Top Indian Songs of the week 11th October 2025

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Here are the best songs released in India across languages and genres for the week ending 11th October 2025

1. Jhoom Jhoom

Singer - Shekhar Ravjiani

Composed, Arranged & Produced by Meghdeep Bose

Lyrics - Manoj Yadav

Language: Hindi

Genre: Semi-classical Pop

Mood: Immersive

Here comes a combination that has given some nice gems in the indie space, and my heart immediately starts feeling that rush of blood knowing that Meghdeep Bose and Shekhar Ravijani are involved. Megha Rawoot, this talented young soloist, plays the Sitar along with Hardik Verma and the heavy and impactful  chorus in the background. The Sitar plays the riff, and with the enchanting voice of Shekhar, all we can do is close our eyes and allow our minds to be transported to another place. 

Is there some Raag Brindavani Sarang? Maybe, because I am reminded of this famous South Indian classical Kriti called “Ranga puravi hara”. But , apparently upon further reserach and understanding , I realize tht it is Raag Megh. The melody draws you in and gives you a tantalising feeling, but it is also the production that makes this an immersive experience. The song is composed, arranged, and produced by Meghdeep with lyrics penned with care by Manoj Yadav. We also get a whiff of the Zither or the Swarmandal by Mangesh Jagtap and the Esraj by Arshad Khan. Megha and Hardik steal the show with that stunning interlude on the SItar, with a solid execution of the melody crafted with such finesse by Meghdeep. Instrumental interludes are a rare occurrence these days, and when it happens like this, one listening to it should be grateful and blessed. 

Esraj joins the party, and his solo intervention brings melancholy back to the table. Shekhar’s voice is beaming in the Antara, and the song just dives deep into a classical zone as he zings with some mild harkatein “bahut vyakul yeh praan hai”. The modern and western sounds are strewn all over to our delight, thanks to Meghdeep’s acoustic guitar, bass, and modular synths. Meghdeep gets creative with his melody writing towards the end of the Antara, and all the coming together of the guitars, bass, and synths is stunning, making this one of the best indie singles in recent months. The tracks are mixed by Prasad Maha at Boomerang Studios, Mumbai, with mastering by Christian Wright at Abbey Road Studios, London, UK. 

@meghdeep_bose @megharawoot @prasad_loud @aabhaas.tomar @shekharravijani @andrewtmackay @manastakle @abbeyroadstudios @santoormangesh @esrajarshadkhan @manojyadavwrites @taginstitute @pinkykipanchayat @christianabbeyrd 

2. Sukoon

Music Composed & Produced by: Salim Sulaiman

Singer: Arijit Singh

Lyrics: Shraddha Pandit

Music Co-Produced by: Raj Pandit, Anshuman Sharma

Language: Hindi

Genre: Semi-classical Pop

Mood: Immersive

This one is special, and it indeed offers Sukoon in plenty. I recently saw someone post that this is probably Arijit’s best outing as a vocalist, and that is a true mark of the abilities and vision of the composers Salim-Sulaiman. To be honest, there have been innumerable songs with Arijit in the lead that lack feeling, are emotionally weak, technically deficient and melodically stunted, and repetitive. But Salim and Sulaiman are a different breed, and they bring on their A  game in writing this melody, “Aur kismat ne sajaye the meri nigahon me, jaane ab kahaan milega, kahaan chupa hoga , mil jaata toh rakh leta main” is a classic example of some fine notes, apt writing, and delicious vocals. 

The lyrics are penned with such style by Shraddha Pandit, and the song is composed and produced by Salim-Sulaiman. Anshuman Sharma and Raj Pandit work as co-producers, so credit to them, too. Salim plays the mild Piano, and we can feel the brazen bass guitar by Ralph Menezes. An electric guitar riff by Ishan Das appears here, and I am reminded of the interlude that comes just before the final bridge in Coldplay’s ‘Fix You’. Darshan Doshi breaks the barrier of silence with the emphatic drums. What follows is one of the finest moments of the song as The Indian Choral Ensemble shines on harmonies singing “Sukoon”. I cannot be happier than this as I see this blistering ensemble make inroads into the Hindi Indie space, and Salim-Sulaiman live up to the name of spotting and promoting great Indian musical talent. The Sargams that subsequently come after harmonies are another delight. 

