Top Indian Songs of the week 1st February 2026

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Here are the best songs releasxed in India across languages and genres for the week ending 1st February 2026

1. Yetho Yetho

Music composed, arranged, and produced by AR Rahman.

Lyrics:  Pa Vijay

Vocals : Amina Rafiq and Shridhar Ramesh

Language: Tamil

Genre: Pop

Mood: Romance

One touch of a live instrument and the sound of that could invoke so many fantastic emotions, and here, when I heard the Santoor by Sathyendra Singh Solanki, that was 5 seconds of proof that AR Rahman has still some semblance of magic left in his head. How else could he have stayed at the top of the game in a very competitive and demanding space for more than 3 decades? Looking at all his accolades, fame, and achievements, it might not be surprising that he came up with a delicious track like this in the new album “Gandhi Talks”. But for someone like me who has seen the quality of work decline, especially in the last few years, this comes off as a stroke of promise and hope. I pray that AR Rahman stays away from mass cinema and big banner production houses, which are only keen to use his name and not allow the legend to write music with his heart. 

This movie is a silent film, and has the song released in 5 languages with a total of 10 different playback singers. I am choosing Tamil as that is my mother tongue, and I can feel the words and energy through my bloodstream. As the Santoor ends, we get a classical phrase on the Piano, and a solo violin intervention by Vignesh that reaches for the stars. A pause ensues, and the song’s impeccable quality oozes out with Amina Rafiq’s hauntingly romantic voice. I also need to tell you that her tone sounded the most unique of the 5 female lead singers. Is there some Raag Bihag in the melody because my mind goes to AR Rahman’s masterpiece called “Malargal Ketten”? The guitar notes are like blows to my heart as they keep coming whenever Amina pauses, “Yetho Yetho Ulle Arumbugindradhe.”

The song’s brilliance lies in a few things, like minimal production, great lyrics, etc., at the top of that list being the melody, which throws enough surprises and googlies at you. When I kept listening and practising the lines, I knew the song’s anupallavi would kind of separate the pros from the amateurs thanks to the tough notes that follow “Neenda dhooram Nizhal Thedum Paravai”. I felt like I, too, was searching for the exact notes, unable to hit them exactly, just like the bird searching for some shade to rest. AR Rahman subsequently ups the ante with another tougher phrase, “Iman Oram Meendum Ilai Para Vendum”, and then he proudly smiles with a brilliant landing line “, Enna solla manadhin Mozhi Neeyo”. As this line comes to a halt, the flute keeps playing, reminding me of Maestro Ilaiyaraja’s “Sundari Kannal Enna”. Kudos to the lyricist Pa. Vijay for picking words that fit and also complement the amazing melody, not to forget Amina’s stunning delivery. Every single female lead singer cracks it with ease and grace, so kudos to Hinanaaz Bali, Nayansee Sharma, Aanandi Joshi and Sivaangi Krishnakumar. 

The Piano starts off by playing the melody of the charanam (Sanchari) and then drifts away, and you will recognise the similarity in the phrase “ Pogum Vazhi Engum Putham Pudhu Mutkal”. The charanam is simple with just a couple of lines, but here too Shridhar Ramesh gives that assurance with his delivery and stability, and Amina provides splendour with that mild vibrato at “ Koodam Kai Pidithu Naanum Nadakkiyil” especially on the word “Naanum”. It feels like this woman protagonist, Aditi Rao Hydari, is going to lead the main man Vijay Sethupathi into love and glory, and that is precisely what I feel even Shridhar Ramesh does, following the lead of Amina and doing a few ghamakas of his own in ” Ninaivulla Varai, Nenjil Ganapathu”. The brief yet interesting charanam ends with AR Rahman taking us back to the anupallavi (Antara) notes this time with the male singing “ Yezhudhadha Padal Yar Kaiyil Serum”. 

The highlight is when the singers unite in harmony, singing such meaningful words “pirivenbadhe sera thaane anbe”. It has been a long time in Indian cinema music since we got a song with two stanzas and two interludes. Kamalakar plays the flute, and the sun shines brightly with the strings played by the Sunshine Orchestra. Jerry Vincent conducts the session here.  The additional programming is by Shubham Bhat, and the tracks are mixed by Suresh Permal and Pradeep Menon. 

Gun to my head, I would want to go on and rate my preferences from all the 5 versions, and for me, my top pick would be the glorious version in Marathi performed by Aanandi Joshi and Abhay Jodhpurkar, because the lyrics fit so well, and these two stalwarts are cranking it up with their pitch-perfect and poised singing, also maybe bacuse my mind travels to “Moongil Thottam”. Nayansee and Shibi Srinivasan were in terrific form once again, with Telugu lyrics fitting well and the sweet nectar in Nayansee’s voice pulling in one direction and Shibi’s soothing texture in the other. Sivaangi is finally getting the deserved eyeballs , and she proves that she is worth this chance in the Malayalam version. Yadu Krishnan’s delivery is probably my favourite male version of this song. I think being a South Indian, listening to all of AR Rahman's greatest years of music, Hindi was the most distant for me , also because I understood the words much less. But I was elated to see two more worthy performers give this song their heart and soul, so kudos to Faiz Mustafa and Hinanaaz Bali. 

