Top Indian Songs of the week 10th May 2026

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Here are the best songs releasxed in India across languages and genres for the week ending 10th May 2026

1. Amma Amma Dhaan

Singer:  Sreekanth Hariharan

Lyrics: Mohan Rajan 

Music Composed , Arranged , Programmed, and Produced by Balaji Sriram 

Language: Tamil

Genre: Light Music

Mood: Inspiring

A couple of weeks ago, I featured a fantastic song composed by Balaji Sriram, and it soared to the top of that week’s rankings. Here he is again with another single from the same movie album, and it is exciting to feature two songs from the same album, especially when it is a newcomer in the industry. Sreekanth Hariharan is the lead vocalist, and he is accompanied by Srinivas’ acoustic guitar. Just like the amazing lyrics by Mohan Rajan, we also get a beautifully written line here that goes “ Vaanam Bhoomi jodi pottu munna vandhu ninnalume Amma Amma Dhaan”, which is a tribute to Mothers around the world.  If a country’s songs of praise and anthems are set in Raag Desh “Vande Mataram”, it makes a lot of sense to sing a song extolling mothers, which also has a dash of Desh in it. 

The anu pallavi is where I felt so much bliss because the melody here is soothing, “Nirappa oru Neram, nizhala oru neram”, and we have that faint Violin by Aloshin Joseph and the folkish harmonies by backing vocalists Bhavya Ganapathi and Balaji. Kudos to Balaji for his stunning arrangements here on top of all the composition and programming duties he handles so elegantly. It is the sound of the Daf here that accompanies so mildly, thanks to Ganapathi Venkata Subramanian, who plays all the live percussion. Mohan Rajan deserves a special mention for his splendid writing. Bhavya does a fine job singing in that contralto register “chinna chinna anba solla.”

The song continues to mystify as we get a flute solo by Karpagaselvam, and, in my opinion, this has to be one of Sreekanth’s best vocal performances, as he absolutely kills it with all his ghamakas and emotionally apt singing. “Nam kanavugal kai kooda tavam iruppa” felt like a penance. Listen to some keyboard-based riffs and female harmonies that keep following in the background. The combined effect of the Kanjira, Cajon, Daf, and the harmonies works like the magical touch of a mother as we head to the outro. Dhakshan Gajendiran is the recording engineer, and Rupendar Venkatesh is the mixing and mastering engineer at Mix Magic Studios. 

@imbalajisriram @ajay.dhishan @thinkmusicofficial @swasikavj @sakthi___ @mohanraja_lyrici @sreekanthhariharan @bhavya_ganapathi @ganapathi.v.subramanian 

2. Vellichudare

Vocals: Kapil Kapilan

Lyrics: Madrashe

Composed, Produced by Dhinu Ninan Thomas

Language: Tamil

Genre: Pop/Light music

Mood: Romantic

Dhibu Ninan Thomas and Kapil Kapilan are a great team, with the former weaving some savvy melodies and the latter delivering them with such style and charm. Add to this the formidable words of Madrashe, and we get a complete package of a song that not every team can say with certainty and pride, as these people do. The guitar riffs like a rhythm guitar, and we have Kapil just making your heart feel heavy with the line “Kanne en Kannamma, Kanneer yen sollamma.” The opening pallavi now repeats, and we get a rush of sounds, like the flowy, romantic acoustic guitar and some funky basslines. Naveen Napier is the bassist, and Sandeep handles all the guitars. Maestro Ilaiyaraja always packed his strongest punch in the anupallavi (or as they say, the 3rd line of the song), and just like that, the amazing Dhibu lets your heart swell with “ Kurunagaiye podhum, kurai irundha theernthe pogum.” 

