Top Indian Songs of the week 20th September 2026

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Here are the best songs released in India across languages and genres for the week ending 20th September2026

1.Assa Vegala Gaav

Vocals: Aarya Ambekar & Rahul Deshpande

Composition & Production: Tejas Aditya Joshi, Zariya and Prateek Omkar Kelkar

Lyrics: Vikram Edke

Language: Marathi

Mood: Serene/Happy

Genre: Light Music

This is one striking feature of regional cinema, and Marathi industry stands out as a place where art is preserved, protected and enhanced. JP Thuminad has directed the Marathi remake of ‘Su from So’ which was originally in Kannada, and this title is “Tumbadchi Manjula’. Had it been a Bollywood remake, and I am saying this because I have countless examples, the songs would have been atrocious when compared to the original. But here JP Thuminad picks 3 composers who have given us a song that stands alongside K Sumedh’s original as equally brilliant. Kaushik Kelkar is handling the percussion, and we hear the hand cymbals giving us the feeling of a pristine temple town.

The song is composed and produced by the trio Tejas Aditya Joshi, Zariya and Prateek Omkar Kelkar, and I cannot appreciate them enough for the mellifluous melody and the stunning arrangements/production. That faint acoustic guitar by Vicky Hajeri makes a foray and all we have time for now is to surrender to the vocals of two astronomical artists in Rahul Deshpande and Aarya Ambekar. The production is mild and kept that way to allow the listener to pay attention to the words of Vikram Edke as he romantically describes the beauty of the land and the simplicity of the village-dwellers with his lyrics.

Once the verse ends, we get a soft pause and the chorus segment is elevated with multiple voices singing in harmony and this feels like a bhajan of insane purity. “Assa Vegala Gaav , Itha Rang Raav” as we have Ruchir, Vitthal, Zariya, Prateek, Shravani Atre and Prarthana Sathe singing the chorus. A striking solo violin by Ruchir Ingale is the hero of the interlude with some additional keys and strings supporting. Aarya Ambekar sings the Antara and if her voice isn’t enough to touch your heart, all the harmonium and female choral interventions just drive that feeling of love and joy deeper into our hearts.

The song feels like a modern fusion number with some terrific rhythms and percussion and keyboard programming. That aalaap in the end by Rahul is what makes me realize if there is some Raag Pilu influence in the melody. Get ready to be shaken with that unnerving outro that feels like some techno-folk fusion.

@zariya.music @theaudiophile @tejass241 @vikramedke @kswanandi @rahuldeshpandeofficial @ruchir_ingale @vicky.hajeri44 @kaushik.kelkar @ambekaraarya @pandit_dawn

2.Davaa

Written & composed by Deepika Seth

Vocals: Deepika Seth

Music Produced by Deepika Seth & Parabadh

Language: Hindi

Genre: Baroque Pop/ Semi-classical

Mood: Immersive/pathos

I just cannot wait to listen to Deepika Seth’s new album, and this new song here is the second I am featuring from this upcoming work. This is the kind of music that I cherish, yearn for and makes me feel good about the work I do as a music critic. Deepika Seth writes the lyrics, composes the melody and sings this gem. The viola intrigues you in the intro thanks to Protyay Chakraborty and he plays the strings in the track. Deepika convinces you of her stand “Pyaar Mera Jhootha Nahin” and when someone sings these words, how can you not believe her? The mild acoustic guitar accompanies, and Deepika wins you over time and time again with the emotional aptness in her delivery, because you can feel her pain when she sings “ghaayal hua itni dafa, haane par majboor hai”.

The verse gets repeated but this time the strings and keys join with incredible effect and elevation. The magic is yet to happen “Koi Davaa Do Isse” is the most haunting line, though eh is asking for a tonic to her pains, the line feels like it sends you further into a path of musical madness. The harmonies are emphatic and the pause hits you harder. An interlude follows with the Requinto Guitar played by Mohit Shankar, and this feels like a earthy sound of the Sarod. Sanmbhav Pratap Singh is the acoustic guitarist, and we have the Bass Drum played by David De Menezes. Protyay is relentless with the strings, and we get to a point where the melody takes very unexpected routes and transformations especially the bridge section as she sings “Kya koi khabar, pohonchi teri dagar”. I have, with my limited knowledge, felt influences of Raag Bhageshree and maybe some Khamaj too, and when the bridge section arrives, the pathos of Raag Cahrukeshi too.

