Top Indian Songs of the week 18th January 2026

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Here are the best songs releasxed in India across languages and genres for the week ending 18th January 2026

1. Araginiye

Singer: Kapil Kapilan & Saanvi Sudeep

Lyricist: Dhananjay Ranjan

Composed, Arranged and produced by Charan Raj

Music producers: Charanraj and Sujith Sreedhar 

Language: Kannada

Genre: Pop

Mood: Romantic

Expect nothing less from this guy! Charan Raj, after a solid 2025, is back with a mindblowing sensual romantic single here, and everything about this song is tempting, arousing. I urge you to dedicate this to your loved one when things are about to turn hot and heavy. The tempo is what I loved the most, in this day of hyper-fast and noisy music. The mild Piano and rhythms with Saanvi Sudeep’s alto tone set the perfect pallavi, as the majestic voice of Kapil Kapilan soars in the high pitch when we get to the anupallavi. Kalyani Nair is instrumental in arranging and conducting the soothing strings in the background played by Chennai Strings and Cochin Strings. 

Keba Jeremihahs guitars and Keith Peters’ bass accompany, while the chorus line is uplifting, making a permanent mark in your mind. Just when you feel like you have been stung by the melody, Saanvi’s English lines, “ Your touch feels like home, your breath blends with mine” , and all I can do is stand up, give an ovation and thank Charan Raj for this. He is not just the composer; Charan also handles the arrangements and co-produces with Sujith Sreedhar. Saanvi is someone I am hearing for teh first time, but she belts this one out of the park into a different orbit. The tone and the mood of this song take me back to Elton John’s “Believe”. The string arrangements are present all through the charanam, and kudos to Kalyani and Charan for giving us a whiff of what the past sounded like. Maestro Ilaiyaraja's numbers like “Oru Poonga Vanam” come to mind. 

The melody during the closing stage of the charanam is where I felt some influences of Raag Abheri. The temperature rises with Saanvi’s “Ee Rathriya Ranjisutha”, and Keith follows up with a stunning bassline intervention. Sanjay Romauld and Raghothama NS are the additional programmers. Keba hits you with a lead guitar solo, and Saanvi perfectly describes it as “So Divine”. The recording engineers are Aniket Mohanty, Amal Mithu, Biju James, Sanjay Romauld and Sreerag. Sujith Sreedhar is the mixing and mastering engineer at Masterhouse, 2 Bar Q Studios (Chennai). Dhananjay Ranjan is the lyricist. 

@charanraj27185 @saregama_kannada @kapilkapilanmusic @kaajalkunder @hamsa_narayanaswamy @sanvisudeepofficial @supriyanvipicstudio @sujithsreedhar @kebajer @cochinstrings @kalyaninair86 @sanjay_romauld

2. Jil Jil

Song produced, composed, arranged and performed by Amrit Ramnath

Song Written by Sanjkayy

Language: Tamil

Genre: Pop

Mood: Romantic

Amrit is destined for big things, and that is evident from his indie projects that prove to be outstanding every single time. I am a little delayed, but that can never take me away from finding the best out there. Amrit performs this beautiful track, and he goes almost solo with the melody, arrangements and music production. The lyrics are written by this bright and talented actress, Sanjana AK (remember her from Lubber Pandhu?). Interestingly, the music video was also directed by this artist. Somehow, the opening lines with the string presence of the Mouth Organ (played by Ramnath VP) feel like AR Rahman’s ‘Kun Faya Kun’, and that is intended to be a ravishing compliment on the impact of the musicality of the intro. 

We wait patiently as Amrit sings Sanjana’s stunning lines in appreciation of the woman’s beauty and nature. Just when we hit the chorus line “Jil Jil ena mana pookirathe”, the heart truly blossoms thanks to Rithu Vysakh’s one-man show on the Violin, Viola and Cello. How can a woman say no to Amrit’s request “Ennodu Va Rathiye” along with the choral vocals by The Indian Choral Ensemble and the soul-stirring violins in the background. The humming gives me goosebumps, and we only get rocked and swayed away into oblivion with the interlude by Rithu. The violas take the lead with teh violins and Cellos adorning the background. 

