Top Indian Songs of the week 13th September 2026

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.

Here are the best songs released in India across languages and genres for the week ending 13th September2026

1.Dil Ki Aawaaz

Performed by Antariksh

Vocals: Rahul Ram

Written and produced by: Varun Rajput

Language: Hindi

Genre: Rock

Mood: Energetic

When you have a band that reaches for the stars every time they perform, we get an astronomical output like this. Antariksh is in terrific form and on top of that they get the vocal presence of Rahul Ram to uplift this song even further. The intro lead guitar arpeggios fee like cosmic rays that reach the earth from outer space. Varun opens the lad vocals in the verse here and I was already intrigues, but the Sarod by Rohan Prasanna was ethereal to say the least, and the phrase that he plays also feels magnetic in its impact. The use of Sarod in a hard rock number always feels like a great fusion choice and when Arko Ganguly’s drums and guitars by Shrikant Biswakarma and Varun.

Here comes Rahul Ram and the way he delivers “lehron ke tofaanon mein” , he does create a stormy whirlwind by himself. Danik Ghosh is the bassist adding all the grooviness, and we get a very heartwarming segment as they go “yeh to Zindagi ka raaz hai” with Varun and Ishita Singh joining forces as backing vocalists.

Things slow down to such a peaceful tempo, and the Sarod solo makes us feel the intensity of this tranquility. The Antara that follows treads through the same route with Varun delivering the words and we get a lavish and uber-cool guitar intervention in reggae style as he sings “ Tu, Kahin na rukha , badhta hi chala” with some Keys and synth support too, by Ashwin Krishnan. These creative choices, with drops in tempo, altered styles, and some funky arrangements all are the reason this song comes right on top of the list this week. We can also hear some Gospel styled harmonies in the background and Rahul Ram, with the high-pitched delivery and lead guitar counterpoints, just steals the show. M Krishna Rao is the mixing engineer here.

@antariksh_official @varunrajput_75 @rahulnram @rohanprasanna @strings_of_karma @drarko05 @ashkrish6 @mkrishnarao

2.Halki Halki

Vocals& Lyrics: Saahel

Composed and Produced by Saahel

Language: Hindi

Genre: Qawwali-pop

Mood: Romance

The sound of the Harmonium calms you down in a few seconds itself, and to take down our heart rate down further, Saahel’s voice does the rest as he sings “ In fizaaon mein hum Kahin ghum ho gaye”, and the mild strumming of the rhythm guitar by Syed Shujauddin takes us along this dreamy melody. Saahel has been incredibly consistent with his music and I rate him easily as one of the top 5 indie musicians in the Hindi space. The melody starts ringing in our ears and Saahel has the ability to write a tune with such meaningful and moving notes and it happens here in the pre chorus section. “Halki Halki Bekarari” hits you like a feather, light but inducing joy like seeing light at the end of a tunnel. The rhythm production is very mild and that allows the melody and vocals to remain.

The guy is also a gifted singer who never tries to morph or imitate some famous singer’s tone and that is why his singing wins hearts. “chupke tare main na dekhu, muje pe teri peheredaari” is a perfect example of how Saahel can sing the high-pitched notes with such conviction and when he delivers a few subtle harkatein, it mesmerizes you. This is also proof of the songwriter in him, which shines every single time. I do sense some Raag Bilawal as well as some influences of Raag Hamsadhwani as well in various portions and phrases of the melody.

Now we move onto the producer and arranger in him, pay attention to the dynamics of the drums, as we have a change in beats and intensity when the second verse begins as he sings “ wakt ke fasle”, and the gentle keys accompany.  Saahel gives you the confidence that this artist is not here to settle for something easy, but he will strive for creativity and excellence. Listen to how he introduces this long phrase of sargams and that comes as a surprise but also showcases his technical expertise as a musician. Is that the sound of the Banjo in the background? The tracks are mixed and mastered by Ashish Raitani.

