Top Indian Songs of the week 14th December 2025

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Here are the best songs released in India across languages and genres for the week ending 14th December 2025

1. Kaarmoda Karagi Maleye Shuruvaagide

Composed, Arranged, and Programmed by Charan Raj

Lyricist: Pramod Maravanthe

Singers - Kapil Kapilan, Sindhuri Vishal

Music Produced by Charanraj, Sujith Sreedhar, Sanjay Romauld

Language: Kannada

Genre: Light Music

Mood: Romantic

I love how people get involved in IG comments, and recently, when I posted my weekly picks of India's best music, someone asked me why I hadn't featured “Kaarmoda Karagi Maleye Shuruvaagide”. I end up having a few delays and lags because of teh sheer volume of songs I listen to every week alone. But thanks to that comment, my faith in Indian music got restored, both from a consumer and creator standpoint. So here is my review, 2 weeks later, and what a fine song by the magnificent Charan Raj we have here. One can add this song to the short list of songs that mesmerise and have the ritualistic phrase “Mangalyam Thanthunanena.” The melody begins with such grace as Kapil Kapilan delivers the line. 

The influences of Raag Hamsanadham are apparent, and one song that immediately comes to my mind is Vidyasagar’s “Poo Vasam Purappadum” from the album “Anbe Sivam”, thanks to the tone, sound design, the Piano, and tempo. Pramod Maravanthe pens the words, and the song generates even more awe and wonder when Sidhuri Vishal sings her line in her astonishingly beautiful voice and delivery style.  Feel that seductive flute by Vishnu Vijayan intervening, along with Keba Jeremiah’s guitars. The power of Charan’s composition comes alive when he surprises you with the phrase “ Ninna Sero Nadiyaade naa”. The man is a magician, and he knows how to deliver a semi-classical melody on a platter of modern sounds like the electronic pop here. 

The backing vocalists Kavitha, Kamalaja, Abhijit Rao, and Sanjay Romauld sing the “Thanams” with the energising keys and rhythms, and we are in the midst of musical bliss. The interlude with the humming by the lead singers is followed by a fine melodic phrase on the flute and then the nadaswarm by Adyar D.Balasubramaniam. Charan tells me that there are also glimpses of Raag Saraswathi, and I do find those tonal similarities with the interlude of AR Rahman’s. “Malargale Malargale”. The song is composed, programmed, and arranged by Charan Raj, with Sujith Sreedhar, Sanjay Romauld, and Charan producing this breathtaking track. 

The charanam starts with a pleasant and mild phrase sung by Sindhuri, with minimal additional instrumental support, but the energy zips through when Kapil sings “Olave nannolave”. Pay attention to Vishnu’s flute interventions here. Raghothama NS is in charge of additional programming. The counterpoints on teh flute are fantastic as we can keep hearing it at the end of the charanam and the pallavi when it plays again.  I am taken back to Maestro’s “Sorgame Endralum,” which is also set in the Hamsanadham ragam. Kapil and Sindhuri sing the lines with such finesse, adding the mild ghamakas. The recording engineers are Amal Mithu, Sanjay Romauld, with mixing, mastering by Sujith Sreedhar. 

@pramodmaravanthelyricist @charanraj27185 @chaithra.j.achar @varsha_v_acharya @sonugowda @shilpanishanth_ @vishnuvijay01 @kaplkapilanmusic @singersinduri @sanjay_romauld @kebajer @

2. Chakor

Composed by Ashwin Iyer & Mayank Saini

Vocals by Aaditya Laddha

Lyrics by Mayank Saini

Produced by Ashwin Iyer

Language: Hindi

Genre: Pop

Mood: Peppy

Ashwin Iyer and Mayank Saini have hit this one out of the park. The very first time I heard this song, I had a mix of emotions, like pure bliss from the melody, and then the arrangements and production gave off a peppy vibe as well. It is Aaditya Laddha’s affable voice and his casual delivery that set the initial spark, but soon, we get a barrage of factors that make this a very deeply resonating track, like the Mandolin in the intro and the stunning bass guitar, both played by Manash Saikia. If you see the video, the song begins after a disappointing cast call experience, and the Mandolin perfectly creates the change of mood to positivity. My favourite line in the melody is “Mann mein na bair, na lalach koi, chaand hai tu, chaand se preet hoi”, for some fine notes and the way it surprises me. So well done, Mayank and Ashwin.

The harmonies, thanks to Maya Bajaj on background vocals, are a great way to add more juice to the song, and it works brilliantly. Ashwin Iyer, who is also the keyboardist, adds the icing on this cake with his music production duties. Sharodiya Chowdhury makes your heart stop multiple times with her cuteness and impeccable grace as the lead girl. Aaditya’s voice and style remind me of the great Mohit Chauhan. The interlude is where Manash shines further with that solo on the Duitara and Mandolin. In fact, the sound of the Harmonica that follows makes me think of “Masakkali” by AR Rahman, which was also performed by Mohit. There is a drop in tempo, and the production turns mild with the pathos in the song’s tone, which is a very bold but witty take on the movie industry called Bollywood. 

