Top Indian Songs of the week 18th October 2026

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Here are the best songs released in India across languages and genres for the week ending 18th October2026

1. Endhayya Saami

Vocals: Ajay Gogavale & Shweta Mohan

Lyrics: “Saraswatiputra” Ramajogayya Sastry

Composed and produced by Ajay-Atul

Language: Telugu

Genre: Light Music

Mood: Romance

I am not sure if the movie is going to be worth my time, with many reviews being very critical of the screenplay and acting, but I do love these songs in the album, thanks to the amazing duo of Ajay-Atul. The album has 3 very good songs, but this one here is my favorite with vocals by Ajay Gogavale and Shweta Mohan. It is no surprise that the melody is brilliant because that is what we have come to expect from the duo. The lyrics in the original Telugu album are written by “Saraswatiputra” Ramajogayya Sastry, with the composition and production done by Ajay-Atul.

The flute solo by Varad Kathapurkar, along with ethnic strings (maybe an Ektara)  in the intro, does create a sound that is reflective of a period in time that is more than 50-100 years in the past. The arrangements become elaborate and grand with the String Section subsequently, and this is all performed by The Sunshine Orchestra. Shweta Mohan sings with that affable voice and her delivery in the high pitch is exemplary. As we enter the segment called the Anupallavi, we have the strings and the flute solo intervening in delightful fashion every time Shweta’s line pauses, for example, when she sings “ Veeche gaali ki attaraddindi evvaru”.

The heavy percussion is all in typical Ajay-Atul folkish style. BY the time we come to the line “nee Chilipi Kallalo” we are now listening to a beautiful romantic lullaby. The beautiful elements start slowly building up, and where not many composers arrive, are these standalone melodic phrases on instrumentals, like the soulful Sitar played by Kishore. No wonder Ajay-Atul are fans and devotees of the works of Maestro Ilaiyaraja, and you can feel that in every note and every arrangement, especially in the strings section in the interlude. “Meesame Guchina Chali Sakkera Muddaina , Churuku Mantadi, Ey Mana Thoti Savasam” brings back my memories of the great album “Sairat” by Ajay-Atul.

This charanam and this portion specifically make my heart flutter thanks to the mellifluous notes. I love how Ajay’s lines are only supported by Strings, and the amazing percussion only comes on board with Shweta singing this time. How many musicians in today’s day and age can give the music lover two varied interludes between each charanam? Well almost none, but here are Ajay-Atul saying, “yes We can”. Just listen to the splendid tone of Ajay sir’s vocals and feel bliss even more with Shweta’s gentle but stunning vibrato. Balesh plays the Shehnai in the interlude; Vignes U is the soloist on violin. Amal Mithu, Midhun Manoj are recording engineers, and Vijay Dalal is the mixing engineer.

@ajayatulofficial @_shwetamohan_ @thesunshineorchestra @midhunmanojj 

2. Song of First Love

Vocals: Sahana Saikrishnan

Lyrics: Deepadamalli

Music composed and arranged by Shibi Srinivasan

Language: Kannada

Genre: Light Music

Mood: Romance

When an acclaimed celebrated directors’ hands an opportunity to a technician, especially something like music composition, it is a terrific opportunity especially for someone making their debut. This is precisely what I felt when I discovered that Roopa Rao, who made the amazing Gantumoote a few years ago, is coming up with her next feature film “Bhayankara Preeti”. Now the duty of composing music lands on Shibi Srinivasan’s hands. This is a fine vocalist who works with The Indian Choral Ensemble as well and he gives an excellent romantic single.

Feel the goosebumps with the choral humming right at the intro, as though Shibi is opening the doorway to heaven, and then we get the whistle, a sound that always captivates when used properly in a song. The melody in the whistle by Shenbagaraj brings out Shibi’s intricate skills as a composer, and when it is accompanied by the Ukulele and strings in the background, we can only feel thankful for the choices Shibi is making here. Is there some Raag Jog in the melody, as my mind travels to “Panivizhum Malarvanam” and Sahana Saikrishnan is delivering with some stunning beauty in “Neenu Anantha Sagara”.

Richard plays the guitar and Ukulele, and all the programming is done by Keshav Vond and Shibi. The melody takes an unexpected turn with the chord progression in the Anu Pallavi, becoming unpredictable even for the avid music lover.  “Nee Bayalaoo, Naa Hasiroo Ee dharaya Vismaya”. However, what continues to impress is the strings in the background that act as counterpoints and these are arranged by Diwacara Thiyagarajan, and Shibi.

