Dinam Kanbome Kapaliyin Bhavabiyai—was particularly apt for the Mylapore setting, offering a thematic conclusion to the recital.

Sayee Rakshit on the violin, Trichur R. Mohan—their guru and father—on the mridangam, and Nerkundram Shankar on the khanjira provided excellent support throughout, complementing the brothers’ energy and precision.

What stood out in the concert was the brothers’ clarity of diction and command over language, maintaining perfect prasam in every kriti. The occasional use of octave blending added depth without excess, lending a refreshing tonal richness. Their Rama bhakti reflected in the choice of compositions, while their rapport with the accompanists and the audience kept listeners engaged through the two-and-a-half-hour recital. The brothers’ open-throated singing and ability to establish a raga’s identity within the first few phrases contributed to a concert that was both accessible and musically satisfying.