@saahellmusic @ashish.raitani @pushkar.mp4 @shujauddin.syed @krish.wadhw4

3.Anta Mugisele

Vocals: Vasuki Vaibhav

Lyrics: Kalpradha Rajitha

Composed, produced by Vasuki Vaibhav

Language: Light Music/Soft Rock

Genre: Mild Pathos

I loved this new Telugu movie album called “Romanchakam” and this was my favorite song from the album. After so many amazing songs in Kannada, Vasuki forays into Tollywood with style and superlative impact. The song is composed, produced by Vasuki, with programming duties assigned to Shajith Humayun. We have the mild piano in the intro and Vasuki’s gentle vocals engage. The production is minimal, and Vasuki touches you with his beautiful delivery, as the guitars start strumming and Prashant Gnanamuthu adds some funk with his basslines. 

We get a long and breathtaking pause and what follows is mesmerizing as Vasuki sings “Manasa Manasa Telusa Telusa Adugulu okkatai”. The high-pitched alaap has shades of Raag Jog, and Frankin makes a fine solo on the violin , and this is a segment that stuns you into silence. The charanam gets some stunning live instrumental support with bass, synths and a relentless Mandolin in the background. The clap sounds, additional rhythms and the male chorus in the outro all make for a great finish.

@vasuki_vaibhav @romanchakamfilm @tseriessouthofficial @ananthika_sanilkumar

4.Deep Shade of Blue

Composed, and produced by AV Prafullachandra

Lyrics, Vocals: Shalmali Kholgade

Language: English

Genre: Alt-Rock

Mood: Immersive

It has been a while since I featured any Marathi movie song, but the wait is over and this is a worthy one. The song is in English with lyrics by Shalmali Kholgade and she delivers the lead vocals with such command, class and character. The melody is composed by AV Prafullachandra and he also does all the electrifying arrangements and music production. This song is part of the new movie album called ‘The Frame’. Rithu Vysakh, takle a bow, as he opens with the melancholic solo violin and he then adds complex layers of the Viola and Cello making it feel like wave after wave of powerful emotions approaching and hitting the walls of your heart.

The strings take a break, and the Piano makes way for Shalmali to make a sizzling start with the line “Daybreak, wrap your arms around me”. I love how we get a layer of additional vocals performing harmonies exactly at the point when she finishes singing “Stay” and they are accompanying for the words “with me”. This feels like song from the ‘Evanescence’ discography and that is why maybe the song has some Gothic Rock shades too. The violins/viola are emphatic, and the harmonies are incredible in their execution and impact. AV Prafullachandra experiments with some haunting rhythms and keys which enhance the impact of the song.

A solo violin by Rithu Vysakh comes and acts like a counterpoint in the interlude and the song has a lasting/immersive impact on the listener.

@avprafullachandra @shalmiaow @paddy_sound @gargeelulkarni @anda_half_fry @kalyani.kulkarnigugle @kshitijpatwardhan @rithuvysakh

5.Barkha Pukaare

Composed by Akashdeep Sengupta

Lyrics: Alok Ranjan Srivastava

Vocals: Akashdeep Sengupta

Music Arranged & Produced by Nakul Chugh

Language: Hindi

Genre: Pop fusion

Mood: Immersive

I see the names involved, and I am already intrigued. These talented artists never disappoint; that is why they are at the top of the game. That mild guitar riff is so inviting with that faint Tumri-styled aalap, and very quickly the song starts to win your heart. Akashdeep Sengupta sings this beautiful line “aaye hai badal oad ke kajal bheeg rahe angana” in that high-pitched tone, and one can feel the power as well as beauty of his voice. The vocal harmonies with Nakul Chugh on backing vocals and the array of keys and rhythms just feel ebullient. The melody is composed with such grace by Akashdeep and Alok Ranjan Srivastava pens the words that speak directly to the heart.

Nakul Chugh makes all the wise choices as the arranger and producer for the song. Is there some Raag Megh in the melody? Maybe.  “Dhoonde yeh saawan, tu hai kahaan re” feels like a walk in the clouds. The creative element was the use of the Sarod; a solo comes and teases you, intervening every now and then in the Antara. The Sarod is played with skill and elegance by Rohan Prasanna, and that is no surprise. Let us not forget how fantastic Akashdeep sounds and he can ignite the passionate feelings of love with just his singing. The phrase where he powers through the high pitch in “Tu jo yahin tha, toh sab haseen tha” with a great landing at the end and some delicate harkatein is all beautiful to hear. The outro with the solo on the Sarod by Rohan is the icing on the cake. The tracks are mixed and mastered by Prasad Maha.

