Top Indian Songs of the week 18th October 2025

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Here are the best songs released in India across languages and genres for the week ending 18th October 2025

1. Rekka Rekka

Song Composed, Arranged, and Programmed by Nivas K Prasanna

Singers : Arivu, Vedan

Lyrics : Mari Selvaraj & Arivu

Language: Tamil

Genre: Alt Hip-Hop

Mood: Energetic

This is the second song from the album that I am featuring, and I am super excited to witness the movie in theatres this week. Keba Jeremiah plays that motif on the electric guitar, and the hyper rhythms, thanks to Nivas and Hevin Booster, become the hunting ground, all set and ready for the lead to come and perform. Rakesh MS is the man playing the Trumpets, Trombone, and Horns, and nothing inspires like the horn section in a sports drama song. Nivas K Prasanna is the composer, arranger, and programmer with lyrics by Arivu and Mari Selvaraj. Nikhil Mathew’s whistle works effectively along with the male chorus like a soundtrack in a spaghetti Western movie. The singers in the chorus are Shenbagaraj, Aravind Srinivas, Narayanan Ravishankar, Shridhar Ramesh, Sudharshan Ram, Sugandh Sekar, Abhijith Rao, and Prasanna Adisesha.

Vikram’s rhythms and percussions with Keba’s basslines are smooth, stylish, and invigorating. Vedan, an artist I admire and respect, comes on board and brings his own inimitable style and energy, making me believe in the words “kannukku therivathu thadai illada”. The casual, lackadaisical, and cool delivery of “kelambu da, ini kalangadha, paayu du, ini pathungatha” reminds me of ‘Kodi Parakkudha’ sung by Dhanush and composed by Santhosh Narayanan. If one wasn't enough, Arivu follows Vedan, and the song gets a booster. The interlude with the male chorus and the horn section together is a fine anthemic piece that will give anyone goosebumps. The Mediterranean-style ethnic strings and percussion are interesting, and then we get a raw and throbbing folk percussive segment. 

This is a song that keeps giving and rising as well in intensity, and Nivas uses a nice melody, and his way of getting teh male chorus involved in the charanam is just worthy of appreciation. The intervention on horns and harmonies in between “kaatu yaani kku oru paadhai” and “kaalkal thedattum oudhu paadhai” is reminiscent of some of the works of Maestro Ilaiyaraja. Alex Samuel Jenito & Hevin Booster arrange and conduct the horns section, with rhythms, harmonies arranged and conducted by Alex. Akkarsh N Kashyap plays the violin, and the music supervisors are Hevin Booster, Alex Samuel Jenito & K.A.Surya Srihari. The tracks are mixed and mastered by KS Maniratnam at The Mystic’s Room, Chennai. The recording engineers are Aswin Krishna & Thanushree. 

@nivas.k.prasanna @mariselvaraj84 @dhruv.vikram @therukural @neelamstudiosoffl @applausesocial @vedanwithword @kebajer @alexsamueljenito @hevinbooster @mani_the_ratnam @k.a.surya_srihari @_.thanushree._

2. Kanmaniyae

Music & Composition: Cliffy Chris

Vocals: Kapil Kapilan

Lyrics: Saleem R Baadshah

Language: Tamil

Genre: Pop

Mood: Romantic

3 notes on the acoustic guitar by Chris Jason, and he has all my attention. This song has a list of some outstanding musicians who have made a mark in the Indie and movie music space, especially if you come from the south of India, and I am thrilled to hear the quality of this output when a team of A-listers combine. Kapil Kapilan rocks you away to a state of utopia with his opening line, “kanmaniyae.” How can your partner resist this if you sing this and dedicate it to him/her? Beautiful words are penned by Saleem R Baadshah as Kapil sings “ponmaniye perazhage, konjidava ponsirippae...azhage”.

Cliffy Chris is the composer and producer of this enticing romantic single, and the additional programming is done by Anderson and Kevin Jason. Derick McArthur’s bass intervention steals the thunder from time to time while Chris uses the Ukulele to great effect, too. The song forges ahead into a faster tempo with the anupallavi section, as this is where the Ukulele plays a key role. “Uyirellam un vaasam velagaade ponmaniyae” is where the finely arranged harmonies kick in. A master soloist, Manoj Kumar plays that heart-rending violin in the interlude, and this is where I heard some strains of Yamunakalyani Ragam. I look forward to teh rest of the music from this movie album “Yellow”, featuring lead actress Poornima Ravi. 