When we get back to the chorus , this time the lines “Jil Jil ena “ and “Sol Sol ena” are performed with such grace by Nidhi Saraogi, Rajeevi Ganesh, Fathima Henna and Yazhini, with Karthik Manickavasakam conducting the session for the chorus. The song has additional music production by Nitin Muralikirshna, who is also the mixing/mastering engineer (assisted by Sanjana Shah). The recording engineers are Vishnu Namboothiri at Mystics Room and Hari at 20dB Sound Studio. K Shyamkrishnan handles the cinematography, and the dance direction is by Shakthivel at The Dancers Club. 

@amritramnath @sanjkayy @tdc.thedancersclub @deekshitanikkam @palindromamusic @rithuvysakh @karthikmanickavasakam @theindianchoralensemble @shakthivel.iam 

3. Vaalile Samurai x Rajavin Paarvai     

Singer: Sathyan Mahalingam, Vijaynarain, Brinda

Lyricist: Vaali, Muthamil

Music Director: M. S. Viswanathan, Santhosh Narayanan

Original singers: P. Susheela, T.M. Soundararajan

Language: Tamil

Genre: Dance Pop

Mood: Romantic/Groovy

This is how it is done !!!!! Santhosh Narayanan gives a masterclass yet again, this time on how to take a song of the past, fuse it with modern Baroque Pop styles and arrangements, and also create your own phrases, lines and verses to give a new song, albeit while maintaining the original’s charm and grace. It begins on a gramophone with the amazing P Susheela singing the opening humming, and we feel nostalgia and amazement all at once. The movie’s storyline and theme demand that Santhosh use the original gem, and that is why we have this fusion number, not because of his inability to create something fresh or the general public’s lack of appreciation for new and original music, as we have seen in Bollywood. 

The keys, rhythms and bass guitar play havoc with our minds as the tsunami of modern sounds combine with the calmness of the original Pallavi performed here by Santhosh’s mother, Mahalakshmi. The song now takes a turn into Santhosh’s original territory, and how often can we really feel the same amount of love for both the original and new portions of a remix like this? When there is the will and commitment to be original and quirky, there is always a way! The moment we start hearing the line “ Hey Vaa Minnale Kannile Boomi Meethu Porache” and by the time we hear the melody in the phrase “Vaalile Samurai” the heart swells in joy and the feet stop staying still. The reason for feeling this massive rush of blood to the head is because of Sathyan Mahalingam's amazing vocals. He's been around for long singing for Maestro Ilaiyaraja, Yuvan and Harris Jayaraj. Infact Santhosh's debut movie Attakathi had this playback singer pitch in with a song too. A mild riff on the clarinet, and this leads us into the original song’s charanam, sung like a dream with all his delightful twists and vibrato. 

Sathyan is having a rapturous comeback of sorts with a song in Nivas Prasanna's Bison and now this brilliant vocal exhibition. There are moments when he makes me feel goosebumps singing the disco-pop heavy lines and the resemblance to Haricharan is uncanny.

Are you listening to the flamboyance on violins and Violas in the background? As Santhosh cranks up the counterpoints with Mahalakshmi, rendering the pallavi. The violin solo in the interlude takes our emotions to dizzying heights, and we get even more originality with lines performed by Vijaynarain and Brinda in this breathtaking and breathless bridge section. Muthamil writes all the lyrics for the new portion with original lyrics by Vaali. Needless to say, the music is by the legendary MS Viswanathan, who stands the test of time and who else but TM Soundarajan could have sung with such elan?

@musicsanthosh @vijaynarain @brindhashiv @vaavaathiyaar @iamkrithishetty @nehagnanavel 

4. Poraga Poraga

Composed , Arranged and Sung by P V N S Rohit 

Lyrics : P V N S Rohit

Music Production : Vaishakh Jyothis 

Additional Music Production : Ashley JC 

PVNS Rohit is like VVS Laxman, not because they hail from teh same region and have long names, but because of their class, resplendence while performing at the highest level. I know Rohit has a long road ahead of him, but great talent must be appreciated at the right time, too. He is a monster, and I realised this a couple of years ago when he composed and sang “Kaatuka Kallakettinaave”, and I mean that in a great way. What he manages to do with his vocal cords is swashbuckling, and I know at least the National Award for singing didn't go to the wrong guy. Here, Rohit had composed, arranged, and performed. 