2. Ini Ondraai

Composed, Arranged, and Produced by Nishad G

Lyrics: Suthan Bala

Vocals: Vijaynarain

Language: Tamil

Genre: Folk-Pop

Mood: Uplifting

Nishad G is one committed and talented musician who knows the whole 9 yards of composition, arrangements, and production, and he consistently raises the bar with some stunning music. The time of the year when he doesn't release his own music, I keep listening to his breakdown of some of the timeless classics of Tamil cinema music. Here we have a song that begins like the first rays of sunlight, thanks to Rijul’s nimble Piano and the chirping of the birds, transports us to the meadows of peace. A transformation happens, and we are no longer just in serenity, as the energy levels spring up with Chris Jason’s guitar strumming. The verse begins with Vijaynarain’s folkishly soothing voice and the line “Nee pazhaiyathai pazhaiyathi veesi” with the fantastic percussion in the background by Martin is where my heart started to grow fonder.

“indi Ondraai” is the chorus line that elevates the song and every resting cell in my body into a spike of enthusiasm. It could be a mix of many things, like Vijaynaain’s high-pitched delivery, the flowy Pianos, and the amazing choral harmonies by The Indian Choral Ensemble. Perfectly written and timed, this phrase means “Together Hereafter”. Suthan Bala is teh lyricist who extends the message of love and harmony with perfectly chosen words. The rhythms, strings, and the solo violin in the interlude are magical,  taking me back to some of the astounding works of Maestro Ilaiyaraja. Rangapriya Sankaranarayanan sizzles with that melodic phrase, and Napier Naveen is pulverizingly good on bass. I do sense some Hamsadhwani Ragam influences, and Nishad G is in prime form as the composer, arranger, and producer in this song. 

The charanam is beautifully written and performed, and I do have goosebumps listening to “ Nilathukku veli pottu, Neerukku sandai pottu, porkalai boomi urundai thangathu, Vaa kanavugal kodi irukku mei aaku, thadakalai thaandi neeyum poi aaku” with a lot of ghamakas interjected. The chorus singers are giving a sense of rejuvenation with Kalyani Nair conducting the session and the performers being Aparna Harikumar as the Soprano, Vanathi Suresh as the Alto, Shibi Srinivasan as theTenor, and Shivsundar as the Bass singer. Another surprise comes our way as the folk percussion of Tamil Nadu makes a foray, thanks to Siva Prakasam. The song becomes celebratory from being an anthem of unity, and Nishad writes a fun bridge section with the line “ Vaa Magizhvai Anbai vazhalam, va da va da”. The chorus performers join in, and this makes for a perfect outro, with a solo dazzling display by Rangapriya . The recording engineers are Hari Haran at 20dB Sound Studios, Vignesh at 2bar Q Studios, Viishwaajay GN at Shimmr Studios, and Biju James at Mystic Hues. The mixing and mastering is done by Sivanesh Natarajan at Shimmr Studios, with the video edited and directed by Kausthub Ravi. 

@theindoencers @vijaynarain @sutharson_bala @violinrangi @rijul_chakraborty @martin_tabla @christhejason @napier_naveen @prakasam138 @theindianchoralensemble @aparnaharikumarh @vanathisuresh @shibisrinivasan @shivsundar2001 @shimmrstudios @sivaneshnatarajan @haikumusicco @kausthub_ravi @viishwaajaygn @atelje_studio

3. Fame Us

Singers: 7Bantai’Z & Rai Harrie

Music & Production: Rai Harrie

Lyrics: David Klyton, Nishant Mohite, Aditya Vhatkar, Yogesh Kurme, Siddesh Jammi, Rai Harrie & Nitesh Patel

Language: Hindi/Punjabi

Genre: Folk/Hip-Hop

Mood: Energetic

One thing is for sure: Bejoy Nambiar creates so much intrigue when a movie by him is about to be released, and he should always get an A+ for out-of-the-box thinking. I am excited to check out this out also for the sake of Gourav Adarsh. Now, if you have listened to Bejoy’s movie albums, they too always stand out with some refreshing music. This Punjabi Hip Hop for sure was a belter that was high on energy and creativity, a lesson for musicians wanting to explore this space. The Punjabi folk instruments line up, and the rhythms kick in. 