The singers are Yazhini, Alisha Mathew Thayil, Nidhi Saraogi, Rajeevi Ganesh, Bavathayini Nagarajan, Rutuja Pande as Sopranos, Sushmita Narasimhan, Fathima Henna, Nayansee Sharma, Varsha R Mallya, Sivaranjini Chandramouli as Altos, Shridhar Ramesh, Chirag Shetty, Vivin Richards, Manikandan Chembai, Shivsundar R as Tenors, and Shyam Krishna, Prashanth Mohanasundaram, Cyril Simon as Basses. The choir is arranged and conducted  by Kalyani Nair. The melody has fragments of Raag Charukeshi in the antara, and it flows like a perennial stream. As he sings “doobega” we are drowned in the goodness of this melody, which also shows influences of Raag Maand in certain places. The recording engineers are Abin Ponnachan, Biju James, Karthik Manickavasakam, Sukanto Singha, Om Vyas, Aslam Khan, Benvin Fernandes, Raj Pandit, and Tejus Srivastava. Arijit once again makes a killing in the outing as he improvises and delivers teh Sargams, with TICE in terrific form. The tracks are mixed and mastered by Aftab Khan at Headroom Studio, with mix assistants Tejus Srivastava and Vatsal Chevli. 

@arijitsingh @shraddhapandit @salimsulaimanmusic @perinmalde @merchant_records @thereelexplorer @mishalsingh  @bhoomi_salimsulaiman @theindianchoralensemble @kalyaninair86 @karthikmanickavasakam @rajpandit17 @darshandoshiofficial @ishandas_666 @ralphmenezs @sushmita_narasimhan @fathima_henna._ @rajeevi.ganeshofficial @yazhs0007 @nidhisaraogi @rutujapandeofficial @nayansee_sharma @varsha.mallya @sivaranjinichandramouli @shridhar_ramesh @cyril_simon_ @chirag__shetty 

3. Hasta Hua  

Vocals: Himanshu Chaturvedi

Written and Performed by Kalb

Language: Hindi

Genre: Rock Ballad

Mood: Immersive

This gentle giant of a song is by Kalb, the musical act from Delhi. Their primary focus is progressive rock music, and this one is more of a rock ballad that is intended to create a spark rather than an explosion. Kartik Chandel’s electric guitar plays the riff and  lays the groundwork in the intro, and then Himanshu Chaturvedi  immaculately delivers the lines with that simmering voice. Sarthak Bhayana on drums and Arjun Handa on bass guitar give us profound sounds of rock music, especially what I love is Arjun’s exploration in the background oozing some style, and Sarthak playing it with mildness as Himanshu sings “ Main thak chuka hoon”. Vatsla is the keyboardist on duty. 

Arjun’s basslines are scintillating, giving no breather even as we hear the energy picking up in “ nak raha, na aaj hai”. The Keys start punching in, and we have a simultaneous lift off, mostly from the energy on drums and Himanshu’s delivery. Kartik sizzles in a moment of electric guitar solo in the interlude, and this is where the kingdom of God thrives. There is magic, mesmerism, and mani for around a minute, and this riff at the end of the solo has some tantalising harmonies to stun our souls. Pay attention to the string arrangements, and we are now into the outro segment, with the heart just not wanting things to stop. The recording, mixing, and mastering are by Jonty Indra, and the artwork is done brilliantly by Vidushi. Like they claim, when teh song ends, I have a smile on my face, so it all ends ‘Hasta Hua’. 

