Top Indian Songs of the week 25th October 2025

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Here are the best songs released in India across languages and genres for the week ending 25th October 2025

1. Aadu Paampe

Concept, Music, Vocals: Shahabaz Amazn

Produced by Rex Vijayan

Language: Malayalam

Genre: Folk Fusion

Mood: Immersive

This is the second song from Shahbaz Aman’s “Guru Meets Mastan” series, where Shahabaz brings together the poetic works of Sri Narayana Guru and Icha Abdulkhadar Mastan, and it is one more instance where the listener is entirely captivated by the aura of Shahbaz’s vocals and Rex Vijayan’s arrangements. It is all about VV Suijith’s mandolin and rhythm guitars that lay the framework beautifully. Shahabaz begins to sing “Aadu Pampe” and if a snake were to listen to this (though they hear differently from humans), it would be stunned and mesmerised at this beauty. The Sargams start to flow in with backing vocalists Lal Krishna, Bharath Sajikumar, Amal C Ajith, and Amithav Suresh. 

The constant guitars and mandolin make the background feel like a bed of flowers one can just lie down on. The heavy percussions support the sargams in the interlude, giving the song some impetus and energy. The melody continues to make us speechless, and the best way to enjoy the melody is through silence and focused listening. I believe there are strains of Sivaranjani Ragam in the melody, and it automatically brings in a tinge of pathos. The electric guitar, along with the humming, is a nice addition just towards the end of the charanam. The stroke of genius is in the lead guitar solo in the interlude that exemplifies the style and work of Rex Vijayan. The layers of guitars are outstanding with lead, acoustic, bass, and maybe even a hint of a slide guitar. 

This is where the folkish chorus segment uplifts and makes it sound like an inspiring/devotional anthem. The sound engineers are Sai Prakash and Ajay Joy. 

@shahabazaman5 @rex_vijayan 

2. Taare  Bindigeya

Song Performed & Composed by: Sanjith Hegde

Music Produced By: Sunny MR, Gautham Hebbar, Sanjith Hegde, and Zia

Lyrics by: Dhananjay Ranjan

Language: Kannada

Genre: Pop

Mood: Immersive

Sanjith Hegde is a model Indian musician who will alternate between all the movie album opportunities and strike a blow in the indie scene as well, with even greater force. This is something that many aspire to and dream of, but Sanjith achieves it with ease. This stunning creation is an amalgamation of amazing ideas originating from great minds. It doesn't just end with a great song, the music production, the arrangements, the writing, the video, the story behind all these are inspiring and thought-provoking. So thank you, Sanjith, for all the enlightenment. The video is shot in black and white and is an engaging depiction of the art of miming. Somehow, when it is this art form, I have always thought of Paris and France,but never knew that Jogesh Dutta was a pioneer with multiple awards and credentials to his name.

The song starts off with Sanjith’s incredible voice and high-pitched lines, and he is a rare commodity who can do a dual job of calming your nerves and also stoking your emotions into a high, all with his tone and delivery. The melody is composed by Sanjith, and the music is produced by stalwarts like Sunny MR, Gautham Hebbar, Zia, and Sanjith himself. The keys, rhythms, and synths are energizing and adding those textures, making the heart swell in joy. The melody itself has strains of Khamas Ragam, according to me, and when The Indian Choral Ensemble is present in the background with those choral humming bits, the only way forward for a music lover is total surrender. The deep and meaningful lyrics are penned by Dhananjay Ranjan.

The rhythms vanish as we get to the chorus segment “Taare Bindigeya” sung by Sanjith and followed by the TICE, and the harmonies are specifically performed by  Rutuja Pande, Nidhi Saraogi, Yazhini, Rajeevi Ganesh, and Nayansee Sharma. I love the vocal intervention by Sanjith, which feels like a mini dedication to the King of Pop, Michael Jackson. All the choir parts are arranged and recorded by Karthik Manickavasakam. Aman Mahajan is playing the guitar, and the percussion is by Karthik Vamsi. The Piano is flowy and a steady accompaniment in that pacy  bridge section. The title line is inspired by Purandara Dasar’s 15th-century poem. The thumping, multi-layered folkish percussion is one unforgettable highlight in this song. The harmonies also come in two parts, with one singing the lines along with Sanjith and another group just humming. 

The song is masterfully produced, so well done too these stunning artists, and when it comes to the video, the director and editor is Bijoy Shetty, Maan Madan as associate editor. Mezarushi Studios is the Production House. The tracks are mixed and mastered by Sunny MR at Chordfather studios, Mumbai. Nikhil Mathew is the recording engineer. 