Vasanth David on rhythm programming makes your head nod right through the song, and her aptly goes silent during the ceremonious interlude. I am reminded of Darbuka Siva’s songs from “Enna Nokki Payum Thotta” when I hear this song, thanks to the tone, instrumental arrangements, rich melody, etc. I love the fact that Cliffy allows Kapil to explore the lower end of his vocal range, while most composers write melodies and make him perform at a higher pitch. Vishnu Raj (2bq Studios), Prabhu Immanuel Raj (Oasis Recording Studio) and Ashwin Krishna (Reengara Studios), and Lokesh Chandrasekar (Classic Studios) are the recording engineers. The mixing is by  Abin Pushpakaran @ Blu Academy with mix assistants Rohit Oscar and Sims Marichami. 

@clifychris @yellowmovie25 @saregamatamil @poornima_ravii @kapilkapilanmusic @anandkashinath @saleem_r_baadshah @abinpushpakaran @hari.mahadevan2211 @namita.krishnamurthy @covai_film_factory 

3. Baanaache Ello 

Music Composers : Asif A Kader & Aravind Murali 

Programming & Arrangement : Asif A Kader & Aravind Murali 

Lyrics : Anand G 

Singers : Kapil Kapilan & Anuradha Bhat

Language: Kannada

Genre: Pop/Light Music

Mood: Romantic

Rison’s flute is the reason that I immediately fell in love with this song. He lifts you up with the prolific playing, and we get the rhythm guitar by  Arijeet Bhattacharya  to push the track along at a nice tempo. Aaron Shinoi’s bass adds the spice and style, and finally, the icing on the cake is Kapil Kapilan’s lead vocals. Nandagopal Menon  intervenes with those electric guitar riffs in the background as we get into the song’s anupallavi. Asif A Kader and Arvind Murali compose this breathtaking melody that has the Reethigowla Ragam in its core, probably. They are also the arrangers and programmers. The lyrics is by Anand G. 

The song’s tone, tempo, rhythms, and the flute interludes remind me of Santhosh Narayanan’s ‘Kaarkuzhal Kadavaiye’ from the album “Vada Chennai”. This is a dreamy segment with Rison dominating the melody on teh flute, and we also get another layer of woodwinds. Kusod to Aif and Aravind for enhancing the melody with effective rhythm programming. Halfway into teh song, it is still a show by Kapil Kapilan. The charanam is where the composers elevate the richness even further, writing some striking notes in the Reethigowla scale as Kapil sings “Taj Mahala Tarunya Neena, Neelikadala Natchathra veena”. Rison and Nandagopal take no breaks as they continuously accompany with the flute and electric guitar. 

It is only towards the outro that we hear Anuradha Bhat on lead female vocals, and finally, the alaap by both Kapil and Anuradha leaves us wanting more. The tracks are mixed and mastered by Ashbin Paulson. 

@asifakader @anusharai_official @anuradha.bhat @thearavind_murali @kapilkapilanmusic @sahana_sukumar_shetty @ashbin.paulson @rishagowda_official @aaronshinoi_ @n.gopalmenon

4. Nila Kadhai  

Composed, Arranged by Narayan Sharma

Vocals: Vijaynarain

Lyrics: Ahamed Shyam

Language: Tamil

Genre: Pop

Mood: Breezy

Narayan Sharma is an outstanding musician, multi-instrumentalist, composer, arranger, and producer who has been involved in some of the best Kannada music we have heard in the last 10 years and is a close associate of Charan Raj. This single shows what a fine composer he is, and I, too, will now track his indie music closely after being swooned by his Violin solos in the past. Vijaynarain comes on board to deliver the lines with passion and that mild heartache as well. The intro is like a stroll on the beach thanks to Narayan playing the acoustic guitar. Ahamed Shyam takes us to teh exact place and situation with his descriptive writing “kathavin oram kayum nilavin kaadhal kadthaikal ketka viruppam”, and Vijaynarain delivers it with a perfect emotional touch of eagerness. 

He sings “thodangavo”, and Narayan indulges with something that feels and sounds like the  resonator guitar, giving the song a very retro 1960s feeling. The harmonies pitch in beautifully along with the Bongo drums. The interlude is woven with layers of guitars, and Narayan shows how less is more and simple is substantial from a production perspective. The solo violin lands a devastating punch, and then the charanam is an artistic detour from the rest of the song. It feels like Raag Behag for me, and one will get lost in the charming melody that twists and turns effectively. The song is like the moon itself, waning and waxing during various timelines, but its beauty remains intact. 