@music.kalb @himanshu.muzak @ckartikmusic @arjunhanda_ @vatsal.bakdha @sartakbhayana  @guitarded.jon @ring_a_ring_o_roses

4. Chinni Chinni Chandamama

Vocals: Soujanya Bhagavatula

Music & Lyrics: Viswadeep

Language: Telugu

Genre: Pop

Mood: Romantic

Soujanya Bhagavatula is the new winner of Telugu Indian Idol S2, and I just realized that I had featured her before. This single is composed and written by Viswadeep. Soujanya’s voice is beautiful, and her delivery is fraught with so much confidence, the mild vibrato, and emotionally, she nails it like how a love song should be. Jayaram is the keyboardist, and Sairam handles the catchy rhythm programming. Right from the pallavi and anupallavi, it is Viswadeep’s writing and Soujanya’s peppy singing that delight. Siddharth Tanuku and Sanu PS are the guitarists, with the former handling all the guitar arrangements. The melody does have strains of Suddha Dhanyasi Ragam, probably. 

The soothing effect of the woodwind sounds and the programmed strings pacifies the listener in the interlude, and we have all our focus on the charanam that's about to play with eager ears. “How can anyone stay angry at the woman if she asks and sings like this? ”Antha Kopama”,  we can feel the teasing nature of the protagonist in this line; no wonder this girl is the winner of this reality singing show. What follows is some beautifully arranged strings and harmonies in the background. Al Nishad and Vishal Bharadwaj are the additional programmers. Vishnu Vihari is the recording engineer at VM Studio. The tracks are mixed and mastered by Prashant at The Falsetto Studios, Delhi. The artwork is by Rajitha Banala. 

@soujanya.singer @rajitha_kushi @madhuraaudio @viswadeepscolletcive @rajithaarts_ @seantenedini @alnishad @sanups_

5. Behad

Music - Shashwat Sachdev

Singer - Faheem Abdullah, Shashwat Sachdev

Lyrics - Shashwat Sachdev

Language: Hindi

Genre: Rock- Metal

Mood: Energetic

This was one of the best of the album “Ba***ds of Bollywood”. Shashwat Sachdev is clearly one of the frontrunners in the Bollywood space, and this album is a huge shift from a lot of the patriotic fervour in his songs earlier. Shashwat writes the melody and lyrics, with the majestic vocals of Faheem Abdullah. It takes a while for the gears to change, and then we get the generous electric guitars and drums to elevate the song and mood. The song’s emotions are driven by Faheem’s modulation and ability to deliver lines with aptness. The song is co-produced by Shashwat and another excellent musician, Vaibhav Pani. 

Consider the transformation when he sings “ hai junoon mere seene mine”, almost like he is wooing a girl, compared to the chorus segment when he is like a torpedo on steroids. The drums get innovative, and I like that just at the end of the line when Faheeem sings “ jab sukoon mile to”. This song reaches for something high, and Shashwat and Faheem are successful in achieving that. There is no stone left unturned as we get some smoking basslines as well. Despite being short in terms of the melodic content, there are no qualms about this song’s impact. The tracks are mixed and mastered by Shadab Rayeen. 

@shahswatology @shadabrayeen @faheemabdullahworld @redchilliesent @netflix_in @vaibhavpani

6. Holiday

Composed and written by Studirt

Produced by Dirty Jays

Vocals: Dirty Jays

Language: English

Genre: Alt-Pop

Mood: Energetic

Collaborations between A-listers are what make this statement true: “The whole is greater than the sum of its parts”. Dirty Jays is a project I had not heard of, and when I came across a new single by them, I was so sure this had to be some fantastic Scandinavian,  European, or British band. I was relieved to find out this new act is an Indian duo with kickass musicians Stuart Da’Costa(Studirt) and Jehangir Jehangir (JJ). The intro begins with a conversation, and thank god it ended with “let's get the job done”, because they did get the job done. It gets funky and in your face with the bassline. 

The post-chorus is way too stylish, and it just feels like I am high and flying like a kite listening to “Let's go anywhere”. Studirt is messing with the heart, dropping all those bass interventions with the calm and meditative drums by Jehangir. The writing is simple, but it speaks to you with relevance and succinctness. Harsh Reality is the man on the lead guitar. Himonshu Parikh is the mixing engineer with Fili Filizzola on mastering. 