@sanjithhegde @whatsabijoy @warnermusicindia @jackieramchandani @sunnymr @ziamuzik @gautham.hebbar @dhananjayranjan @mezurashi.casting @outofthewwoods @uttupiii @theindianchoralensemble @rutujapandeofficial @karthikmanickavasakam @nidhisaraogi @yazhs0007 @rajeevi.ganeshofficial @nayansee_sharma @everythingwedoismusic @karthikvamsivr

3. Yaar Mera

Composed by: Amit Trivedi

Lyrics by: Varun Grover

Singers: Javed Ali and Papon

Produced by: Amit Trivedi and Raja Rasaily

Language: Hindi

Genre: Pop

Mood: Happy

I saw this movie in the theatre and, like a lot of the films that do the rounds in festivals, the background music was mild and used quite economically. Naren and Benedict shine even in this minimalism, but after hearing this amazing single, I wish it were included in the movie’s screenplay at some point. To me, this is one of the best melodies I have heard from Bollywood this year, and the fact that Amit Trivedi  has composed this makes me feel satisfied and confident that there is some gas left in the tank for this fine composer. Raja Rasaily engulfs you with these quirky guitar riffs and eh also teams up with Amit on the music production. Two outstanding vocalists have been chosen to take up the lead, and Papon and Javed Ali create awe. 

My favourite line is this one that goes “ qareeb hoon to sir ye khaye tu, jo door ho to seedhi raah pe bhi yoonhi tede chale hum”. And the melody just keeps getting better with every passing note. “Ki garda Ude Ude Ude” is mesmerising in its impact, and Javed soars in the high pitch. Raja’s guitars are like that great condiment that brings out the recipe’s flavours. He goes on to serenade you like a country folk song straight out of the Midwest of America. We are taken back to the 1960s with phrases like “jaise taise aaye hain, qismat kachi lae hain” that melodically are nostalgic. The rhythm guitar keeps you on your toes in the background, and where the producers sweeten this project is with the gentle Piano, string section, and background layers of vocals. The antara is short, but as long as the melody is enticing, it really doesn't matter. Varun Grover writes a song on companionship that reminds me of “Ye Dosti Hum Nahin”. 

The harkatein that Javed Ali and Papon showcase is a testament to their enormous abilities and kudos to Amit for bringing the best on board. The recording engineer is Chinmay Mestry at AT Studios, with Abhishek Vishnu Dandekar assisting, and the tracks are mixed, mastered by Chinmay. 

@itsamittrivedi @javedali4u @vidushak @paponmusic @homeboundthefilm @dharmamovies @neeraj.ghaywan @marijkedesouza @rajarasaily @chinmay.jpg 

4. Sakhiye 

Composed, Produced, and Arranged by: Amrit Ramnath

Written by: Vinayak Sasikumar

Vocals by: Amrit Ramnath and Sithara Krishnakumar

Additional Music Production by: Nitin Muralikrishna and Kishire Atiium

Language: Malayalam

Genre: Pop

Mood: Romantic

We get something chirpy and bouncy straight away with the keys and guitars, rebab and the mandolin, and Amrit’s voice is beautiful and unmistakable, the taste of Amrit itself. Amrit Ramnath fresh from the fantastic score and songs of 3BHK, now goes to the Malayalam Indie, and he has composed, arranged, and produced the music with lyrics by Vinayak Sasikumar. Is there a bit of Raag Yamunakalyani? Maybe, and by teh time we get to the chorus, the “Sakhiye” phrase with the clever addition of the Harmonium in the background gives the Qawwali texture. Anurag Rajeev Nayan plays the Rebab, guitars, bass and mandolin. 

Nitin Muralikrihsna joins the party as the additional music producer along with Kishire Atiium, and the result is delectable. The rhythms start getting more pronounced, and Amrit starts singing the higher-pitched lines with great fervour. We get that energetic dance-pop vibe, and who better to calm the nerves than the legendary Sithara Krishnakumar, as she sings in that alto style. None of this would be close to being heartwarming if it weren’t for the melody. You can feel the presence of that partner and friend by your side when you hear the sargams in the background, the Harmonium and Amrit’s aalap. The tracks are mixed by Nitin and mastered by Ronak Runwal. The recording engineers are Arjun Nair and Rohan. 

@amritramnath @vinayaksasikumar @sitharakrishnakumar @anuragrajeevnayan @shyamak_99 @palindromamusic @atiium @ronakrunwal @nair_b_arjun 

5. Zulf Ko

Composer - Varun Jain

Singer - Hansika Pareek

Lyricist - JUNO

Music Producer - Aditya Bisht

Language: Hindi

Genre: Semi-Classical

Mood: Pathos

Hansika Pareek is riding a high that many musicians will be envious of and inspired by. I have been featuring and talking about indie projects for a while now, and 2025 has been a glorious year with one stunning song after another. This is composed by Varun Jain and written by JUNO as Hansika lends her voice. The first and foremost talking point has to be the melody that swoons and surrounds you like a blanket of love. “Ik the kabhi ab hum do log Hain, Marham the kabhi ab jaise rog Hain” is my favourite line that touches your heart with these amazing notes, and Hansika ensures that you are captivated further with her mild harkatein. 

