Top Indian Songs of the week 11th October 2026

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Here are the best songs released in India across languages and genres for the week ending 11th October2026

1. Alif Maamathi

Vocals: TM Krishna & Shahabaz Aman

Music Composed by Shahabaz Aman

Lyrics: Sree Narayana Guru & Icha Abdul Qadir Mastan

Music Produced by Rex Vijayan

Language: Malayalam

Genre: Folk-Rock/indie

It has been a while since we have had a song released under “Guru Meets Mastan”, and this was totally worth the wait. What a brilliant collaboration: Shahabaz Aman and TM Krishna, vocalists who instill divine exuberance in listeners' hearts, come together to deliver a song that fuses classical Indian melodic verses with evocative Western instruments and arrangements. Sree Narayana Guru & Icha Abdul Qadir Mastan penned the lyrics. I was stunned like a snake bit me, and the venom here was not corrupting me but purifying me of my darkness. The aalap by TM Krishna with every note and every brief phrase of vocalization, is a great way to sensitize us to what is about to come.

The production is mild, but Rex Vijayan makes your heart race ahead with the onset of rhythms in the background. As Krishna begins to sing “Ponnayama madhiyil” I am reminded of the great song “Maraindhirundhe Parkum” from the movie album ‘Thillana Mohanambal”. The accompanying guitars are creating a rage here, and we feel the mesmerism of these fused styles of global music. The tinge of the Mandolin is a great addition to softening the impact of the electrifying guitars. We have Sujith VV on both these instruments. Bliss is when we have the outstanding chorus singers performing in harmony, thanks to Chorus Lal Krishna Jasim Jamal, Amithav Suresh and Akhil Dev. Shahnaz Aman makes his entry and elevates the divinity quotient further.

The gears keep changing as rex Vijayan works in a devilish mode, enhancing the soundscape with keys, guitars and rhythms. The interludes are brief, but we get a dose of interesting percussions, and maybe the Oud to give a middle eastern sound. The song takes a turn, a detour into another serene territory and past the 6^th minute what I hear briefly is more of Raag Shindhubhaiaravi. The tracks are mixed and mastered by Rex Vijayan and the recording engineer is Sai Prakash.

@lal_music @tmkrishnaofficial @jasim__jamal @akhildevvvv @sujith_v_v @saiprakashh @rex_vijayan @shahabazaman5

2. Amma Na Haadu

Vocals: Sid Sriram

Lyrics: AP Arjun

Music composed and produced by Arjun Janya

Language: Kannada

Genre: Light Music

Mood: Pathos

It has been a while since Arjun Janya was featured on my website, featuring the best of Indian music, and this one totally deserves a spot here this week. Sid Sriram is the playback singer, and he works with a more mellowed down approach using minimal vocalization. The gentle Piano, by David Selvam and the intervening flute by Sathish all do enough to let the melody instill some pathos into our hearts. The melody probably has shades of Raag Keeravani. “Ninna Thyagaki mikilu innyaramma” brings a tear or two thanks to Arjun’s mellifluous ballad, and the subtle but meaningful arrangements as well.

We have a layer of strings in the background to enhance the pathos but immediately the transformation with the “laali laali laali” and the accompanying guitars, bass and rhythms act as a mollifying and pacifying agent. The solo on the Nadaswaram by Bala is evocative, but the best phrase is the one that follows with the choral section, with nice pauses, the Piano and Nadaswraam together. The melody written here works like magic and kudos to all the vocalists on chorus viz. Bishan Rai, Darshan Melavanki and Abhishek MR.

The melody in the charanam takes a very divergent melodic route and maybe there is some delightful Brindavan Sarang involved here, the added impact of the chorus rather than just Sid’s voice makes it more blissful in my opinion. Ganapathy works the percussion and when the ending line of the charnam arrives , all you can think of is an image of your own mother in your mind as Sid Sriram effectively delivers the phrase “Amma Anno hesare punya amma” David Selvam handles all the mixing and mastering duties at Berachah Studios. The recording engineers are Roopesh CK and Siddharth ST.

@arjun_janya @davidselvam_official @berachahstudios

3. Raynnn

Vocals: Ben Parag & Shashaa Tirupati

Lyrics: Amir Khusrau

Additional lyrics: Shashaa Tirupati

Music composed by Shashaa Tirupati

Music Produced by Shabeer

Language: Hindi

Genre: Tumir-Pop fusion

Mood: Immersive

Shashaa Tirupati composes this seductive, immersive melody and it has scattered traces of classical Indian music all over. I did feel Raag Bhimplasi for sure with all its lovable and hummable phrases, and Shashaa tells me that there are mainly Megh Raag and Rag Jaijaiwanti predominantly. Ben Parag is the male vocalist and I absolutely appreciate Shashaa for allowing the lion’s share of the song’s phrases to be performed by Ben Parag. This is so refreshing and beautiful to see, because most composers would overuse themselves, but someone with Shashaa’s vocal abilities takes the back seat to everyone's surprise. This is a dedication by Shashaa for her father.