7. Usire

Composed, performed, and produced by Curry

Lyrics by Curry and Praveen Alva

Language: Kannada

Genre: Pop Fusion

Mood: Immersive

Praveen Alva, this time, is back as the lyricist for this enchanting semi-classical pop p[piece. I did do a full review after being immersed in Alva Kuuto’s self-titled album earlier this year. The melody is composed by Curry with lyrics co-written along with Praveen. The song screams of Reethiogowla Ragam from the get-go, and it is one of the most heartening scales, and despite its excessive use in movies, this song still makes your heart skip a few beats. Myli Karthikeyan’s mesmerising Nadaswaram plays faintly in the background, but it takes up a lot of your attention. 

This trio from Mangalore called Curry is Ryo, Sheesh, and KanaSue, and after Sukoon in Hindi, they release Usire in Kannada. The mild Mridangam and the tempo and song tone remind me of ‘Indian Rain’ by Colonial Cousins. The vocals combine beautifully with male and female voices, intertwining. When they sing the chorus line, “usire” we see a small part of our lives (usire) being taken away into someplace pristine and sanguine. The Nadaswaram in the interlude is a masterclass on how to play a heartwarming melody and simply stun the listener. The rhythms and harmonies are also properly arranged, giving us some moments of solace and some moments of grooviness. The tracks are mixed and mastered by Kanasue. 

@alva.praveen @ryo_dorling @piece.of.sheesh @kanaxsue @curryonmymind @amateurphotoclicker

@studirt @thejjsticks @thedirtyjays @himonshu @harshreality91 

8. Khasma Nu Khaniye

Composed & produced by Raghav & Arjun

Sung by Raghav M Kumar & Amira Gill

Written by Raghav & Arjun, Manreet Khara

Language: Punjabi

Genre: Pop

Mood: Groovy

Raghav & Arjun is a duo that I not only look forward to when they have a release, but it mostly ends up being a part of my weekly written reviews. So kudos, guys, for once again giving a song that entices and thrills in its own way. It is noteworthy that we have the fantastic Amira Gill on vocals here, only to spice things up with her blessed voice. The lyrics in Punjabi are by Manreet Khara, and the song’s melody is written by Raghav & Arjun; they also work on the song’s arrangements and music production. As the Ukulele or the Guitarlele plays for rhythms, the keys and synths give a coating over all this.

The tempo and the song’s mood go hand in hand and feel like a walk in the meadows. “Tu Keehnu labdhi ain,” and this line cradles me away with Raghav’s voice. Once we are done with the chorus line “khasma nu khaniye”, the rhythms get punchy with the riffs on keys. Amira Gill enters the scene, and all heaven breaks loose. This is so endearing with her tender vocals, and she gives those delightful harkatein with generosity. When I hear the line “main ki kharaan,” that is precisely teh state of my mind too , “What Do I Do?” How does a listener resist the temptation of closing the eyes and swaying, despite holding on to the railing in a crowded metro train, yes, that would be me”. 

The dreaminess of the synths coexists with the melancholy in the tone without feeling forced even for a bit. The tracks are mixed and mastered by Prathamesh Dudhane and Praneeth Kumar as the assistant mixing engineer at Bombay Live Studios. The film is shot by Akshay Nair, starring Aditi Sandhya Sharma & Anuj Rampal. The production designer is Taniya Prakash with Executive Producer Ashish More. 

@raghavandarjun @mansterlove @amiragill @neo.nair @praneethkumar @taniyaprakash @looksbyameerah @madverse.music @ashish_m.m @rampalanujone @_adi_tii @sabhyatasachar91 @arjunpremsangeet @prathmeshdudhane

9. Malli

Vocals & Composition: Krishna Tejasvi

Lyrics: Usha Prasanna

Language: Telugu

Genre: Pop

Mood: Romantic

I remember Krishna Tejsavi from a few indie songs in Telugu, and I loved, featured, and remembered one with him and Damini Bhatla called “Premlekha”. Karthik Ch A, delights us with the rhythm guitar, and it flows like drops of honey non-stop. Krishna composes the melody and performs the lead vocals with that touch of vulnerability; it appeals to me for sure. The accompanying Piano helps to calm our racing hearts, whether it is the bassline or the ghamaka by Krishna, they deepen our connection with the pop melody.