Madrashe makes it all worth it with that one line (oru vari) “oru variye pothum kavithaigalum thorthe pogum”. The arrangements take you on a higher orbital here with the Thavil, Kanjira, and all the percussion, thanks to  Ganapathi, Sruthiraj, and Venkat Kiran in the subsequent line, and Kapil sings with such immense passion and energy here, elevating our spirits as well in the line “Nam vaanam rendagalam kalam rendu thundagalaam, onnaga naamirunthal, thunbam yethamma”. D Balasubramani engages with his Nadaswaram solo, and this, combined with the Thavil, is pure bliss. The charanam slowly infuses more love, and the line that truly breaks me into a joy-filled psychosis is “enge enge nee pogiraay, ange ange naan kannamma” along with nice choral arrangements and heavy percussions. In the outro, when Kapil sings “Oruvariye podhum,” the guitars and bassline arrangements simply give me goosebumps. The recording engineers are Amal Mithu, Amal Raj, and Manirathnam. The tracks are mixed by Kiran Lal and mastered by Shadab Rayeen. 

@dhibuninanthomas @kapilkapilanmusic @madrashe @dir_ramkumar @saregamatamil @amal_mithu @gibsandeep @napier_naveen

3. Walking Sunlight

Written and Performed by Dhruv Visvanath, Radhika Mohite, and JK

Produced by  Dhruv Visvanath, Radhika Mohite, and JK

Language: English

Genre: Pop

Mood: Groovy

Good musicians never waste time because it is too precious for them and for music lovers. Radhika Mohite, JK, and Dhruv Visvanath are mercurial musicians whom I have immense respect for, and when you play this song, all you need is 5 seconds to know why. Just pay attention to the melody in the verse; it pulls you in, it mildly haunts you, and it keeps you eager and hooked when Radhika sings “ Movin’ on, I can be changed, The weather now has left me estranged”. The melody dramatically shifts into something that shakes you, and after the chorus line, the humming is where you feel a strange hypnotism, and that is what music, lyrics, and vocals can do, if they are of the highest order. 

Dhruv plays those tantalizing rhythm guitars with JK’s gospel-styled Pianos and some Keys. I love the catchy rhythms, maybe from the sound of Maracas and the Cajon. The arrangements and production are the absolute highlights of the song because the melody, despite its suavity, is brief, and this is where Radhika, Dhruv, and Jay enhance the sound with fine guitar, bass, rhythms, and keys.  The piano can also be heard playing some counterpoints. The harmonies kick in towards the end, and when you hear “walking in the sunlight with you,” it feels like an inspirational anthem that can feel pure and heavenly like the rays of sunlight itself. Dhruv can be heard doing some fantastic vocal improvisation in the background. 

The masterstroke is when Radhika, in the outro, turns the tables around and sings “I'm walking in the sunlight without you”, and the song ends abruptly. The recording engineer is Jay, with mixing by Dhruv and mastering by Raag Sethi at Compass Box Records. The art direction is by Darshana Mohite, and the animation is by Ayesha Pawar. This is where I would also urge you all to listen to the other version of the song, performed by the incredible Dhruv with lead vocals. The Tremolo in his singing makes you visit your most fascinating dreams right in front of your eyes.  He is a magician, and this song becomes all about attitude when he sings, if it was Radhika’s addictive pathos in this version. 

@radhikka.mo @darshanaamohite @mrdhruvv @compassboxmusic @__hijk @commonaesthetics 

4. Thendralil

Written and Composed by Charulatha Mani

Vocals: Charulatha Mani

Language: Tamil 

Genre: Pop Ballad

Mood: Dreamy/Pathos

Charulatha Mani writes, composes, and performs this dreamy pop single with some Carnatic music elements fused into it. She is a creator with immense knowledge and vision, and that is why this single reflects her abilities and resonates with a listening pool that craves the best of all worlds. Manonmani Sarangi rips you apart with her striking Sarangi solo, and what follows in the verse is Charulatha Mani’s vocals that act like a balm against the piercing pathos of the Sarangi. The phrase “Neeralaiyile Mithakkalam” made me feel like  I was actually floating on water without a worry in the world. Kannan Narayanan is the additional programmer to get all the keys, and the additional rhythms that get us going are by Karthik Vamsi. 