This creates a dichotomy for the music lover in me, on one hand I am elated by her creative choices keeping the song’s purpose alone at the helm but also saddened that I couldn’t get serenaded by Shashaa. We hear the strings and the Piano and mild pathos emerge. Ben Parag stuns you instantly with his vocals filled with great use of harkatein, some ghamakas and vocalization. The way he reached for the high-pitched notes in the end of this phrase “Laagilagan laagi saajan son” is mesmerizing to say the least. Some of the improvisation Ben does seem like impossible to fathom for an amateur vocalist like me, “Ban Thaan raah takat Piyaa ki” is a case in point.

Shabeer keeps production minimal with just the Tabla and some keys in the background, with a nice layer of lead guitar intervening. We get an interlude and it has a modern touch of lo-fi sounds, just a faiunt aalap of Shashaa is all we hear in the background. There she makes a foray with these soothing lines “Piya Piya Kehti main pal bhar sukh na chain”, followed by male vocal harmonies and some tantalizing keys and synths thanks to Shabeer. Shashaa writes the additional lyrics with the core lyrics by the legendary poet Amir Khusrau. Her contralto voice and Ben’s countertenor delivery alternatively keep ringing beautifully in my ears.

We get a bridge section that feels ethereal thanks to Ben and Shashaa singing in harmony and performing these superlative aalaps.

@sashasublime @shabeermusic @benparmusic 

4. Hum Aur Woh

Performed by Daira

Vocals, Lyrics: Piyush Kapoor

Language: Hindi

Genre: Indie Rock

Mood: Immersive

Daira is one of the most consistent and respectable India rock bands with their folkish rock flavors touched and enhanced with every new release. This song was particularly likable for not just the melody and arrangements but the lyrics too. The intro lead guitar itself is like the perfect appetizer, and we have Pratyayy Mishra and Shivam Pant as the guitarists, and Piyush Kapoor wings the lines that feels like a proverb of indisputable truth “jab Jab Main aur Tu lad ke mar jayenge”. Aditya Ranga slowly but steadily instils the energy into the song with his drums and Aditya Ahir stylizes as the bass guitarist.

Aditya Ranga gives a pause, and we await what is going to be the next like with only the sound of heart beating, then Piyush completes the mystery “who aage badh jaayenge”. A good song is just not about the frills of arrangements and production; it will always be the melody. Daira understands that quite clearly and that is why certain phrases in this song evoke great chills and appreciation especially if you are a true music afficionado. To quote an example listen to this phrase “ lega who teri bhi Jaan, Khareeda jisne hai eemaan tera”. What is rock music with a face-melting solo on the electric guitar and here we get more than what you ask for with a feverish solo phrase followed by riffs and a counterpoint as well.

The bridge section is where Piyush goes into a belligerent mode and the passionate high pitched vocals keep you hooked. I love the closing lines, which are a like a sermon to the children of the future “jab main aur tum ye samajh payenge, who humse darr jayenge.” Amen.!

@dairaindia @piyushcapoor @adityaahir @shivamflat5 @_croopa_ @ranga_plays_drums

5. Yenno Yennenno Anukunnane

Vocals: Sreekanth Hariharan

Lyrics: Krishna Kanth

Music composed and produced by Vishal Chandrasekhar

Language: Telugu

Genre: Light Music

Mood: Romance

Vishal Chandrasekhar composed and produced the music for a recent movie album called Maya Lady in Telugu and I recently reviewed the music. It was good overall and amidst the 2-3 songs I enjoyed this one performed by Sreekanth Hariharan was my favorite. We welcome the song with a waltz-style rhythm as we get the rhythm guitar, female humming all contributing to the tempo, but that is not all. We have a fine arpeggio too on the acoustic guitar intervening, with the mind getting stuck on Sreekanth Hariharan’s magical voice singing in the Baritone range. Is there some Raag Keeravani in the melody? The heavy percussion and strings section in backgrounds we head to the Anu Pallavi just shows Vishal’s penchant for elaborate arrangements. The flute is played by Lalit Talluri, and we have The Chennai Strings Orchestra on the stromgs section

The vibraphone and gentle guitar riffs by Chris Jason add a layer of childish innocence in the brief interlude. All these acts as agents of tranquility, making this a song that just pacifies the heart right through. “Theliyulethula Prapanchame” is the phrase that portends all these minutes, yet magical details. The actual longish interlude is where, the guitar solo along with basslines, dominates and provide a tantalizing phrase reminds me of another fabulous song called “Love Polladhahu” by Sean Roldan and Vijay Yesudas. The vocal arrangements do need a special mention as it all is apt and takes us back to the early 90s where chorus singers would be present in almost every song. I love how the female chorus intervenes after “Evaroleni” in the charanam, pulling strings in your heart every time. It is also possible that the melody has traces of Raag Kaapi. The lyrics are penned by Krishna Kanth. The tracks are mixed and mastered by Jai Ganesh