The song begins with these funny sounds, but it's almost impossible to replicate at first go. The quirky Naadaswaram sound, or maybe it is the Kazoo. The electronic and Lo-fi elements come in, and they are here not to distract, but make this wacky and fun. Rohit is doing it probably because ‘He Can’. The Jazzy piano comes on board, and your attention is drawn by a couple of notes that are meant to distract. But stay focused and never take your ears away from what Rohit is doing with his singing, the crazy ghamakas and improvisation. There is probably an influence of Arabhi Ragam , because I am reminded of this old film classic “Yerikarai yin mele poravale pen mayile”. Let us not forget to raise a toast to Vaishakh Jyothis for his valiant show on music production. The vision and execution deserve praise. 

Sagar S does the vocal processing, and Shley JC handles all the additional music production. The tracks are mixed by Ashbin Paulson, mastered by  Gethin John ( Hafod Mastering , UK) . The recording engineers are Rakesh Mickey at Jubilee 10 Studios, Hyderabad , Aditya & Bhanu at SoundDockk Studios , Hyderabad. 

@flawed_brilliance @vaishakhvj @lohitbhogaraju @hafod_mastering @ashlay_jc 

5. Golden Oriole

Music and Vocals: by Pankhi Pari

Lyrics: Pari Brahmbhatt

Music Produced by Raag Sethi

Language: English

Genre: Pop

Mood: Pathos

What better way to start proceedings in the new year than listening to fresh talent? Pankhi Pari is a sister act with young musicians Pankhi and Pari. There was only one misstep, probably, because when teh song is about to begin, I hear a bird, and that is not the call of the Indian Golden Oriole, in my limited knowledge of birds. So was this on purpose, or was it an error? Now moving on to important matters, the Piano begins to strike slowly, and the stirring vocal humming is like the call of the most beautiful bird there is. The way teh vocals hit you “Golden Oriole caught on fire”, you will like there is an actual fire set on stage here and the listener is feeling the heat of this performance. 

Pankhi and Pari write the melody, with Pari penning the beautiful, touching, and relevant words. They go “I apologise, and all I can do is watch” referring to the helpless situation we are left in if we have a terminal illness affecting our loved one, and there is no cure around. The vocals are technically astounding, with these girls able to reach the higher pitch with grace and ease. The harmonies are enticing, along with the mild, flowy Pianos. The sisters are singing the chorus line one Octave apart. I guess that this moment is blissful with an ending on falsettos. What I love is the design when the two sisters who possess variant voice tones sing “You may not sound the same” in harmony. Kandarp Kavishwar is playing the Piano, and the music is produced minimally but with aplomb by the amazing Raag Sethi at Compass Box Studios. The tracks are recorded by Nirmal Rathod, and Anuj is the mixing engineer. This song is simple yet stunning!

When they sing “Nobody ever listens” with such style and charisma, I wonder who these fools are who wouldn't dare listen to these angels. Finally, the bridge section is an addendum to startle me further about the capabilities the duo is blessed with. “Sometimes you cannot weather sing aloud to be better.” The outro feels like a great dedication to the great Indian Golden Oriole. 

@pankhi.pari @compassboxmusic @pankhithebird_1 @pari_flewaway @kandarp_kavishwar @raagsethi 

6. Marandhu Poche

Music Composed, Arranged, and Produced by Sean Roldan

Singer: Adithya RK

Lyrics: Madhan

Language: Tamil

Genre: Pop/Light Music

Mood: Romantic

Sean Roldan is back with his best in the new year after a fine 2025 outing. This one gets one of my favourite young playback singers, viz. Adithya RK to serenade not just the female protagonist but also every music lover. The pallavi lines open with Adithya RK, accompanied by some stunning harmonies in the background, and there is immediate elevation and gratification. Sean Roldan has composed, arranged and produced the music with Ashwin Raja on additional production and Madhan on lyrics. Adithya RK’s biggest asset is his ability to emote every word perfectly, and you get a sense of that right through the song.