We get the gentle guitars and bass, but the Cello in the background truly haunts us. The melody does show traces of the Shanmukhapriya Ragam here. The line that truly mesmerizes me, “viral nuniyil kantham kidayathe, varai padathil uyirai naan theda”, with the Sarangi, Keys, and rhythms accompanying. The Swaras that follow come like the dashing waves, continuous and rhythmic, and Charulatha Mani tells me that the Swaras belong to a Ragam called Ratipatipriya. Her ghamakas and the whole contralto-styled delivery just feel sensational and soothing to hear. The interlude on the Sarangi here has this melody that reminds me of Maestro Ilaiyaraja’s “Agaya vennilave,” and that is why I also sensed some influence of Raag Darbari as well. 

The part where she sings “Thedale Sugame” followed by the acoustic guitar and Cello in unison stayed with me for a long time, even after the song ended. The recording engineers are Vishnu Shankar and Aswin Krishna. The tracks are mixed and mastered by Midhun Manoj. The music video stars Malavika and Dhavan, with direction by Dharen Karthik. 

@loopd_offocial @charulathamani @kannannarayanan5 @manonmanisarangi @karthikvamsivr @midhunmanojj @_vishnu_shankar_ @iamaswinkrishna @dharenkarthik @maaalavika._ @dhavan_subbaiah 

5. Akeli

Composed, Written, and Arranged by Chhavi Sodhani

Lead Vocals Nayantara Bhatkal

Backing Vocals: Chhavi Sodhani

Language: Hindi

Genre: Jazz

Mood: Immersive

Chhavi Sodhani is starting something creative and nice, a series of indie singles written and composed by her with some fabulous collaborations, all of which will be shot and performed in her home, and she is calling it “The Homestage”. This first single features the amazing Nayantara Bhatkal, and I have always admired her work as a composer, but she delivers a masterclass in Jazz vocals. The Piano, drums, and the upright bass have all done enough to invite you? The way she sings “Agar main, Akeli Sahi” with her variations and improvisations, you will never want to leave her alone. You want to cling onto anything just so that you can constantly be around her and listen to her sizzle and serenade you. 

Chhavi not only pens the melody, but also writes these saucy lines, and my favourite part is “ Pyar ki main bookhi toh nahin” sung by Nayantara in the lead and backed up by Chhavi on vocals. Jignesh Patel is the drummer who alternates between subtlety and flamboyance. The verses are short, but all that is made up thanks to the phenomenal singing by Nayantara and suave arrangements by Chhavi. The choral arrangements with the scat singing and the violins are classy, and the bridge section with the high-pitched lines “ Band kar loon dhadkane, rok loon main sansein” is definitive of what these amazing musicians have aimed for and achieved, sheer excellence. The tracks are mixed and mastered by Vincent Joseph. 

@chhavisodhani @nayantaramusic @_jigneshpatel_ @vincent.joseph.96 @vrinda.k.gupta @

6. psilovibin

Starring: Paal Dabba

Special Appearance: Trisha Krishnan 

Music : Foxn

Mix & Master: Akash Shravan 

Additional vocals: Mary Ann Alexander, Irfan Erooth.

Music : Foxn

Language: Tamil

Genre: Hip-Hop

Mood: Energetic

Paal Dabba kike the name suggests, is slowly becoming an essential good in the daily lives of music lovers in TN, and soon that wave could cross over into other regions as well. This is not the first time I am featuring this hip hop artist, and I am a fan of his writing, his ideas, and his energy, and this music video does one up on all those things as well. Foxn gives the track a whole new clothing with the whole Punjabi folk arrangement and sound design. The tempo, the way it is written, all feel like a Punjabi hip hop number, but to hear Paal Dabba’s evocative words gives a better ring to it.