Jami Bolton plays the French Horn, the recording engineer is Praneeth Kumar, and the tracks are mixed and mastered by Prathamesh Dudhane. The outro with beautifully, seductively arranged harmonies feels like a gift that I never want to send the end of.

@deepikasethamusic @parabdhtiiwari @anikabharwani @sarahhhbadarrr @prathmeshdudhane @jamibolton @davidde11 @praneethkumar @protyaych @mohit.chankar_ 

3.Jalwa E Jaanaan

Vocals: Jyoti Nooran and Shakeel Azmi

Composed and produced by Anurag Saikia

Language: Hindi

Genre: Qawwali Fusion

Mood: Immersive

This collective project called Maati opened its S2, and here is the first song I heard; with a collaboration like this, it feels like the smell of soil that just got the first drops of rain after a wild summer. Jyoti Nooran in her unmistakable voice, gives this elaborate vocal performance that immediately sends chills down your spine, and your respect for her abilities just goes up a notch. Anurag Saikia is the composer and producer, and we have Shakeel Azmi on male lead vocals. She sings “ Tu juda hoke bhi rahta hai kahaan muje juda” , a beautifully crafted line that soaks you in some pathos and longing.

The melody by Anurag starts to make your hair stand up across your arms hearing the line “Tujhe Paaon hi main , Nahin paaon bhi main” with some uplifting keys and synths in the background. The chorus line hits you harder as the folkish sounds of the harmonium tag along, and the sound of claps. The power of the slick bassline and the lead vocalists singing in harmony captivates us, and it would all be pointless without a melody like this. Are there Raag Behag/Bilawal influences? Maybe. The Antara just gets even better with some nice phrases and evocative singing, especially when this line comes about “ Kesar mein Tu, Dhaani Mein Tu”.

When we get to the verse again, the fusion takes flight, as we get lead guitars, keys, drums, and bass combining with the Harmonium and Tabla like a blistering cohesion of styles.

@anuraag_psychaea @jyoti.nooran.1998 @shakeelazmiofficial 

4.Thaen Pozhudhugale

Composed, Produced by K

Vocals: Fathima Henna & Sathyaprakash

Lyrics: Vivek

Language: Tamil

Genre: Light Music    

Mood: Romance

K has been a composer who has been doing some very good for more than a few years now in the Tamil movie space, and this song here is one fine example of his prolific performances. The melody is incredibly mellifluous, but the one segment that absolutely blew my mind away was the instrumental interlude. K composes and produces this song, and we have Sathyaprakash and Fathima Henna as the lead vocalists, with Vivek on lyrics. The acoustic guitar, bass, and rhythms set the tone, and the first sign of that love and tenderness comes from the vocalists, especially Fathima Henna’s sweet voice. We get a solo violin that is blisteringly good, thanks to the melody written by K in the interlude.

It is a rarity these days to get a long interlude like this, and what is satisfying is the fantastic arrangements and music production, especially when it comes to the string and vocal harmonies. You will feel this when you hear the charanam and a phrase like this emerges: “ neeyum naanum sera thane indha thedal”. K follows it up with a second interlude on a very soothing melody on the Harmonica. This feels like a song that would be a fantastic choice for two singers and a full band to perform, with so much happening in the live instrumental department. The fading strings and the whistle is a striking creative choice.