Truly, just like the words spell it out this song does feel like an ocean of joy (Anantha Sagara). Aniirudh Kasyap plays the role of the soloist on the Violin and Viola. It is interesting that instead of any other instrumental choice, we get Shebagaraj’s whistle and I love how he slowly keeps moving one keynote higher, probably depicting what the hero does, ending in a mild laugh by the heroine as a reaction. Shibi, who has done all the arrangements anc composition, must be complimented for maintaining the richness as we enter the charanam phrase. Here we get the stylish bass accompaniment and these violin interjections in the melodious phrase “gaali gandha bhaava bandha muttuva manasu”. Sahana definitely keeps the pristine beauty of her voice intact irrespective of the notes and phrases.

The rhythms pick up the intensity from “Manna Mugila” and all the percussion by Dhina add to the enhanced energy. This is a segment I felt a vague similarity to Govind Vasantha’s ‘Anthaathi’ from the album ‘96’. Devu Mathew, Ayshwarya Venkat and Keshav Vinod come together as backing vocalists and deliver this wonderful phrase “Nithyavu Vasanta Olavu Nirdiganta’. The recording engineers are Vijay Mathew and Sankeerth Shaji. The tracks are mixed and mastered by Abin Pushpakaran.

@shibisrinivasan @rao_roopa @sahana_saikrishnan @deepadamalli @diwacarathiyagarajan @keshavvinodmusic @ayshwarya_venkat @aniiirudh_kasyap @shenbagarajg @ric_paull @abinpushpakaran

3. Yaaro Neenu

Music composed and arranged by Judah Sandhy

Vocals: Srilakshmi Belmannu, Siddhartha Belmannu

Lyrics: ASG

Language: Kannada

Genre: Light Music

Mood: Romance

I have loved these two outstanding vocalists, and they are phenomenally talented siblings, but if my memory serves me right, this is the first time Siddhartha Belmannu and Srilakshmi Belmannu are performing together in the same song. Judah Sandhy remains unadulterated in this day of deteriorating musical tastes and output. This is a beautiful love song from the new Kannada movie “Border Diaries” and ASG pens the words of tender romance. Even before a syllable is uttered, you can feel the rush of blood with flute solo and the guitars giving us a sense of what the song is all about. We have Neethu Ninad P on the flute and Eric Gerald plays the acoustic guitar.

The foray of the Kanjira is my favorite bit, giving the song a very rural touch that only makes the heart grow fonder. Jared Sandhy is the man behind these delightful percussion. Once Srilakshmi starts singing, the song can shine, a thunderbolt can strike us, but we wouldn’t care, because her voice is here to cradle us into oblivion. Is there some Bihag Ragam in the melody, possibly because I am being reminded of AR Rahman’s “Malagal Ketten”. What I love is that Judah Sandhy is working overtime, and you will find proof of this with the constant acoustic guitar arpeggios and some counterpoints on the flute. “Hagal Iralu naa ninne nodale” and this perfectly conveys the degree of love thanks to ASG’s lyrics. The melody is never here to just settle for something ordinary, as Judah writes these elaborate anu Pallavi and charanam segments. If you were just floating above the ground with all of Srilakshmi’s lines. Siddhartha ensures you skyrocket into space with the amazing delivery of these high-pitched lines.

The melody also starts to sound spectacular and immersive, but where we feel a sense of Godliness is the intervention on the solo violin by Thilak Ram. Towards the end the song feels like an anthem of liberation, with the rhythms and Kanjira in harmony and the strings section in the background. The outro with Siddhartha singing in the baritone space and Srilakshmi singing the same notes and words with a lag, and the final solo on the flute is borderline magic. The tracks are mixed and mastered by Judah Sandhy.

@srilakshmi_belmannu @judahsandhy @siddhartha_belmannu @ericgeraldmusic @neethuninaad

4. Tera Naam

Written and composed by Anuj B

Music Produced by Agaazz

Vocals: Arshiya Ganguly

Language: Hindi

Genre: Indie Pop

Mood: Romance

This is the very first time I am featuring this artist called Arshiya Ganguly and I am deeply impressed. We hear her faint voice and like something emanating from a mist and gaining prominence, we feel the power of the Pianos, and the seductive woodwinds in the intro. Do you feel the magnetic double bass in the background? Agaazz is fantastic already as the music producer and withing 30 seconds he offers so much for a music lover to appreciate. The way she sings “Seene pe sar rakh ke jab mujko sehlaate ho” with her folkish swag that works effectively.