@composer_vishal @sreekanthhariharan @lalittalluri @christhejason

6. VAANMATHI

Vocals: Shabir & Chinmayi

Composed, Produced by Shabir

Lyrics: Shabir

Language: Tamil

Genre: Pop

Mood: Romance

Shabir Sulthan, or simply Shabir as the world of Tamil music knows, is a self-made artist and he thrives on making popular music with a delicious sounding melody at its core. This happens every time and this one is even more special for the lead female vocalist he brings on board in Chinmayi. The melody is composed and lyrics are penned by Shabir, he also handles all the arrangements, programming and production. The initial Pallavi has this energetic rhythm arrangement, and we keep wondering where the melody is headed, because Shabir voice remains subtle and feeble. I do sense some Abheri Ragam in the melody.

This when Chinmayi makes her foray with “udhaikkadha suriyana” with some splendid rhythm programming. Her vibrato is generous and possesses aesthetic charm as she shings “ asaiyatha alayum unda, thoongatha vizhigal unda”. The chorus segment is emphatic not just for the melody but the aalpa and swaras uttered at some break-neck speed, stole my heart. Kudos to Yossef Sydney and Shabir who have worked on the synths and given this hyper-seductive soundscape to the song. It is brief, and just has short verses and a chorus segment, but because it is done right , it works.

@shabirmusic @shabirmusicofficial @chinmayisripaada @shabirmusicasia @theorchardindia @prorekhaa @chandni.nagadurga

7. Padhumai

Vocals: Sai Vignesh

Music composed and produced by Varun Vijay

Lyrics: MuVi

Language: Tamil

Genre: Light Music

Mood: Romance

I love the intro, giving the song a flavor of a Latin dance rhythm, on the Piano and the acoustic guitar, with Robin Sebastian on the latter and when Lalit Talluri plays the flute, it is all evident and clear that we are listening to Raag Reethigowla, one of the most mellifluous ragas according to me. The song is composed and programmed by Varun Vijay, with lyrics by MuVi and vocals by Sai Vignesh. We also hear the gentle Tabla played by Martin. Sai Vignesh adds a lot of Carnatic classical touches with his ghamakas and aalaps, but what strikes me the most is Varun’s arrangements and production.

The chorus is a a worthy and enhancing layer when they sing “azhagiya kan” and the lead guitar adds a reggae style groove to the song which too is a creative master stroke. Lalit keeps intervening with some nice solo phrases on the Flute and the chorus segment sticks to the mind like one indelible mark thanks to Sai’s tone and tenderness as he sings “ manadhil kaadhal padhumai”. We have heard nothing yet, and it explodes into one sensual interlude as Lalit begins play with style and we get a saxophone solo to follow, and I am reminded of Khaled’s ‘Didi’ here.

Another segment which deserves appreciation is all the percussions with Tabla, Bongo drums, not to forget the Piano which too bursts onto the scene from time to time like a percussive instrument. The tracks are mixed and mastered by Lokesh Vijaya Kumar. The title is designed by Leena.

@varunvijayrox_official @sai_vignesh_r @lalittalluri @robinsebastianmusic @lokesh_vijaya_kumar @martin_tabla @writer_muvi @vibe_n_studios @leena_laksana

8. Sapera

Music composed and produced by Vyom Bharadvaj

Written and performed by Vyom Bharadvaj

Language: Hindi

Genre: Rock

Mood: Immersive

What is flowing? The guitar riffs by Vyom , create an aura of a flowing stream of water, and this soft rock intro starts to entice you, and before you close your eyes, the electric guitar by Divtej Singh awakens you from that gentle slumber, and we are entering the zone of some blistering rock music .”khali na ho mann mera, raat ho ya savera” Vyom sings and the interjecting electric guitar is like a booster shot to the proceedings. I can sense the presence of Raag Jog in the melody, and once this phrase ends, you can try and sing “Dil Se Re , Dil Se Re” by AR Rahman and it would fit perfectly too.

If the guitars are electrifying, what adds some subtle style is the bass guitar by Angad and Sarthak Pradhan is the engine driving all the energy forward. “Kyun na hota andhera” is followed by one helluva solo performance by Divtej and these instrumental phrases are what modern day music lacks big time. Thank you Vyom for creating a song that music lovers, especially in the rock genre probably have been desperately seeking, this is sure to bring back some headbanging by the listeners.

After the second verse it is not only the electric guitar but the acoustic guitar too that joins the party, but a calm phase appears “kyun hai nacha sapera” with drums vanishing into the oblivion and this is where I felt presence of a Trance effect. The tracks are mixed and mastered at Uneven Studios.

@vyom.bharadvaj @divtej_ @_sarthakpradhan @angad_bahra @unevenstudios