When she ends that phrase with “Maut ki shifa na koi dawa”, her play on the last word itself feels like a dawa to our ears, hearts, moods, and spirits. Take a bow Varun, for this melody. I am a little confused and that is why I am not sure if the melody has influences of Raag Pilu or  Raag Kirwani. Kailash Patra tantalises with the violin interventions in the background, and Aditya Bisht continues to impress as a fine music producer. The mild Piano, the gentle rhythms, bass, and rhythm guitar (both by Tushar Sharma) provide necessary support. Kailash deepens the melancholy with that amazing solo violin interlude. The Tabla by Kalpa Jyoti gives the song that semi-classical flavor, and he goes on to be teasing and playful with the beats .  

@varun_wave @junoversse @hansikaapareek @moumitaahari @addy_music @artistefirst @pujagoswami04321 @rohitsobti1

6. Mizaaj

Singer: Aditya Narayan

Composer & Music Producer: Eeshan Tripathi

Lyrics: Manoj Yadav

Language: Hindi

Genre: Pop

Mood: Romantic

Aditya Narain does have a magic touch, or maybe a terrific ability to make judgments on a song’s quality. That is why he ends up being in some of teh best Indie songs. I featured him earlier this year in a song composed by Ashish Kulkarni called “Bana Le Tera”, which was a blast, and here he is again as the lead vocalist in an Eeshan Tripathi number. This glorious song is composed and produced by Eeshan, with lyrics by Manoj Yadav. Milton  Daniel plays the acoustic guitar as a rhythm guitar, and we get the mild and gentle keys by Eeshan. 

The idea to incorporate some Gospel-styled church-choir type of harmonies is creatively a wonderful one, and we get the soothing soft rock flavors on drums, the Piano and guitars. How many times have we heard 45 seconds of instrumental goodness in the intro segment of an indie song these days? Nawaz Hussain is the drummer, and Biswajit is the bassist. Aditya’s uber-cool singing keeps things smooth, “sach kahoon toh, tu meri aankhon ki” , the line goes on, and when it ends, I love the pause punctuated with nice drums, guitars, and the Piano. The melody sounds so fresh, and the highlight reel is the interlude with Aditya’s humming in the falsetto and the strong Piano. 

As the song goes into the second verse, Aditya is on fire with his vibrato, improvisation, and so much oomph that is brought on to the table. Just when I thought that teh song had concluded , we get a fresh segment that opens like a new chapter, and this bridge section works brilliantly as Aditya sings “bas naam tera”. Rupak Thakur is the recording engineer at RT Studio, with mixing and mastering by Chris Hesse, Light House Recording, Los Angeles. 

@eetrip @manojyadavwrites @miltontuffpuff @nawaz_hussain_90 @thakurrupak @adityanarayanofficial

7. Saza 

Artist: Sanjeeta Bhattacharya 

Lyricists: Sanjeeta Bhattacharya, Sagar Verma

Producer and Arranger: Raag Sethi

Language: Hindi

Genre: Rock- Ballad

Mood: Pathos

I loved the last edition of ‘City Sessions’ and did a couple of song features as well as a full EP review.  The first song in the new edition has some amazing talent like Sanjeeta Bhattacharya on vocals, Sagar Verma and Sanjeeta on the lyrics, and Raag Sethi on arrangements and production. Her voice is like that first ray of sunshine touching earth, clear and precious. Meera’s backing vocals embellish the line “Tujhe Chuna Hai”. Meera, who is multifaceted, plays the acoustic guitar as well. The pathos gets generated from the melody and Sanjeeta’s delivery as she sings “ dar bad itna humein”. 

What you hear is a strain of the electric guitar played by Raag, along with that solo violin by Protyay Chakraborty. These layers intensify the pain of unrequited  love that is intended as the message here. Protyay makes you shed a tear, and that is the power of a violin, and how, as a listener, will you control these emotions when you think of that love that goes away, hearing “ paas hokar bhi teri kami”. A singer of Sanjeeta’s ability and talent alone can get teh nuance and act as a vehicle in executing a song like this. There are no gimmicks, and with subtlety, she achieves that sustained sadness, and it is apparent in a line like “ yaadein chupaaun kahaan”

Jyotirmay plays it cool and casual with the gentle drums while Protyay and Raag combine and construct a deeply touching interlude on the violin and lead guitar. Listen to this when you are alone and let the emotions sink in. Kudos to the whole team for this beautiful single. Raag Sethi is also teh bassist on this, with Hersh Desai on mixing and mastering duties at Island City Studios, Mumbai. 