7Bantai’Z & Rai Harrie are the vocalists, with Rai doing all the fantastic music production. We have a line-up of lyricists, viz. David Klyton, Nishant Mohite, Aditya Vhatkar, Yogesh Kurme, Siddesh Jammi, Rai Harrie & Nitesh Patel and they give us one pulverising track. Just pay attention to the hip-hop , and you know how it is done. The words are powerful and meaningful, and they are performing like their depended on this. The constant string and woodwind instruments keep breathing fire without letting a moment of boredom creep in. I am waiting to see this being picturised and Gorav performing it with swag. The tracks are mixed and mastered by Shubh. 

@bejoynambiar @7bantaiz @raiharrieofficial @nehaamishra @gouravadarsh @shanayakapoor02 @crackpot_7bz @sidj_7bz @yokubig_7bz @bonznribz_7bz @mcnotez_7bz @colouryellowmovies 

4. Kaadhal Nadhiye

Music Composed & Produced by Parvatish Pradeep

Malayalam Lyrics: Ganesh Malayath

Tamil Lyrics: Ponnumani

Vocals: Sanjith Hegde & iSai

Music Supervision: Ankit Menon

Language: Malayalam

Genre: Pop

Mood: Romantic

I have always admired Parvatish Pradeep in his indie ventures, and when he got an opportunity to score for the Malayalam movie album “vaazha” it was a stand-out show by the talented composer/producer. Here is a new album where Parvatis is one of the composers, and this song by him is a beautiful melody that carries fragments of Abheri ragam, and when he gets a dynamite like Sanjith Hegde to perform, we are all simply blown away. iSai joins as the female vocalist, and we have lines penned by Ganesh Malayath.  Sandeep Mohan decorates the background sound with his acoustic guitar, Strokes and bass guitar, as Sanjith swoons across singing the verse in his usual mesmerism. 

He just reaches for the stars with tremendous ease, singing the high notes, and when we get to the chorus line performed by Sanjith and Parvatish, it feels like being swayed away by a cradle of musical love. The lines in Tamil are just splendid “kadhal nadhiye kadhal nadhiye, moga moundam yeno, aasai enathe, thedal inithe baashai marandheno”. Sandeep is expressing all the love that the words just did, but with his strumming and riffs, as the impact of a slide guitar makes my mind slide into a state of joy. iSai is a gentle giant delivering the charanam in Malayalam with all those subtle vibrato. She displays her wide vocal range , and when she hits the low notes, she touches the deepest parts of my heart. Parvatish is a fine composer, and that is why he writes all these extended phrases in the charanam , and when he doesn't settle for less, a music lover ends up being treated. iSai singing “padhiye padhiye” feels like a tonic to the dejected heart. 

The outro with the bass, rhythms, layers of vocals, ghamakas and improvisation alongside the catchy rhythms feels like the perfect end to this song. The Tamil lyrics are penned by Ponnumani. Prasad Maha does the mixing of tracks, as Abin Thomas assists with mixing and mastering. Sanket Tole, Anandu Pai, Sankeerth Shaji, and Le Charles Blues are the recording engineers at  7 Heaven Studios (Mumbai), Neonwave Records (Kochi), K7 Studios (Kochi) & Soundtown Studios (Chennai). 

5. Numma Padana

Vocals: Shahabaz Aman

Music: Anurag Ramachandran

Lyics: EP Sajeevan

Language: Malayalam

Genre: Lullaby

Mood: calming

This man’s voice is like seeing gleaming light shine through a small hole in the ceiling in a dark room. Before you know it, it will bring light and hope, and that is how divine Shahabaz Aman is. The guitars and Ukulele get the song rolling, and they act as rhythm instruments, played by Sachin Balu and Roshin Balu. Anurag Ramachandra is the composer, and EP Sajeevan is the lyricist. Shahabaz begins with an aalaap, and his pauses, his delivery style, feel like how we start getting the taste of something in real life: slow, steady, and gradually impactful. The programming on keys is minimal, thanks to Sachin just allowing the song to breathe through the vocals mainly. The harmonines are a very exciting addition, and it works well. 

The teasing Ukulele in the interlude gives me goosebumps, only to feel the vigour of the violin and the harmonica later, all coming together and giving total tranquillity. Sravan Krishnakumar is the soloist, and the mild basslines come and go with Sachin Balu in charge. Anurag perfectly understands that the strength of this song lies in its tempo and gentle production. I love how the sound of the water flows, along with the bass guitar from time to time. Sajeevan writes these descriptive words that I can visualise every colour and object. The mild clarinet at the end of the stanza is one subtle addition that impresses. The next interlude outro is where we are rocked away like a heavenly lullaby, thanks to the strings and the acoustic guitar. Sreerag Radhakrishnan plays the flute, Arjun B Nair is the recording engineer, and the tracks are mixed and mastered by Abin Paul. 