@narayan_sharma227 @ahamedshyam @vijaynarain

5. What Comes After

Music and Lyrics by Tejas

Produced by Tejas Menon, Jehangir Jehangir, and Adil Kurwa

Language: English

Genre: Pop

Mood: Immersive

What comes after reading the name ‘Tejas Menon’ and pressing the play button is usually a well-written, stunningly delivered, and majestically produced pop single. Well, if you hit the play button after reading this review, that's pretty much teh same outcome this time too. Tejas plays the rhythm guitar, and accompanying him on the gentle and steady drums is the master Jehangir Jehangir. A good songwriter always makes you ponder and wonder at the same time, and with words like these, “Is it still fashionable to be passionate for life?”. These are not just long words but deep  ones too. 

Adil Kurwa is the bassist and and we are also treated to a special appearance by Neil Mukherjee as a guitarist. Tejas composes the heart-warming melody and pens the thoughtful lyrics as well. Feel the pain in his voice as he laments, thinking and singing “ oh no oh no where do we all go when life gets harder?”. What I love the most here is that the brains behind the music production decide to pause on the drums and extra frills at this juncture so that the listener pays attention to this unavoidable and pertinent question. The song is produced by Tejas Menon, Jehangir Jehangir, and Adil Kurwa. 

The chorus segment, the second time, feels uplifting thanks to the guitars, drums, and most importantly, harmonies. Mallika Barot and Aria Nanji are the backing vocalists. Neil nails it with his solo on the guitar in the brief interlude. In the next verse, Mallika and Aria join in delivering the lines “ How we were, so nervous,” and this feels perfect with the united voice of many rather than just Tejas. Towards the outro, 3 things stand out, viz. the expressive, drumming with higher beats-per-minute, the harmonies with a lag and some humming, and the strong strumming of the acoustic guitar. The recording engineers are Adhithya Sivakumar, Aria Nanji, Hersh Desai, and Smith Nissar, with Hersh on mixing and mastering.

@tejas1989 @thejjsticks @a_diilla @neilmukherjeeguitar @misfitsinc @adhithya.sivakumar @hersh.desai.9 @aria.nanji @mallikabarot @smith.wav 

6. Uyire

Composed , arranged, and produced by Vaisakh VJ

Lyrics: Sam Francicso

Singer: Kapill Kapilan and Sradha

Additional Prog by Ashlay JC

Language: Tamil

Genre: Pop

Mood: Romantic

The flute solo in the intro by Subin Jerson feels like the Pied Piper drawing us all in , and one can’t resist the melody and the sleight with which it plays. It already feels like strains of Raag Abheri. Sradha’s voice broadens the strokes of beauty further as she sings with that touch of romanticism in the lower vocal register. Akash S Menon keeps intervening with the acoustic guitar, and that line “Vizhiyale unnai thedi parkiren” is filled with such fine, gentle vibrato. The song is composed, arranged, and produced by Vaishakh VJ with additional programming by Ashlay JC. 

After all that opening verse, Kapil Kapilan enters with his striking voice, and he is the one creating all that maya, though Sam Francisco’s lyrics are “ Adiye Yendi Mayam Seiyyira”. The generous strumming on acoustic guitars and all that bassline support is scintillating to hear. One of my favorite lines from a melodic standpoint is when Kapil sings in the high pitch, “Engirundha vandha, polladha aasa kaatura”. The heavy rhythms energize the listener, and this song is an example of a very effectively produced song that elevates a very affable tune. It is all about Japil’s improvisation and abilities with his delivery soaring in lines like “oooo, alarama polamburen naa”. 

Sradha’s gentle, sweet voice, filled with poise, acts perfectly to neutralise the energy and passion of Kapil. My heart blossoms when we hear the phrase “ vinnaithandu malarvom va”. The electric guitar by Akash accompanies during these pacy lines. The tracks are mixed by Ashbin Paulson and mastered by Gethin John. Aravind Murali does all the music supervision and vocal production. 

@vaishakhvj @_yourboy_samfrancisco @kapilkapilanmusic @sradhaprasannan @123musixofficial @ashlay_jc @akashsmenon @subinjerson @ashbinpaulson @hafordmastering @thearavind_murali @

7. Maa Tu Hai

Singer & Composer: Hansika Pareek

Lyrics: Khushi Pareek

Music Producer: Aditya Bisht

Language: Hindi

Genre: Pop/ Semi-classical

Mood: Devotional

This is a song that got released during Navraatri, dedicated to Maa Durga, and of the many singles that got released during this festive period, this one, composed and performed by Hansika Pareek, stood out. The melody starts becoming endearing as Hansika starts singing “tera aur mera nata , jag mein sabse gehra ma”. Hansika has been in terrific form, releasing singles as a songwriter, and this one is one more testament to her composition skills. We already know how terrific she is as a singer. “main teri hoon tara, tu sheetal chanda si, main nanha ek tara” is one of the most striking lines of the song. 