@akashdeep.sengupta @hashtag.jazbaat @tseries.official @nakulchughh @rohanprasanna

6.Yayathi Yayathi

Composed & Produced by Judah Sandhy

Lyrics: Suni

Vocals: Sangeetha Ravindra & Chethan Nayak

Language: Kannada

Genre: Light Music/pop

Mood: Immersive

This stunning song from Kannada came like a booster shot to my sullen and drowsy morning jog. Judah Sandhy composes this light music melody that traverses across various scales but the constant factor is that it is rich and it extremely mellifluous as a song. The song is arranged and produced by Judah. We hear a faint Sarangi and this is enough to create a layer of pathos. The phrase “Neenu Shringarava, Naanu Sharanaguve” with some stunning guitar riffs in the background by Eric Gerald is one of the highlights for me.

The song with the melody in the Pallavi reminds me Maestro Ilaiyaraja’s “Thenmadhurai Vaigai Nadhi” and maybe has some influences of Raag Natabhairavi. The mild Tabla gets introduced, and here comes the Mridangam as well, The interlude is where the song takes an unexpected detour with a phrase that feels like Dharmavathi Raag to my ears. Sangeetha Ravindranath is the star of the song, giving the song all its tenderness and its mesmerism as well.  Chethan Nayak is the male vocalist who joins in the charanam. That humming that we hear by Sangeetha, with a folkish touch, feels like a hat-tip to some of the great works of Harris Jayaraj.

@judahsandhy @sangeetharavindranath @chethannaikofficial

7. Jiya Mora

Vocals and composition: Shreya Jain

Lyrics: Shubham Shirule

Music Produced by Nakul Chugh

Language: Hindi

Genre: Pop Fusion

Mood: Romance

A sweet union of talented artists here, as Shreya Jain, a fantastic singer-songwriter, composes the melody and performs the lead vocals as well, with Shubham Shirule’s tender words and Nakul Chugh’s simmering arrangements and production. Is there some Hansdhwani Raag or maybe some Shuddh Kalyan in the melody? Her voice makes you forget all these technicalities an all you want to do is feel the gentle vocals aided by the rhythms and keys accompanying. “Tan More Mehka Hua Hai Zara Mere Paas Aao Na Tum” feels like a pleasant-cold breeze on a sultry night that takes away all your sadness.

Shreya’s ability to mix style and substance is evident in her delivery of the semiclassical sounding melody, and adding just a bit of harkatein in the high-pitch. Nakul adds a little more peppiness with heavier rhythms and a layer of vocal harmonies that work effectively, especially during a phrase like “Jiya mora yun chalao na, sawariya re, najariya tum hatao na, sawariya re”. That solo electric guitar in the interlude with some male vocalization (giving the effect of a konnakkol) is a valiant addition. The bridge section feels energetic with male and female vocals combining. The tracks are mixed and mastered by Hanish Taneja.

@shreyajainmusic @raymudafare @thevalhallaproductions @nakulchughh @shanya.kashyap_ @aydee____ @mixedbyhanish @shubhamshirule

8. Breath

Written and performed by Prashanth Venkat

Composed and produced by: Prashanth Venkat

Language: English

Genre: Pop

Mood: Romance/Dance

The moment we hear the intro riff with Prashanth's distorted vocals and some titillating bass guitar, the mind gets captivated, and we are hooked. This is the kind of pop music we crave, and Prashant Venkat delivers it solo, with composition, lyrics, lead vocals, and music production. Prashant adds a layer of soothing vocal harmonies too, and all these spices things up even before a word is sung. Notice how cleverly the music stops when the phrase comes “Time had stopped for us”. The persistent keys, drums, and guitars feel so rich and reminiscent of 80s-90s pop music.

Prashant doesn’t try too hard, as the vocals stay simple but suave too. “Every time I close my eyes” literally makes you want to close your eyes and take in the music. The lyrics too aren’t complicated, but who needs that when simple, relevant words can touch your heart. For. e.g, pay attention to the chorus line “Every time I lose my mind, I take a breath, that’s all I need”. The bridge section keeps things cool and smooth, and this is one track that can feel fresh and can also elevate your spirits too. Pradeep Menon is the mixing and mastering engineer.

@prashanth_._venkat  @pradeep_prady_