Top Indian Songs of the week 19th April 2026

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Here are the best songs releasxed in India across languages and genres for the week ending 19th April 2026

1. Amaran 

Movie: Prathichaya

Music Composed, Arranged, and Produced by : Justin Varghese

Singer : Job Kurian

Lyrics : Manu Manjith

Music Producers : Justin Varghese, Vysakh Bejoy, Joe Anton

Language: Malayalam

Genre: Orchestral Ballad

Mood: Pathos

Justin Varghese is undoubtedly one of the best talents not just in South music but in the Indian music industry as well. This song is a smasher just like last year’s ‘Paka’ from “Ponman”. Justin composed, arranged, arranged and produced this with Manu Manjith on lyrics and the inimitable Job Kurian on lead vocals. The rhythms are emphatic and feel dark in the intro, with the female humming and strings in the background. Out of this darkness comes long Job Kurian’s resplendent voice as he sings “ Pakal Suryan parayaathe, irul raavil marayunno”. He sings with such poise, making you feel engrossed, and the way he delivers the phrase “theera nove ..nove” gives you an idea of the pain the protagonist is feeling.  This is a masterclass in playback singing. The horns blast away in the background, adding to the impact of the pain the lyricist is referring to. Vysakh Bejoy has arranged and produced the strings and horns.

My favourite line is “Chaayanaaya tholonnllath ottaykaay, Peyyathe thaane vingum nerathaay”, and this is where I felt strains of Raag Keeravani. The interlude is haunting thanks to an operatic chorus arranged by Moses Toby, and after this brief phase, we feel a calm in our nerves with Job’s tantalising and sedate vocals. Manu Manjith writes these exceptional lyrics, “ Veyilkattil Vazhikattum Viralthumbo Piriyunnu”, as the strings continue to deepen the pathos. The arrangements and production for this song are top-notch, and as we keep listening to this gloomy yet grand number, I am also thinking if there is some influence of Raag Gowrimanohari (Patdeep in Hindustani). When I least expected it, there was a change in mood with the strings, and the melody altered from being melancholic to inspiring. The words rightly read “ Amaranayi Maaru Nee”, meaning “ Transform yourself into a prince”. 

The amazing horns, harmonies and strings in the background elevate the song here, and we feel like we are on top of the world. Despite such a shift, Justin makes this all feel seamless and organic. Kudos to Joe Anton and Vysakh, who have also done the music production along with Justin, and the tracks are mixed and mastered by Joe. 

@just_in_varghese @prathichaya_movie @manumanjith_s @jobkuriank @moses__toby @yzakmusic @joeantonhere 

2. Barkha

Written, composed and performed by Gayathri Raman

Arranged and Produced by Sai Keshav

Backing Vocals: Pavithra Viswabarathy

Language: Hindi

Genre: Semi-classical Rock fusion

Mood: Immersive

This is what a song is supposed to do: cast a spell on the listener with the very first few seconds, and this does so with the intro lead guitars. This guitar solo is wondrous, and I am transported to a bar in the west where some soft rock music is probably being performed live. The song keeps you guessing, as a flute solo by Raghava Sai follows, and we keep pondering, what form and genre will this song take? The piano flows gently along with string arrangements in the background, and could this be a genre-bending song that hits all the right notes? Gayathri Raman has written the lyrics, the melody and performed teh lead vocals on this one. The flute solo starts giving us some clues now, as the melody has strains of Raag Cahrukeshi, and maybe this will follow a nice semi-classical melodic pattern.

Gayathri stuns you into silence with her vocals, which show such class and technical prowess.  The harkatein, all the vibrato, whether subtle or not, are beautifully executed by Gayathri. The flute and guitar interventions continue, and that is why teh song continues to surprise and impress without ever feeling repetitive. Sai Keshav is responsible for getting all these arrangements done, and he is the music producer here. “Rookha Sookha dil Hamra, aaja rang la Barkha” almost breaks you down with all the melancholy and poised singing. The solo lead guitar is ecstatic in the interlude, and just when you think that the song is constantly throwing great surprises, we hear this fantastic Qawwali-style female chorus, along with the Dholak. Pavithra Viswabarathy accompanies as the backing vocalist. This chorus melody definitely takes me back to that great Charukesi-based song “ Vasantha Mllai” sung by TM Soundarajan and composed by G Ramanathan. 