The arrangements, especially the harmonies, Mandolin, and bass guitar, are relentless and consistently keep things sharp. The outro is spectacular, with the Dhol and electric guitar (by Mayank) components adding more fizz to an already tasty drink here. The tracks are mixed and mastered by Rupjit Das ( At The Mix Mill Studios). The choreographer is Varshika Uchil, and the dancers are Varshika Uchil, Tanisha Maheshwari. The concept is written, directed and edited by Suryansh Deo Srivastava. Kudos to teh cast on screen, Sharodiya Chowdhury, Naysha Bhatia, Krishna Chhabra, Dhyanvi Katharani and Sanket Ranadive.

@rupjitonthemix @ridhirajpal_ @sharothediya @toohmuch @aadityaaaladdha @acousticscreams @manash_inf @nayshaab @ritabanbiswas @ashwiniyer_ @mayabajaj__ @alvays.exe @_tanishamaheshwari_ @varshikaaaa @sanketranadive 

3. Fallin’

composed, written and performed by Zian B

Produced by Tizaan Alphonso

Language: English

Genre: Soul/ Gospel

Mood:  Groovy

I have been in love with Zian B’s tracks of late, because her vocals are scintillating and a treat for any Soul/R&B lover. This one too is something you will keep Fallin’ for if you are a music lover. Listen to the gentle Piano and a few seconds later the notes become extravagant and louder, but the moment you hear ZIan B, the mind travels to places of tranquillity thanks to the quality of singing on display. She sings “Everyday was a struggle, I tried to hold on”, but Zian B is singing these notes with such finesse, and I see no struggle at all. The vibrato and improvisation are of superior quality, aided by some nice Gospel-styled harmonies.

Mariah Carey, Toni Braxton, Alicia Keys, and so many names come to mind when Zian is performing, and this is not to compare but complement this astounding vocal display. Tizaan Alphonso is the man who has done all the music production, so credit goes to him for all the delectable arrangements. I was stunned when Zian B went big on the flasetto singing “ And you made me feel small”. Listen to all the terrific improvisations she does with her voice. God Bless her. 

@zianbmusic @tizaanalphonsomusic @itekbhutani 

4. Why Do I

Vocals: Nikhil D’Souza

Written and composed by Zohran Miranda

Music Produced by Zohran Miranda and Jovian Soans

Language: English

Genre: Pop

Mood: Groovy

This is my favourite song from the album called “How to be” by the amazing Zohran Miranda. I just recently did a full album review on my IG page, giving it 3.5/5. Do check it out. This is once again a scintillating pop track that takes me back to Phil Collins’ “Easy Lover”. We have Nikhil D’Souza on lead vocals, and he just turns on the groove and cranks it up so many notches, giving me the goosebumps when I hear him. Despite all the attention that my ears and mind are giving to this amazing performer, I couldn't help but feel the pulsating live instruments, like Rushad Mistry’s basslines, Zohran’s lead guitars and Jai Row Kavi’s drums. 

My favourite segment is the pre-chorus part where he goes “ Find a little loving, The mind needs forgiving tonight” with some suave keys in the background, and backing vocal support by Zohran. This is gonna become like an anthem of reason in the romantic world, and that I what I felt with Zohran’s words “Why do I have to love you, if you don't care?” The guitar solo feels energising in the interlude, and we just feel all the amazing arrangements enter our system, especially closer to the outro. The recording engineer is Kuber Sharma, and the tracks are mixed and mastered by Jovian Soans. The music production is by Jovian and Zohran. 

@zohranmiranda @mikhilmusic @joviancity @jai_row_kavi_ @meghabheemusic @chukkaboom @rushadmistry1981

5. Dua Salaam

Composed, Arranged and Produced by Siddharth Pandit

Lyricist: Alok Ranjan Srivastava

Language: Hindi

Genre: Gospel-Pop

Mood: Uplifting

We are gonna come to the end of this year with a fine track by this year's most accomplished indie musician. I say this because Siddharth Pandit’s Azaad Sanget 3 will soon be announced as the best Indie album of 2025. Anyway, here he is with a very funky track that brings artists from Nairobi. This amazing group called the Epoch Choir Group is delivering this like a sensational Gospel in the Temple of God. This track is all about the groovy Keys, some moving words and glorified harmonies. The lyrics are penned by the long-time associate of Siddharth, i.e. Alok Ranjan Srivastava. 

Siddharth sings it, and closely following him is the choir group, and when you hear the far end of the verse, the melody just keeps getting better. My favourite phrase is when Siddharth sings “Zaroori, Nahi Hai” with the choral vocalisations. The interlude has these finger-flicks  with the uplifting humming is where things turned divine. Kudos to the Epoch Choir group for showing us that the Lord is in the notes. Siddharth is not just a supreme composer, he is one fine Pianist as well, and you can feel the reverence of the Organ and the keys right through. 