@anuragramachandran_ @shahabazaman5 @epsajeevan @mixwithabin @nair_b_arjun @sachinbaluu @sreerag_radhakrishnan @saravan.krishnakumar

6. Kyun

Written and Performed by Arunima Wali

Additional Lyricist: Saurabh Tripathi

Background Vocals: Zeba Tommy

Produced by Sagar Dhote & Ehsaas Dudhwala

Language: Hindi

Genre: Pop

Mood: Romantic Ballad

Yes, here comes an artist who has been pushing herself to deliver something better than her previous release every single time, and that is inspiring and sets her apart from the crowd. Ruthuraj is present from the get-go on the acoustic guitars, lush and rhythmic. There is a sense of desperation in her voice and tone, and that is perfect to deliver this line, “ kya main karoon mujko kuch pata.” That is not all, as the lead guitar starts to scintillate, and Arunima expresses her pain with mild falsettos and vibratos as well. 

The lyrics are written by Arunima, and Saurabh Tripathi provides additional support. The arrangements and music production scores high, as all the amazing elements on teh keys, harmonies, and guitars come along and fit thanks to Sagar Dhote & Ehsaas Dudhwala. It is the ravishing Zeba Tommy who sizzles in the cameo as the backing vocalist. I love the writing in the second verse “ roz karti hoon koshishein, phir bhi mujo hi tum dosh de”. Kudos to Arunima for the vision and the execution from a writing and vocal perspective. The tracks are mixed and mastered by Rohit Singh Bhau. 

@arunimawali.music @musicmansagar @ehsaas.aiff @saurrabhtripathii @ruthu____raj @rsbhau @zeba.tommy @samirdharap09 @studio_inputone @rishi_mukherje_e @shreya_bhatiaa

7. Uss Dilnashi

Composed by Kavita Seth

Music Produced by Kanishk Seth

Vocals: Kavita Seth and Kanishk Seth

Lyrics: Kumwar Ranjeet Singh Chauhan

Language: Hindi

Genre: Semi-classical Pop

Mood: Dreamy

Kanishk and Kavitha Seth are about to release a new EP, and this is the first song to be released from it. Kanisk tells me that the melody is set in Raag Raageshwari, and I was trying to figure out if there was some Maand and so on. The melody is composed by the inimitable Kavita ji, giving life to a Ghazal written by Kumwar Ranjeet Singh Chauahan. The Sarangi in the interlude comes and plays havoc, sowing deep pathos amidst a more gentle background of keys and rhythms. Sandeep Mishra plays the Sarangi, accompanied by Ashis Biswas on the Tabla. Kanishk Seth joins Antara with his evocative voice, and the bass guitar and acoustic guitar add a pop flavour to the soundscape. The deeply moving lyrics make you pause and take a listen, “ Kal tak yeh sawaal tha, hum hain kisi ka haa ya na”.  

Bhushan Chitnis is the magician on acoustic and electric guitars, and when we get to the second interlude, Samarth Srinivasan stuns you with the majestic orchestral programming. The electric guitar riffs, along with the Tabla and strings, feel eclectic during the verse. The tracks are mixed and mastered by Prathamesh Dudhane.

@seth_kanishk @atom_singh @prathmeshdudhane @bhushan_bhu_chitnis @samarthsrinivasan @kunwarranjeetchauhan @devashrimanohar @sethkavita @kaizenfilms.in

8. again....

Composed, Produced by Aarya, Rahul Popawala

Lyrics Written by Aarya

Singer : Aarya

Language: English

Genre: Pop

Mood: Nostalgic

Listening to an artist who consistently delivers is precisely why I love this job and remain motivated and excited week in, week out. Aarya writes, performs, and records this dreamy pop single about friendships and nostalgia, and he gets Rahul Popawala on board to write the melody and co-produce it. I feel the subtle pain in his voice when he sings “ How a younger me was living his life free”, with the accompanying piano by Aaroh Kango, and gentle lead guitar by Rahul. The writing is meaningful and touches a nerve when Aarya writes, “ like we never had a fear of getting seen, " which perfectly describes the times we live in. 

I am in awe, and I feel my pulse rate coming down with the line “ let us settle down our hearts, this race will never end” with the chords in the background. The melody offers a nice surprise with “settle down our hearts cos we act like its the end”. The video that plays is like a perfect visual companion to what we are hearing. Aaryi introduces backing vocals alongside the rhythms, allowing us to keep listening to this chorus segment again and again. The bridge section gets dreamier and uplifting, and with the layers of vocals, the intensity of the lines and the message “Why can't I feel the same”. The tracks are mixed by Abhishek Khandelwal and assisted by Dileep Nair. The recording engineer is Aaroh Kango. 

@aaryboy @abhimixkardo @rahulpopawala @dileapofaith @varun.kanakia @ffs_in_