Unlike popular opinion and practice, Hansika makes this song on Maa Durag a very rich and pleasant melody, because what we are generally used to are devotional songs with heavy rhythms, faster tempo, and elaborate (maybe excessive) production. Kudos to Aditya Bisht on being so succinct yet stylish with his production. The bass, the gentle rhythms evoke subtle devotion, especially with the aalap by Hansika in the interlude. Khushi Pareek is the lyricist, and she brings out that divinity with her words. The outro has the shloka to bring in some more devotional surrender on board. Aparna Patidar and Rizul handle the videography. 

@hansikaapareek @addy_music @khushiiipareek 

8. Lelo

Vocals: Shreya Ghoshal

Composer: Keshav Tyohar, Harjot Kaur, Shrey Gupta

Producer: Keshav Tyohar 

Lyrics: Youngveer 

Language: Punjabi

Genre: Pop

Mood: Dance

Many indie musicians try to rope in Shreya Ghoshal for their project, and although this legendary performer always delivers, her vocals alone cannot save a song. This is one of those indie tracks that feels like a song that Shreya Ghoshal deserved. Keshav Tyohar, Shrey Gupta, and Harjot Kaur and well-known names in the indie space, and they can feel proud of this creation as composers. Does the melody have fragments of Hamsadhwani? Maybe. Whatever it is, I am caught in its splendour, and Keshav gives the song wings by producing it effectively. 

Youngveer’s lyrics, and when it is sung by Shreya with a teasing delivery, “ yeh saari duniyadaari lelo,” the listener is just blown away and probably enslaved. I love the sultry bass guitar by Shrey, and as the song starts moving into the Antara, the harmonies, acoustic guitar, and creative rhythms are like bait for the eager ears. Leave it to the Diva to create wonderment with her vibrato and attitude while delivering these lines. The composer trio does a fine job by also adding a nice bridge section as well, which I just didn't expect. The tracks are mixed and mastered by Shadab Rayeen at New Edge, with Jazbaat, Sohamm, Prasad, and Suryansh as assistant engineers. The recording engineers are Amey Londhe and Vedant Uttarkar. 

@keshavtyohar @youngveer @ruaakayy @thatfingerstyleguitarist @shantanu_gursal @warnermusicindia @srikisesh @srisaivivek @shreyaghoshal 

9. Second Draft

Composed and Produced by Surel Ingale

Vocal, Lyrics: Lyla

Language: English

Genre: Jazz

Mood: Groovy

I have no second thoughts about this duo , and so when their new release, ‘Second Draft’ was out, I knew Surel Ingale and Lyla will have a field day.  The piano in the intro felt like something of a 1960s Ballet or Waltz performance. One thing that stands out immediately for me is the writing by Lyla, as she pens words that not only impress but provoke deeper thought. Listen to these lines for yourself, “Do you still whisper of wars and symphonies? Those twilight debates we would brew, have you crafted a dialect, syllables private?

The Jazzy drums, Piano, and harmonies make inroads into that genre, but nothing speaks the language like a tantalizing saxophone solo, and that is precisely what we get in the interlude. Surel Ingale stays true to the genre with his arrangements and production. But to observe all these, one has to be able to focus beyond the vocal mastery of Lyla. The tracks are mixed  by Surel and mastered by Ankit Mastakar. ID Rao plays the sax. 

@lyla_la_vida @ankitmastakar @idrao_official @surelmusic 

10. Thoraa Varsham

Composed, Arranged, and Produced by Govind Vasantha 

Vocals: Shankar Mahadevan · Anwar Ali

Lyrics: Anwar Ali

Language: Malayalam

Genre: Folk-rock

Mood: Intense/Energetic

Trust Govind Vasantha to give you not just the music you need, but the music you deserve! The guitar riffs in the intro, along with the drums, take you down that dopey Alt-Pop lane, but soon Govind decides to take it up a few notches, and the incoming bass and electric guitars bring on the heavy metal daze. Shankar Mahadevan then takes up the duty on lead vocals to mesmerize us. The melody has this folkish flavor and probably has strains of Raag Jog. Govind joins Shankar as an additional vocalist. The interlude arrives, and  the Haunting Sarangi silences the voices in the mind; the shloka chants by the backing vocalists are like a brief spiritual discourse.

Anwari Ali is the lyricist. There are not many in the business who can make you feel like a devotee standing with folded hands in front of a deity, as he goes “Nee aare anbo aatmavo”. The outro with the electric guitar, harmonies, and Sarangi is the time you surrender to good music.