Usha Prasanna is the lyricist, and all the tracks are mixed and mastered by Roshan Sebastian. The acoustic guitar melody is cracking, and it works like a string, turning us into puppets in the interlude. The melancholy is real, and in a love song that talks about hurting, the song’s arrangements, writing, and vocals beautifully depict the situation of the protagonist. I love the line “epudo edo okalaga jariginadani” as the rhythm guitar starts playing harder and faster. The best line that feels like an ointment to all pains is “kaal chesina gaayam marugavadaa mari”. 

@karthik_ch_a @krishnatejasvi @roshansebastian @ushaprasannapelluri

10. Kalyani by Raag Utsav

Vocals, Music Production:

Language: Various

Genre: Semi-classical/ Light Music

Mood: Immersive/Devotional

When music or any other art form emanates from a strong purpose as the core idea, then a project like that will always be celebrated and shine like a diamond in the rough. This is a project helmed by Samba, who is a vocalist, and his longer name is Sambasivan Kailasam. I, like many music aficionados, am thrilled to read and discuss scales/ragas in film music as it helps me understand teh technical aspects better. Samba does us all a service by doing exactly that, as he picks one Raga and makes a string of songs influenced by those Ragas. Here is one called Kalyani, which is one of the most used and celebrated by Indian movie music composers.  

Kudos to every musician involved in this mega project, and for this particular Raag Kalyani, we have Bruthuva Caleb on bass, Nithish on flute, Madusudhanan on Violin, Karthik Krishna on Tabla, Sangeet Thomas on Keys and arrangements, Suma Rani on Sitar, and Shubha on Veena. We get the devotional hit called “Unnai Allal” by Papanasam Sivan, and here the intro music with the strings section, the flute solo along with the Mridangam and the  Veena is my favorite part. It is all about the Pop-styled keys with the rhythms that elevate ‘Sindhanai Sei Maname”. The magical “Abhi na Jao” is all bout the woodwinds and Tabla. Amazing flute interludes and the lyrics of Kannadasan take u back into musical heaven in “Aththikkai”. 

Before the start of “Mannavan Vandhanadi” came the brilliant bassline interventions, and that stole the thunder. I also like the Veena solo that comes in and intervenes at the perfect phrases. This 41-minute-long audio is for fans of light music and Raag Kalyani/Yaman. A valiant effort by Samba, but I would be amiss if I don't express this , that maybe for the future tracks, Raag Utsav could try a younger vocalist who can perform at the highest level. This noble and respectable project by Samba deserves a vocal vehicle of that standard. The recording engineer is Omkar Murthy, and Srinidhi is the mixing and mastering engineer. 

RD Burman’s ‘Beeti Na Beetayi Raina’, with some tantalizing Veena and ‘Chandan Sa Badan’ by Kalyaniji-Anandji, are unforgettable dedications. Who can forget “Aaj Jaane Ki Zidd”? Every Yaman medley is incomplete without this. The solo violin brings tears here. ‘Iss Mod se' is one more gem, and Samba performs some elaborate Aalaps and Sargams in this as well as teh subsequent “Jab Deep Jale” originally sung by KJ Yesudas. Maestro’s ‘Janani’ was the icing on the cake. The flute soloist was on fire in “Yamunai Aatrile”. ‘Varaha Nadhi Karai Oram' is one AR Rahman song that deserved a place rightfully in this list, and the harmonies were good here. 

@thomas.sangeet @raag.utsav72 @shubhasanthosh_veena @simonsandhy @bangalorestringsensemble @sitar_sumarani @nithishammannaya @praveenshanmugam @madhusudhanmadhav @tabla.karthik @srinidhi_omkar @omkar_studios @nexus_bass @