Get ready to lose your mind with the fantastic interlude portion on the flute solo by Ashish Venkateswaran, and it reminds us once again why Sean Roldan is easily one of the absolute best in India. My favourite line is “Nee vittu ponal manam kurangai unai vaadum, Nee mara chonnal thee vaal kondu kaaderiyum” with references to our great epics. The keyboard and rhythms are keeping me engaged and affected as a lover of great pop as Aalaap Raju plays the acoustic guitar. The magic transpires in the conclusion of the charanam “Nanja thakkira, yen di kenja vekkira” along with Ashish playfully joining along on the flute. The man is gifted as a singer, and he exhibits that and conquers your heart with just one phrase, “onnum puriyala” with all the vibrato. 

Aswin George John is the recording engineer and the mixing and mastering engineer at Sounds Right, and Sabari Bharathi Krishna is the sound engineer. 

@adithyark.music @rseanroldan @abishan_jeevinth @mageshraj @aalaapraju @flute_ashish @aswin_george_john

7. Milirum Oliye

Singer: Mohammad Aslam

Lyrics: Madrashe

Music: A.R. Rahman

Language: Tamil

Genre: Orchestral 

It is nice to feature an AR Rahman single after a while, and this one, despite being simple and straightforward in its melody, the song was soothing thanks to some gorgeous vocals by Mohammad Aslam and stirring violins and strings. The movie is being released in Hindi and Tamil, and when I heard the version performed by Arijit Singh, I still prefer the Tamil version anyday. A clarinet invites, and with some brisk rhythm guitar strumming, we start feeling the rush and tranquillity of an ARR single. I hear Mohd. Aslam and I am reminded of another fantastic playback singer, Balaram, who has performed for AR Rahman in a song called “Nee Thaan En Desiya Geetham”. The melody is heartening, and it begins and feels like the unforgettable “Abhi Na Jao”, and that is why there are Raag Yaman influences.

I also must appreciate Aslam’s diction, considering he has been around and performed some of the amazing songs in Tamil like “ Yen Pen endru” from ‘Love Today. Madrashe, who I have always admired as a singer/songwriter, pens these beautiful words, “Mudhal Poovai idhamaga thirakkum Oliye, Ula POgum Paravai Thorathum oikiye”. The mission feels complete with the guitar riffs and Aslam’s tone that itself feels like the shining light. Prashanth Venkat is the bassist, constantly adding the grooviness, even as the heart wants to be carried away by the magnificent strings played by Sunshine Orchestra. We receive a wake-up call when the brass section intervenes as Aslam sings “Kurudai Nadipporin Kannai Tharakka”. Ishan Chhabra does all the additional programming, and when the longish verse ends, we get the chorus singers, viz. Sarath Santosh, Sreekanth Hariharan, Aparna Harikumar and Aparna Narayanan. 

Vignnesh plays the solo violin, and the orchestra is conducted by Jerry Vincent with Samarth Srinivasan on orchestration and supervision by Shubham Bhat. The sound engineers are Suresh Permal, Karthik Sekaran,  Sathish V Saravanan, Bharath Arjunan,  Nitish Kumar, Naval Chikhliya, Harshil Pathak, and Vibin Sundar. The tracks are mixed by Suresh Permal and Pradeep Menon. 

@arrahman @madrashe @jerrysvincent @samarthsrinivasan @thesunshineorchestra @aparnaharikumarh @shubham_bhat07 @prashanth_._venkat @ishaanchhabra90 @aparnanarayanan @sreekanthhariharan @sarathsantoshofficial 

8. Aai

Written and performed by O Daapun

Vocals: Siddhartha Hazarika

Composition, Lyrics: Siddhartha Hazarika

Music Produced by Bhargav Hazarika

Language: Assamese

Genre: Pop

Mood: Moving/Energetic

Some good old Alt- Pop goodness is here from O Daapun, and the rhythms and lead guitar create this aura at the intro, and I am already geared up like I am about to listen to The Police performing “Every Breath You Take”. I have featured every single that has come from O Daapun, and so I am not surprised by the quality of this song, as Siddhartha writes the song and performs the vocals, with lead and acoustic guitar saviiness exhibited by Bhargav. Assamese is, anyway, a language that sounds beautiful with all its phonetics, and these guys are just killing it in this soulful dedication to the “Mothers of the world”. I don't think motherhad has had a cool anthem like this, because most film songs generally create a lot of pathos and devotion around it. 