When the Antara begins , I also realise Gayahri is really testing her full vocal range as well, with “Phool Kile” being performed at this contralto type of voice. Listen to her reach for the other end of teh vocal spectrum with “Soona Soona”, and The flute solo is palying a fantastic counterpoint here in the background. The recording engineer is Mrunal, and Sai is the mixing and mastering engineer. 

@g3raman @saikeshav_music @vpavii_music @mr_winds_and_reeds

3. Raasta

Music Composer:  Parag Chhabra

Lyricist: Abhay Koranne

Vocals: Yashika Sikka

Music Produced by Parag Chhabra, Mayank Choudhary, Japjisingh Valecha and Vineeth Jayan

Language: Hindi

Genre: Pop

Mood: Groovy

This is the second song from “Matka King” that I am featuring, thanks to a fine album by varied artists coming together, a rarity in Bollywood. It is intriguing from the get-go with the haunting folkish styled female humming and a dash of the Slide Guitar, I am travelling mentally to mid-west America, like I am about to listen to country-rock music. The rhythms that go along with this instrumental melody are like a capsule that pushes my adrenaline higher. Yashika Sikka begins to captivate you with her voice, and I am so happy to hear her after a while. Vocalists like her deserve every ounce of opportunity and respect. You can feel her muddled state of mind and her pertinent question when she sings “Kaise dikhega yeh Raasta”; that is the power of emotive singing.

The melody has clear strains of Raag Jog, and kudos to Parag, the composer, for writing a melody that touches your heart. The rhythms and the song’s tonality feel like the ‘Dil Se’ title track. The slide guitar is constantly supported by some nice counterpoints along with Utsav Nanda’s guitars. Parag comes on and gives a casual, free-flowing exhibition as a male vocalist and the romanticism is written all over his voice. The interlude has these strings arranged, and with the heavy cello presence, I also felt resemblances with “Chale Chalo” from Lagaan, which is also set in Raag Jog. The way the antara begins and Parag kills it with his Sonu NIgam-esque delivery, adding nice harkaetin in between. I like how Parag adds a fine layer of keys to the background as we come to the end of the Antara. 

Kudos to these outstanding musicians who have worked on the song’s music production, viz. Mayank Choudhary, Japjisingh Valecha,Parag and Vineeth Jayan. What I was truly amazed by was the second interlude on the Slide guitar, and this melody had this inherent pathos, maybe because I could hear some Raag Charukeshi strains as well. The backing vocalists Nikita Ahuja, Nikitha Venkatesh and Shreya Phukan do a fine job on the harmonies. The music assistant to Parag is Siddhesh Jagtap, the recording engineer is Parth, and the tracks are mixed by Deepak Sugathan and Nitish R Kumar. 

@jeemainyashika @nikitaahuja__ @paragchhabra.official @nighsonrecords @abhaykoranne @niktha_venkatesh @shreysthefreys @amritanshudutta @utsav_nanda @nitish_kk @philaudiosophical @vineethvniith @zryaofdilli @japjisinghv @mixbynaval @parthpro_ @siid_japtaap 

4. Thassadiya

Music Composed, Programmed & Arranged by Santhosh Narayanan

Lyrics : Rehman

Singer : Chinmayi Sripada, Punya Selva

Language: Telugu

Genre: Pop

Mood: Dance

I will be looking forward to this album and movie as Samantha plays a dashing action role in ‘Maa Inti Bangaaram’ with music by Santhosh Narayanan. The teaser has set high expectations, and this song immediately made me smile, because finally, Santhosh and Chinmayi Sripada collaborate on a project. I know, like most, that she is one of India’s most outstanding playback singers of this generation, but somewhere I have assumed that her vocal tone is best suited for pathos and deep melancholy. Chinmayi proves me wrong as she delivers a masterclass with some impossible-sounding vibrato and singing with truckloads of cheerfulness and an infectious charm. 

Santhosh Narayanan has composed, programmed and arranged this belter, and the mood is upbeat from the first second. The keys are emphatic, and the mood is set for a dance showdown. for a song like this, the heart and core belong to the rhythms and percussions and here are the heroes Venkat on all indian percussions, RK Sundar on additional percussions. Chinmayi and Puyya Selva combine on lead vocals, and the way Chinmayi does all these improvisations lets us leave a very impressionable stamp on us. The expected use of the Mridangam doesn't take away any joy from the fantastic execution when we get to the chorus segment. Naveen Napier is shining all the way on bass guitars, and you will know it if you hear him accompany every note on the charanam.