@panditjeeee @hashtag.jasbaat 

6. Seekha Maine

Lyrics & Composition: Meha Mathankar

Vocals: Meha Mathankar

Produced by Joel Jossy

Language: Hindi

Genre: Rock

Mood: Energetic

The energy of rock music is simmering from the very beginning, and the heavy electric guitar and drums lead the way in this song written and performed by Meha Mathankar. Joel Jossy is the producer, and I have featured a few os his tracks before. The first thing that came to my mind when I heard her sing was that she does carry that Sunidhi Chauhan flavour and tone. The energy, the attitude, the frustration are all perfectly embodied in the line “ bikhri bikhri yaadein hai, toote foote, waaden hi”. The verse comes to an end, and just after the chorus/title line is performed, we get that flamboyant vocalisation. It is the best segment of the song for me. 

She just keeps getting better with her delivery as the song progresses, and that is a very important element in how the song works. Just solid production alone cannot carry the entire weight of a song. You actually feel hope when she sings “ Ummedon par hum chalein”, and that is the mark of a singer who knows what she's doing. Josel gets some strings section aid in the background with the chorus, and the ensuing electric guitar solo is of blistering quality. The bridge section ends with the little tweaks done to the vocalisation segment, and that shows that Meha is willing to innovate and think hard as a composer. The tracks are mixed and mastered by Rudransh Thakur. 

@mehamuse @joel_jossy @joelmusiclab @mixedbyrudransh 

7. Nene Ila

Vocals: Aditi Bhavaraju & Ayaan

Composed by Shravan Pakalapati

Music Produced by Stanley Sajeev

Lyrics: Srirag Vadlakonda

Language: Telugu

Genre: Pop

Mood: Romantic

The arrangements and music production stood out to me, and the intro itself gives you a glimpse of what's about to come. Ayaan is the male vocalist, and he has this calmness in the delivery that feels affable. Shravan Pakalapati is the composer, Srirag the lyricist, and the music is produced by Stanley Sajeev. Is there some Raag Bihag or Raag Shankarabharanam in the melody? The pop-style keys, rhythms, and arrangements work like a dream alongside this gentle melody, but the showstopper is the interlude on teh flute and keys that is also the intro music. 

Lalit Talluri is on the flute, and the violin solo is by Abhijit Gallure, along with the soothing Tabla by Tejas. Observe these fine violin intervetions during the song’s antara. The song gives me a very AR Rahman-esque vibe. Kudos to Stanley for the sound design. All said and done, Melody is king, and without that core goodness in this song, everything else will be pointless. Here comes the Diva Aditi Bhavaraju, and you can surrender to her when she sings “enthuku intha sathegame.” Our hearts soar as we get the Keys, rhythms, and the high-pitched flute riffs, and teh outro is extremely catchy. Shruthi plats the Sitar.

@aditi.bhavaraju @vocally_ayaan @shravan_pakalapati @poojadabbiru @stanley_sajeev @sriragvadlakonda @tejandcajon @abhijitgurjale @mangomusiclabel @

8. Kyun Nahi

Written and Performed by Navaneel

Music Produced by Timothy Thampy

Language: Hindi

Genre: Rock

Mood: Mild Pathos

Timothy Thampy is one busy man, producing some fabulous tracks for various indie singer/songwriters. Here he is showcasing some of that for a new single by Navaneel. It has some effervescent rock flavours with that strong lead guitar playing right through. Navaneel is the lead vocalist, and he pertinently asks, “ Kyun Nai, Tujhe Farq Nahi,” and the tone is so affable and deep that you cannot shift your focus elsewhere. The song’s melody and lyrics are written by Navaneel, and the additional vocal layer adds more effect. The interplay between the lead guitar, suave basslines and the generous drums makes a fine concoction. 

Kudos to Timothy for giving us the sound that rocks us away into oblivion. The interlude on the humming and lead guitar solo that follows is another example of how Navaneel and Timothy have thought this through completely. After the falsetto-led bridge, we get a mildly produced outro, but the programmed strings calm things down. The tracks are mixed and mastered by Timothy.

@nvneel.music @timothythampy 

9. Lamhe

Composed and Produced by Saanjh/Savera (Alokik Modi and Aakash Rajan)

Lyrics: Alokik Modi

Language: Hindi

Genre: Semi-classical

Mood: Immersive

Wow, nothing works beautifully like a whistle. I can think of so many amazing songs that have such whistle performances. This one, too, works brilliantly. I have featured Aakash Rajan before, and this is a duo act called Saanjh/Savera with Alokik Modi and Aakash, serenading us with this semi-classical track. I hear strains of Raag Khamaaj in the melody, and that sicntillating violin solo by Shreelakshmi S Bhat makes me teary. She beautifully plays with freedom and improvises, within the scale, of course, and all this with that rhythm guitar is beautiful to hear in unison. 

The harmonies are evocative and are finely arranged with the playful strumming of the Ukulele as well. The verse that follows has the nice rhythm arrangements as well, which give the song a thrust and tone that feels like Indian Rain’ from Colonial Cousins. We have the traditional Indian rhythms as well as some drum production, combining like a fusion of two worlds. A highlight for me is the chorus humming that has a great tune to it. The tracks are mixed and mastered by Aakash. 

@aakashrajan @alokikmodi @thesoulsatradio @shreeu14