Suprativ is the bassist, and Bhargav never rests in all his interventions, but there is a segment around the 2.30 minute mark where the drums and guitars take a backseat, and Bhargav’s production comes to light, allowing the words, vocals and melody to gain more spotlight. Bharagv is teh recording, mixing and mastering engineer. The execution and arrangement of backing vocal portions as harmonies is also something that works in teh song’s favour. The choral humming lets your heart blossom in joy and gratitude for having moms in our lives. 

@siddharth_daapun @odaapunofficial @bhargav_daapun @popco_studio @nilutpalnzrika.prproj @tamannah_sarmah @_.pujaaa_p._ @milestogo_before_i_heal_ @rajashreesaikia_symphony24 

9. Sajni

Composed by Aditya Ramkumar

Written by Vikram Edke

Vocals: Shaurya Amit

Produced by Sanket Joshi

Language: Hindi

Genre: Semi-classical

Mood: Pathos

Things are beginning to look auspicious in the new year, as some of the new music has started coming in thick and fast, and this one here feels like a soothing tonic to wake up and feel the music like the morning rays of the sun. The harmonies and rhythm guitar create the initial sparks, and when the Shehnai plays out a beautifully written melodic phrase, the  heart starts to stutter. Is there some influence of Khamaj Thaat in this melody, maybe! Shaurya Amit has this stunning power to stun and shun external disturbances with his voice, and the exquisite control and stability in the higher pitch work like magic. Vikram Edke writes every word with the perfect connotation imbibed and all this is packaged into a semi-classical track that delights. Robin plays the guitars and Sanket Joshi brings on his A game to produce this song effectively. 

It is quite a striking move to get the saxophone just before the antara and the amazing arrangements shower down like a massive downpour on strings, Piano and harmonies. The Sax is played by Fleming. The piano flows like that unstoppable force, and Shaurya shows no restraint, and as we head towards the song’s closing stages, his vibrato is leaking into something magical.

@adityaramkumar @vikramedke @sanketkeys 

10. Tum Jo Mil Jaao

Composed and performed by Abhijeet Thakur

Lyrics: Ayushi Joshi & Chaitanya Tambe

Music produced by Suyash Mishra

Backing Vocals: Kakkey

Langauge: Hindi

Genre: Semi-classical fusion

Mood: Pathos

He holds your attention with his voice and that pathos-studded delivery, so kudos to Abhijeet Thakur for emoting perfectly rather than just mechanically uttering the words. I have had to say this because many assume that singing is about just singing the tune right and not going off-key. The melody has strains of Raag Charukeshi, in my opinion, and Abhijeet writes it with care and class, and the lyrics are penned to complete the meaning and purpose with Chaitanya Tambe and AyushiJoshi on board. Kakkey joins as the backing vocalist, and all this happens in the verse and chorus; the interlude makes way for some instrumental elevation with the Shehnai and a touch of the Kanjira. 

The antara is another example of how Abhijeet maintains the emotions, and tone from a melody and vocal perspective givinbg the listener just the right amount of melancholy that can be felt repeatedly without any disinterest. Suyash Mishra is the music producer as he gets the Keys, rhythms and that mild woodwind going in the Antara, giving this song a very palatable contemporary classical texture. “Tere Sang hi hai yeh jeevan, bin tere sansein hi toote”, interrupted by the sombre flute and heavy rhythms, is my favourite line. Kudos to the whole team. The recording engineer is Kakkey, with mixing and mastering by Larkz Music.  Abhijeet not only delivers the message perfectly, hw mixes the vibrato and mild ghamakas without overdoing it, and that is another plus. 

@abhijeetthakur.mp3 @kakkey_ @ayusgi25joshi @retrochaitanya_ @abhishek06tha