@sanjeeta11 @sagarvermamusic @tigerbabyrecords @raagsethi @jyotirmay.menon @hersh.desai.9 @meerasmelodies @studioislandcity 

8. Thaniye Thaniye

Composition and Vocals: Shradha Ganesh 

Music Production, Programming, Guitar, Percussion: Rahul Sridhar

Lyrics: Pa Hariharan

Language: Tamil

Genre: Pop

Mood: Romantic

Shradha Ganesh is a fabulous playback singer, vocalist, and when I heard her recently on stage, her stock price just shot up like anything. I can't recollect the last time a vocalist sounded so beautiful and rich during a live performance. Now comes Shradha writing this melody and performing the vocals, and full marks for both. This is a very enjoyable song with a melody that is set in Abheri Ragam, and the music production is by Rahul Sridhar. Rahul plays the guitars, handles the percussion and programming bits as well.

My favourite part is the anupallavi where the song goes “ada siru siru neram puthu siru siru kolam” with some rhythm guitar and a striking counternote on the lead guitar as well. Pa Hariharan writes these excellent lyrics, and Shradha takes up the responsibility of additional programming. The lines get very interesting, and the song’s tone and production remind me of the great works of Harris Jayaraj. I love how everything goes silent and we have only Shradha and the Keys on “Thedi Thedi Alainthen, desangal thaan marandhen”. John Praveen amps us as the bassist, giving so much coolness and funk, and there is a touch of the Mandolin maybe in the background during “poongattrai pogindren” that draws my attention. 

Here John gives us some killer basslines at the beginning of the interlude, which is then followed by the mandolin, which this also similar to a choice that Harris would make in many of his films. The Mandolin solo in the interlude is breezy, and then we get a drop in Tempo, which is refreshing. The charanam is brief, but it feels like a bridge section in a Western pop song, deviant but deft. It also allows Shradha to showcase he singing with a lot of heart and some nice mild ghamakas. Avinash Sathish is the mixing and mastering engineer at Jovi Records, Chennai . Kudos to everyone else involved, viz.  Karandeep Sheemar, Sreeshan Ganesh, Vaishavi Sathyamoorthi, Rachana Joshi, Cesar, Zonny, and Angad.

@shradha.ganesh @raaahul.sriiidhar @pa_hariharan_ @johnpraveenjp @bedlamiteartist @avinashsathish @vaishavi_s @vaishavi_music 

9. Jhulna

Written and performed by Kaustubh More & Omkar Bhat

Produced by Kaustubh More & Omkar Bhat

Language: Hindi

Genre: Semi-classical

Mood: Immersive

Layers of guitars, with a rhythm guitar and then a lead guitar to play over that. Do I hear a strain of Khamaaj thaat as the semi-classical melody looms over? The mild harmony on “tere naino mein maine apna gha hai kiya” feels lush and joyous, especially with the electric guitar playing in the background. The song is written by Omkar Bhat and Kausthubh More, and they have performed it as well. The interlude has some keys and nicely programmed horns, maybe, and we are led into the Anarta with a bit of melancholy. This is where I feel we have a whiff of Raag Charukeshi, maybe in the melody.

Kaustubh and Omkar handle all the arrangements and music production. The magic comes like a barrage at around 2min 25 seconds, as we get to a pause after “Jhulna Jhulayi”, and then a aalap-driven “rasiya” which has these heavy keys and lead guitar portions. The melody drifts into absolutely something else with some unpredictable notes in the outro. 

@omkarbhat_music @gayak_sahab 

10. No Deal 

Produced by: Komorebi

Vocals, Composition, Lyrics by: Tarana Marwah

Language: English

Genre: Pop

Mood: Immersive

It has been a while, but it is worth it, as Komorebi strikes a deal with every music lover by making an offer we just can't refuse. That is what happens when a musician writes a good melody, performs it with poise, and produces it with purpose and relevance. Komorebi (Tarana Marwah) pens the lyrics, writes the melody, and sings this like one unforgettable dream. All we hear is the vocals, the Piano, and the gentle, simple rhythms. The melody does remind me a little of “La Isla Bonita” by Madonna. The haunting experience starts just when the lines go “ cos when you left, I felt a gap that no one could ever fill”. 

The hypnotic synths come in after the chorus line “No Deal” and this is where we are drawn into the core of the song. The additional vocals help in adding more depth to the tonality. Kusos to Komorebi for elevating the song with some fine programming. The tracks are mixed by Gaurav Raina and mastered by Mike Marsh  at The Exchange. 

@komorebi.music @groovio