“Naan school padche time lenthe silent, nondi uttu pakkathenga violent”. But what struck me were lines “ Talent a naan pannamatten tease” and “Luck na God loves me, bro”. Many “rappers” with Big names and fame can do themselves a favour and take inspiration from this lad. The song, in totality with the melody and its sound design, feels like” Aval varuvala” by Deva and Hariharan. The additional vocals belong to the amazing Mary Ann Alexander and Irfan Erooth. Listen and just groove to this fine creation. The tracks are mixed and mastered by Akash Shravan. Check out the video, where Paal Dabba gets grounded by his mom for some mischief, and a new world of fantasy and superheroes emerges. We get a nice cameo by Trisha Krishnan. 

Paal Dabba directs this video, with assistant directors Issac Naveen, Rahul Ashok Kumar, Sabarish, Akash, Ananya Ramaprasad, and Vimal. Vikas Vasudevan is the DOP. 

@paaldabba.iam @warnermusicindia @foxnmusic @mary.ann.alexander @irfanerooth @akashshravan 

7. Awaara

Singer: Raghav Chaitanya

Music: Raghav Chaitanya

Lyrics: Siddhant Kaushal

Language: Hindi

Genre: Pop

Mood: Romantic

The acoustic guitar paints the colour of love all over the intro as Ishan Das strums it beautifully. Raghav Chaitanya has this unique tone, and when he sings “ Tu meri na ho saki toh, phir bhi main tera raha”, we feel the ache and inevitability of love. Siddhant Kaushal pens the lovely words, and slowly Rahul Muralidhar exhibits his presence on the drums and hi-hat sounds as Rahul Putai sizzles on bass. The song oozes quality and undeniable romance, especially when we hit the catchy chorus segment. “Tera hoon tera hi raha, aankhon mein meri dekh le tu, tera hi chehra sada”, with the guitars, bass, and drums, feels like getting back home. 

This becomes extremely hummable “Awaara oh oh Awaara ooh ooh” as Raghav writes the melody, produces the song, and also performs the lead vocals with splendid appeal. Rahul offers so much variety by moving away into oblivion at the beginning of the second verse and then suddenly announcing himself back again with a thunderous foray on drums. Written in a very traditional pop music style, Raghav explores a nice bridge section as well, and although brief, we get some high-pitched singing and a super lead guitar solo to elevate things further. Sahil Vishwakarma is on backing vocals, and he designs the harmonies. 

@raghavchaitanya @tseries.official @sidkaushal22 @_asfi @isumitbaruah @pranav_badkar @sahilvmusic @rahulputai @ishandas_666

8. Koyaliya

Singer: Apurva Nisshad

Lyrics: Pranav Barange

Composed By: Abhishek Bonthu

Music Produced By: Abhishek Bonthu

Language: Hindi

Genre: Semi-classical fusion

Mood:

The flute solo by Harshit Shankar in the intro reminds me of AR Rahman’s “Malargale Malargale” from the album ‘Love Birds,’ and maybe that is why I feel there could be some Raag Hamir Kalyani (Kedar in Hindustani)in the melody. The background chirping of the Koyal with the rustling of the leaves makes the perfect setting for the song. Apurva Nisshad is the vocalist, and when she hits the pre-chorus “Yeh pavan ke dhun mein nache mor banke”, the heavy percussion lifts the spirits and gets us into a mood of folkish dance and song. Abhishek Bonthu has composed and produced the song, handling all these rhythm arrangements as well. There is this overarching resemblance of the monsoon with winds and rain, and the dancing of the peacock, when I hear this melody, her beautiful voice, and the dominant percussion. 

Gauri Singhal is involved in backing vocals. The interlude on the flute and the song’s melody have traces of Raag Megh Malhar, too, maybe , in my opinion. The segment with the strings Apurva’s high-pitched singing also paints a beautiful picture, and this reappears in the song’s Anatar as “tu jo mujme samaye chahoon main aur kya.” The tracks are mixed and mastered by Abhishek Bonthu. The outro with “Janana Janana Jhoome gaaye Sang tere” sung by Apurva and Gauri makes for the perfect ending of the song. 

@apurva_nisshad @abhishek.bonthu_ @harshitshankar @gaurimusic07 @shivangijoshi @salimmerchant @shivansh.j @merchant_records @chaiwithnamak