Things are mild; the production is subtle, but as we get to the pre-chorus segment, the song gets an upliftment and here you are deeply resonating with the song, thanks to the string sections, keys and woodwinds. “Naarazgi hai to batlaaao n,  much mod key un door jaao na” is where the song touched, moved and inspired me as a listener on multiple levels. This is exemplary in terms of music production because even when the various elements come together, it is never overpowering.

Let us not forget the impact of writing a melody that feels close to the heart and doesn’t sound rehashed and repetitive.  Anuj B has penned the lyrics and composed the melody, with the flute solo performed by Nav. “Dooja Koi na chahun, jo yu na mile mujhe yaara, rabb ko pyaari ho jauan” are such deep words and with a melody like this and Arshiya’s strong vocals, the lines linger in your mid for long. Backing vocal arrangements, like the aalap and then the flute solo with some guitar riffs, make this interlude a succulent section that makes you eagerly await the antara. Here too it is her delivery that makes the notes and the melody intriguing, for example listen to the way she continues on the notes “Kabhi aate hain, kabhi jaate hain” especially on the word “hain” on both occasions.

The Antara is short but there are so many elements that simply elevate and make his song worthy, and one prime example is the interlude on the flute, the melody written here, the way Nav executes it, along with the Piano and the final outro vocals, just steal the thunder. The tracks are mixed and mastered by The Glue Station.

@anujbofficial @agaazz_music @arshiyagangulyofficial

5. Le Chal

Vocals: Hansika Pareek

Lyrics: Shraddha Pandit

Music composed by Salim-Sulaiman

Music Produced by Salim-Sulaiman & Raj Pandit

Language: Hindi

Genre: Indie Pop

Mood: Romance / Mild Pathos

The best music always comes from great names collaborating, and that's clear here: one of the finest vocalists performs on a song written by Sraddha Pandit and beautifully composed by Salim-Sulaiman. Aditya Bisht's mild guitars in the intro tell you this is a sweet, gentle indie-pop number with minimal but meaningful production. This is where we have Raj Pandit and Salim-Sulaiman, handling all the arrangements and designing the soundscape. Hansika Pareek’s voice is like the sound of a stream of water in a forest when you are parched and starved, and when you hear her singing the verse here, you can feel the tenderness passing through your veins.

The chorus segment is when your mind and heart come together in chorus as she sings “Le chal wahaan, tu ek dafa, ehsaas apne, saare woh sapne, phir se jeeyenge jahaan”, with some subtle layers of guitar riffs and Shraddha’s thoughtful words.  The masterstroke is the Sarod interlude which just makes you feel surreal bliss right through the instrumental phrase; is there a bit of Raag Desh here, maybe. The tempo is perfect, unhurried and it drives your emotions purely by the mellifluous nature of the melody and the quality of Hansika’s tone. Listen to her ravishing voice in the Antara “Sili Hawaayein Bhi, Kahe kahe mujhe yaheen”. There are moments when the melody also reminds me of Raag Shuddh Kalyan.

“Pal jo tere sang mile” is a fantastic phrase not just melodically but also in what accompanies, with the chords in the background on the Piano. Hansika also adds these harkatein to give a very classical-styled delivery. I am also intrigued by the vocalization, some guitar arrangements, and the constant Keys in the background. The tracks are mixed and mastered by Tejus Srivastava at Blue Production. The string sections is performed by Budapest Orchestra, with Japjisingh Valecha on orchestration. All Additional music production is done by Shivansh Jindal.

@salimsulaimanmusic @shraddhapandit @hansikaapareek @merchant_records @shivansh.j

6. Neenillade

Composed and produced by Ashwin Mandoth & Vivek Kiran

Lyrics: Rakesh Kumar

Vocals: Vivek Kiran

Language: Kannada

Genre: Indie Rock

Mood: Energetic

It feels great to hear indie musicians perform like this, and when they take up the mantle and outdo some of the popular music, this is a cherished and promising feeling. We have some outstanding musicians like Ashwin Mandoth, Vivek Kiran, Deepak S, MB Dhruva and Gaana Samskruth coming together to deliver a string Kannada indie rock song. The highlight is undoubtedly the chorus segment with bombastic lead guitars, Keys, and drums, and Vivek’s vocals carry the song’s melody and give that hummable flavor.