I love the keys and flute, by Sathish, that come and dominate at the end of the chorus segment and form the pivotal interlude in a couple of crucial instances of the song. The charanam has this very traditional melody playing, and it reminds me of Sahana Ragam. The Ghatam is the dominating percusion through the charanam, and this is where Punya beautifully delivers the lines of the aged woman , showing her ability to alter her tone. We also get a brief bridge section, and that is where the strings by FAME’s Macedonian Symphony Orchestra come into full effect, coordinated by Andrew T Mackay. The interlude at the end of the bridge section is where I was reminded of AR Rahman’s “En Veetu Thotatthil”. The recording engineer is RK Sundar at Prism Studios, and the tracks are mixed by Santhosh at Future Tense Studios, Chennai.

@musicsanthosh @chinmayisripaada @punyasworld @tralalamoving pictures @

5. Kalangatha Raasaavey

Music composed, Arranged & Produced by: AK Prriyan 

Singers: Aravind Karneeswaran, Nithyashree Venkataramanan, A K PRRIYAN

Lyrics: Vignesh Ramakrishna

Language: Tamil

Genre: Light Music

Mood: Pathos

The influence of Charukseshi Ragam is written all over this intro itself, as the flute solo, by Suraj G Shankar, plays along with the lead male humming. The lines tell “Kalangida Venda,” which means “Don't Cry”, but the melody is bound to make you feel a whole lot of pathos. AK Prriyan has composed, arranged and produced this song from the upcoming album “Manithan Deivamagalam”. Nithyashree Venkataramanan is the female lead vocalist, and she delivers to soak up the morose setting. The singing, especially in the contralto zone, is fantastic with the line “ Oru naal valikkum, maru naal marakkum, idhu vazhakkam ena nee poganum” Vignesh Ramakrishna pens the beautiful lyrics. 

The Violin solo by Akkarsh Kasyap, along with rhythm guitars, bass by Karthikeyan Ramesh and the flute, plays a very subtle but crucial role in the sound design. The song’s melody follows the template of Charukeshi, with some high-energy rhythms and humming in the interlude. The charanam is where I was most touched and intrigued with the melody written brilliantly, “maruporappedutha nee en thai adi, un thaali thaan thoppul kudi” sung with such grace by Aravind Karneeswaran. He adds a touch of vibrato, but the solo violin and the guitars in the background serve as markers of excellence. The strings operate on a nice counterpoint here in the charanam. Aravind excels every step of the way with the high-pitched lines, and he emotes to perfection, never overdoing any of the ghamakas.

The tracks are mixed and mastered by Naveen Kannan at Neo Soinc Base, with Ady Kriz as the music supervisor and Karthikeyan working on additional programming. 

@saregamatamil @vigneshramakrishnalyricist @ak_prriyan_official @aravindkarnee @_nithyashree @selvaraghavan @akkarshkasyap @neosonicbase @n_veenk_nn_n @adykriz

6. Ziya

Written, Composed and Produced by Imon

Vocals: Imon

Language: English/ Assamese

Genre: Pop/Folk

Mood: Immersive

When I heard Imon last year, I was in paradise as a music lover, thanks to the amazing single “Fool’s Paradise”. It is now time again to feature this talented lad as he releases his first bilingual, having lines in English and his mother tongue, Assamese. Just listen to this guy, Imon a.k.a. Prabahan Shakya, sing the opening verse, and you will feel you are in the presence of Frank Sinatra, or something to that effect. This guy is extremely gifted, and he does leverage that voice with these subtle and stunning vibrato like “ Maybe it's a cool breeze, maybe it's your disease”. 

Let me tell you, it is almost impossible to believe what you hear when he sings “ You see, then you believe”. The Assamese lines that follow take you to some rustic setting in this land, and the folkish-sounding lines create awe. I must also appreciate Imon’s vision and writing because you probably have to sit and think deeply about his songwriting; nothing is plain and dull. Is it philosophical, or is it a creative illusion when he writes and sings, “ make six inches look longer than half a foot”. You know what, with this kind of singing voice, I will believe whatever he sells, even that six inches are longer than half a foot. The keys and drums are just mild and present without ever intruding. 