@k.music.composer @dsathyaprakash @lyricist_vivek 

5.Piyarva

Composed and Produced by Shekhar Ravijani

Lyrics: Swanand Kirkire

Vocals: Shekhar Ravijani & Swanand Kirkire

Language: Hindi

Genre: Light Music/Pop

Mood: Immersive

Creativity starts to ooze from the intro itself, with rhythmic sounds made by the vocalists that almost sound like a moving train. The harmonium gives it a folk texture, and the keys accompany it. Shekhar Ravjiani starts to sing, and I like how the opening line comes on, and he sings the phrase “Piyarva Piyarva” on a higher octave the second time around. The combined effect of the heavier Pianos and strings in the background makes it sound beautiful, and the reason Shekhar shines as a composer is that he can create a melody that stands out, and, there are notes that tread a path that is sort of unpredictable.

Listen to the chorus segment again where Shekhar sings the word Piyarva 4 times. After “Aaine se karoon baatein, aankhon mein hain baadal kaala”, the notes corresponding to “Piyarva” on the third and 4th time come as a total surprise and make the heart swell with the joy of hearing something resplendent and fresh. The chord progression deserves appreciation for Shekhar, the composer, who is also the man behind the arrangements and music production.  The lyrics are written by the great man Swanand Kirkire, and he also lends his voice here in the song. The stirring melody continues in the Antara with “Chand Chamke Matiyaalaa” but once again the phrase that made me feel a rush of blood is “adhkhuli aankhein sapan saajaaye taara koi toot gire”, and this is where I heard some traces of Raag Behag/Bilawal, in my opinion.

Kudos to Shekhar for visualizing this whole song with such minimal production, and towards the outro we get a faint Tabla and some folkish vocals from Swanand.

@shekharravijani @swanandkirkire @garuudaamusiic

6. Aur Aayenge

Composed and produced by Akashdeep Sengupta

Lyrics: Alok Ranjan Srivastava

Vocals: Sukhwinder Singh

Language: Hindi

Genre: Anthem

Mood: Inspiring

We have heard a lot of inspiring anthems, especially when it comes to India's freedom struggle and here is another one from a new series on Amazon Prime called “The Revolutionaries”. This is composed and produced by Akashdeep Sengupta, with lyrics by Alok Ranjan Srivastava. The easiest bet to take would be that this kind of song would be performed by Sukhwinder Singh and that happens here too. But where the song stands out is the arrangements and music production, which has some creative elements for sure. The Sarangi plays in the background, ever so mildly even as the men’s chorus gives this powerful humming.

The string section with a big orchestral effect adds a larger-than-life effect The female chorus segment gives a peaceful, soothing effect along with the pathos brought forward by the Raag Charukesi influences, probably, and this continues into the chorus segment “Aur Ayenge Aur Ayenge Jaan Lutane Aur Aayenge”.

Listen to the beautiful violins in the outro, and what I love is that the initial phrase is different from the rest of the melody in the song. Some lead guitars and heavy percussion make this Alt-Rock fusion number electric and enjoyable as an anthem.

@akashdeep.sengupta @pratibha_ranta @sukhwindersinghofficial @hashtag.jazbaat

7.Kaare Bhaware

Written & composed by Shashwat Singh & Nikhita Gandhi

Performed by ShNik

Language: Hindi

Genre: Folk-Pop fusion

Mood: Dance

ShNik comprises of two amazing artists who I have featured and admired as singers and songwriters and when they became a duo called, Shashwat Singh and Nikhita Gandhi prove to be bigger than the sum of their parts. I featured ShNik a few months ago with a terrific fusion number that was slick and catchy, and this is no different. In fact, when I heard ‘Kaare Bhaware’ within 10 seconds I knew this was going to make it to the list of best music for this week. The song speaks to us like a message for choosing peace over war, love over hate. Sayor Ghosh instantaneously impresses with his heavy Piano, and when Shashwat sings his lines, the hook line is aptly delivered by Shashwat and Nikhita in harmony.

“Ey Ey ..Oh Oh Kaare Bhaware” is addictive, with basslines oozing style thanks to Jivitesh Kharbanda and the programmed horns, and some foot-tapping rhythms in the background. Nikhita decorates the Anatra with her sultry contralto vocals and Shashwat’s high-pitched vocals feel ravishing too. That faint classical aalap in the background is a good layer that makes this fusion of Indian and Western styles admirable. Sunny MR is the mixing and mastering engineer.