The lyrics are written by Rakesh Kumar. No matter how much we feel about the adrenaline pumping because of the instrumental carnage, it is this melody, probably set in Raag Hamsadhwani, that is making us tap our feet and nod our heads to this song. Vivek shows all his class, exhibiting his wide vocal range. The whole phrase that begins with “Ninade” is captivating.  We get a screaming solo on the electric guitar and some skillfully executed keyboard riffs, just before the keynote change in the end. 

@aswin.mandoth @vivek_vst @gaana.samskruth @dhruva.mb @hiimrakesh @deepak.drummer

7. Kab aaoge?

Written & composed by Shikhar Srivastav

Vocals: Shikhar & Shreya Karmakar

Music Produced by Shikhar

Language: Hindi

Genre: Indiepop

Mood: Romance

This has been a great time for Shreya Karmakar, with her song just being featured in my album review of “Don’t Be Shy” on Amazon Prime, for a song called ‘Tum Ho Wahi’, (which Ill also feature on my weeklies), and now this fantastic indiepop collaboration with Shikhar. From the very first second, as we get the fiddles, the Ukulele, and guitars in the intro, this feels like an Irish folk pop song, and it gets me excited. The tempo is relatively slow, and that allows the listener to let the melody to slowly enter their system. After the relatively short verse, we feel the most charming chorus segment “kab aaoge?” with harmonies and the strings.

Shikhar is the male lead vocalist, and his tender delivery feels apt for this romantic single, with the song written, composed, and produced by him. There is a nice pause between the chorus phrases, and it feels like we are waiting for an answer to the question “kab aaoge”. Shreya Karmakar opens up in the second verse and her singing and some interesting choices of subtle rhythms. “Hum bhi pehle jaise muskurate nahi, tum bhi jaane hume bulaate nahi, kab aaoge?” she sings and there is a rush of blood and incessant love when you hear such amazing words, especially with the innocent, cherubic voice of Shreya. She also excels at singing these high-pitched phrases “raaz saare khud ko hi batate rahi”.

Kudos to Shikhar the producer for getting these nicely executed interludes, with the Ukulele and having male/female choral humming portions, this is some exemplary work as a composer as well. The bridge section with Shikhar and Shreya singing this quick exchange of phrases tempers up the romantic mood and longing even more. The artwork is handles by Rakshita Srivastava.

@shikhar.musica @rakshitasrivastava @shreyakarmakar

8. Gadha

Written and Performed by Arham Fulfagar

Music Produced by Niranjan Menon

Language: Hindi

Genre: Indie pop

Mood: Immersive

It is just the sound of the Piano and Arham’s melancholic voice. Arham Fulfagar has been on my radar for a while now, and although I have enjoyed some of his indie releases, this is probably the first time I am featuring him. There is no hurry, as the tempo and mild production are the two factors that make you want to pay attention intently, as Arham sings “ aur dil mera hai gadha, so doondhne usko chala. The composition is by Arham, and Niranjan Menon is the producer. Just as soon as we come to the end of the said phrase, we start hearing the simmering lead guitar riffs, rhythms and some brisk harmonies that electrify the sound and impact. 

The melody itself never lingers in repetition or dullness, and that is why Arham deserves appreciation. Listen to the post-chorus that subsequently arrives, and we get a change in tenor and flavors, almost like a shift from Alt-Pop to folk: “Baitha akele us toofan mein,”  and the transformation happens again when the phrase in falsettos “hua main deewana sa”, and here the guitar riffs and harmonies singing “baithe kinaare pe” are an invocation of musical surrealism. The lead guitar solo comes like a whip of magic in the interlude. “jeet ne woh meri haar hai, jiske liye man pareshaan hai” is a reminder that Arham combines seductive composition with immersive writing as well. 

The heavy rhythms and the guitar riffs towards the end remind me of Coldplay’s soundscape, especially something like their Fix You”. IN fact the cover art here vaguely reminds me of Coldplays album cover of " A Rush of Blood to the Head". 

@arhumm__ @niranjanmenon @illysutrations @awal_india