Did I jinx it, because the drums just explode when he sings “ Am I the Same”? The funky guitars, bass and drums that follow just up the ante, and we are now in an Alt- Rock territory, with some lead guitar riffs decorating the background. Rahul Rai is the bassist, Shantanu Sudarshan plays the drums, and we have Dipen Gupta and Imon on guitars. The tracks are mixed by Imon and mastered by Ritwik De. 

@imonlearnstodisco @ritwik.de_ @dipengupta.dg @89rairaul @shantanusudarshan @sacacsoundschool @artnrot @__jayansh_ 

7. Mella Mennu Mellaama

Composed and produced by Barath Veeraraghavan 

Lyrics - Sanikelama

Vocals - Barath Veeraraghavan, Harsh Srinivasan and Abijith Anilkumar 

Language: Tamil

Genre: Folish-Pop

Mood: Romantic

I remember Barath Veeraraghavan from more than a year ago, because that song stood in my mind, especially with Pradeep's vocals in full flow. Here he is again with a stunning song, composed and produced by Barath, and he is joined by Abhijith Anilkumar and Harsh Srinivasan on vocals, with lyrics by Sanikelama. Akkarsh Kashyap is on the solo violin with a very slick and improvised intervention in the intro, and we have the keys to go along with it. The Melodica comes on to induce some tangy, rich tones, along with basslines by Derick McArthur and a very delectable array of percussion. We have Erai Arasu playing the Duff, Mootu and Kanjira. 

Barath’s singing is extremely affable, like a habit that you catch and are addicted to. “Mella Mennu Mallama, Pesuriye nillama, kanna blink pannama, parthen koocham illama” is nicely written and delivered; it sets the tone for this ravishing song. The melody takes a beautiful turn for something even better in the anupallavi with a nice folkish tone as he goes “ nee parthu pesayila, oraayiram vennilavu parthene unnodaya kannukulla innum solla varthai illa”. The combined effect of the percussion and the bass guitar is nothing short of bliss. Bhushan handles all the additional programming. The melody on the Harmonium with the Kanjira is another splendid choice in teh interlude, as it gives further folkish colouring. The part in teh interlude where we get the choral humming and the Duff taking over, I am reminded of “Oora Theinjukitten” by Maestro Ilaiyaraja. 

The layers of vocals and guitars can seem excessive especially in the second verse, sort of looking overproduced, but that is something that doesn't take away from the overall quality of the song. Advaith plays the flute; the tracks are mixed and mastered by Roshan Sebastian at TRNTY Records. 

@akkarshkasyap @barath_veeraraghavan @sebastiansathishmusic @sruuths @itsaravind._ @naan_sanikelama @derickmcarthur @musicman.rs @roshansebastian @eraiarasudrums @bhushh14 @abhijithanilkumar_ @harshsrinimusic 

8. Tere Mere

Vocals: Prateeksha Srivastava and Avish Jain

Lyrics: Shayra Apoorva

Composed and Produced by Sagar Dhote

Language: Hindi

Genre: Pop

Mood: Romantic

Names like Prateeksha Srivastava and Sagar Dhote grab my attention every single time because they are top-tier indie musicians, and here we have a Doctor on board, too, making for a healthy mix, pun intended. The male lead vocals were a little too nasal for my liking, but there was a time when every Bollywood playback singer had that tone. The moment Prateeksha comes on board with her line “ haaan meri saanson mein khushbu tere hi”, the song lifts you up, such is her prowess. The two lead vocalists singing the chorus line together is also a very catchy segment.

Sagar amps up the sound design with some nice keys, rhythms, and Lo-fi elements, too. The melody is pretty straightforward, but the chorus lines and the one phrases that Prateeksha sings are just absolutely hypnotic, like “Pal jahaan tu shaamil hai. sab mujhe haasil hai, yen kahe mera dil hai jaane ja”, and the way she improvises and adds harkatein are gems. Shayra Apoorva is the lyricist, and the tracks are mixed and mastered by Hanish Taneja. Samir Dharap is the recording engineer. 

@officialprateeksha @musicmansagar @dr.musicalavish @shayrra22 @mixedbyhanish @samirdharap009 @prod.bydilip