@nikhitagandhiofficial @shnikofficial @shashwatsinghofficial @jivikharbandaa @sayor_dabba_ghosh @__shreya.agarwal_ @d.shhree

8. Ghar

Written & performed by Dushyant Bhatt

Music Produced by Samarth Janve

Language: Hindi

Genre: Qawwali-Pop

Mood: Immersive/Pathos

The beauty of Yaman Raag is undeniable, and before we get into all that, the song’s by Dushyant Bhatt has this beautiful, soothing intro with many layers. The flute plays a solo, and Dushyant’s aalap and some bass guitar intervention come and create a great amalgamation of layers. Can you feel those striking but beautiful similarities to “Sochenge Tumhe Pyaar” and “Ghar Se Nikalte Hi”? Dushyant Bihag tells me that this is specifically Raag Maru Bihag but belonging to the Kalyan Thaat. The lead guitars give a nice pop flavor to the song, but the foray of the Tabla, by Naveen Rao, and Harmonium, by Bhavyan, is where the song feels rustic and Qawwali influence as well. Dushyant tells me that the melody has influences of Maru Bihag Raag.

Kudos to Samarth Janve who has done the music production, as Dushyant writes lyrics, composes the melody and performs the touching vocals as well. The interlude soaks you into a state of calmness with Mohit playing the flute. The Antara continues to tread in the path of Yaman, and I love that the production is kept minimal without hampering the melody. “Usi Raah Par Hoon Khada, jahan Tujse Main mila” just calms you down with a touch of class as well. A nice brief intervention on the flute comes at the end of the Antara and kudos to everyone involved in the creation of this fine song.

@dushyant_live @dushyant_bhatt_70 @saili_patil32 @martandstudio @akkuldumpati @samarthjanve @flutist.mohit @_.bhavyan._

9.Aaye Kuchh Abr

Composed and Sung by Nupoor Khedkar

Lyrics: Faiz Ahmed Faiz

Music Produced by Yash Desai and IP Singh

Language: Hindi

Genre: Tumri-Pop

Mood: Immersive

Nupoor Khedkar is on a roll, after just being featured a month or so ago. This is another dreamy Tumri-pop fusion with synth-wave influences and a heartwarming melody at the core. The opening few phrases end with “iske baad aaye jo azaab aaye” and we get a violin solo piece that is as haunting as it is melancholic. Bass, Keys and rhythms align to give the song a nice soundscape as well. IP Singh and Yash Desai are the producers, and the lyrics are by Faiz Ahmed Faiz. The song’s tempo and vibe remind me of “Tu Mile” BY MM Keeravani.

I am trying to stay away from all the amazing arrangements on keys, rhythms because Nupoor’s delightful voice and her subtle vibrato are too good to miss. The sargams are a great addition and she keeps it all casual with her delivery, almost like delivering and seductive performance. There is also that lead guitar riff that titillates and the song feels like an unforgettable walk in the clouds despite having short verses and Antaras. The mixing and mastering is done by Abhishek Ghatak

@nupoorkhedkar @yashonthebeat @utkrshmsnd @theghatak @firstwav @simplystunning_byruchi_@safirock

10.Lazy

Composed and written by Gandhar Shembekar & Sanket Joshi

Performed by Gandhar & Suuperbaked

Produced by Sanket Joshi and Gandhar Shembekar

Language: English

Genre: Pop

Mood: Groovy

Lazy might be the name of the track, and I also feel the mood and the soundscape do provide that lackadaisical energy, but two lazy musicians couldn’t have made this. Those guitar riffs and the ones on keys are sick and insane, making you just move your head and give that nod of approval to the creators. There are so many things that are happening and kudos to the producers for the keys, rhythms, guitars and vocal distortions etc. all of which come and go in the interlude.

Gandhar Shembekar and Sanket Joshi are composers, writers, vocalists and producers, and they give us something to listen to and just chill. Something, even short and simple like this can impress if it is done with some creativity and earnestness.

@actuallygandhar @suuperbaked_ @firstwav @adyout @maddeof