Top Indian Songs of the week 26th July 2026

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Here are the best songs released in India across languages and genres for the week ending 26th July 2026

1. Darmiyaan

Music composed by Raghav Kaushik

Lyrics: Amrita Saluja

Vocals: Rekha Bhardwaj & Raghav Kaushik

Music Produced by Nakul Chugh

Language: Hindi

Genre: Pop

Mood: Romance/Pathos

The voice of Rekha Ji comes on and she makes you feel the pain and pathos with that tone, as we hear only the mild keys in the background. This whole album of “Musafir Café” has been a fine one with some excellent music from Raghav Kaushik, Neel Adhikari and Garvit-Priyansh and I recently posted a review on IG praising the artists. This is easily one of my favourites from the album. If you thought Rekha ji could serenade you, wait for “Hum, tere hote toh zakhm sabhi sile hote toh” sung by the magnetic Raghav Kaushik and you will end up giving everything you own to this man.

How does he manage to tempt you with his voice, and also instil the beauty of classical-styled harkatein and showcase all his vast potential? “haaa..Tum mere hote toh”, with that extended vocalisation on “mere” is creating goosebumps. Nakul Chugh is the brains behind all the terrific music production as he introduces those mild harmonies and that faint electric guitar too in the background without taking attention away from the vocals and the melody. The music doesn’t just tempt you as it did in the verse, as we now head into the chorus segment and the lines “kyun, mere tere darmiyaan” with a mild pause before, and the heavy lead guitars, drums and backing vocalists combining is like the downpour of a shower, much longed for.

Shudhi Ramani, Udit Kattar and Abhiruchi Singh are the backing vocalists that elevate the lines. One can never appreciate Mayank Raina enough for this glorious solo on the flute, as he takes matters into his own hands and makes your heartbeat so hard in joy, appreciation and admiration, during a time when instrumental interludes are slowly vanishing from our songs. My favourite line in the Antara is where I was stunned by the chord progression was “Ki hum, khwaabon mein hi doondhe marham” , with Rekha ji’s poise shining through. Bhushan Chitnis is that star on the guitars constantly. We get an unexpected but valiant bridge section performed in the higher vocal register only to keep the intrigue quite high all the way till the end.

This is easily one of the songs of the year with a fully equipped package of terrific composition, heartwarming lyrics, by Amrita, devastatingly good vocals and invigorating music production. The tracks are mixed and mastered by Abhishek Ghatak. This song will leave a lasting impact like “Endless Love” by Diana Ross & Lionel Richie, and George Benson’s “Nothings Gonna Change My love for you”.

2. Ishq Seekh Lo

Written and composed by Abhin Joshi

Vocals: Abhin Joshi

Backing vocals: Saishruti Kotian

Language:

Genre: Soft Rock

Mood: Immersive

Basslines hit hard, lead guitar stuns you and that is the gauge of a savvy intro. Jeet handles the former and Varun Agnihotri is here to electrify is on lead guitars. This track is a ferocious piece from start to finish and rightly as it called ‘Ishq Seekh Lo’, I think this song is telling us to love music a bit more. This is the brainchild of Abhin Joshi who I have featured before, and he writes the melody, the lyrics and performs the lead vocals too. I love the tempo, as the song hits you on the right groove with Sanket Pahurkar being slick and suave in this start-stop style.

Never take your focus away from the brilliance of Abhin on vocals, interjecting some very classy harkatein in between. The chorus line is an absolute riot as the temperature rises with a layer of harmonies now joining the fray and Gautam David blowing us all away with his Sax solo, listening to “bheege thoda hum, thoda bheeg lo tum, khud se itna hare, khud se thoda jeet lo tum”. Bravo Abhin, for these lines, that soar melodically and lyrically too. The uplifting harmonies is all thanks to vocal contributions by Abhin, Jeet, Varun, Pratyush and Nidhi Vaja.

I love how when the title lines comes on we hear not just Abhin but also Saishruti in union, “Ishq Thoda Seekh Lo Tum” as though love is a two-way street and both parties need to learn to love. Feel the power and sensuality of these guitar arpeggios as Varun demonstrates such excellence. This is the musicality that we need, maybe not what we deserve. The interlude is about to end and then the way the sax accompanies on the ending notes is throbbing with goodness. Abhin continues to impress with the melodic phrases that follow. And finally everyone sings together “yeh Ishq thoda seekh lo tum, with Gautam’s sax improvisation and Sanket’s creative juice flowing on drums is breathtaking. That outro on the lead guitar is a little extra , maybe the cherry on top for the music lover. Saishruti is in charge of all the choir arrangements , Hersh Desai is the mixing and mastering engineer.

@sanket_paruhar @varun_agnihotri @bass_ki_aawaz_kesi_hot_hai @gautam.david

@saishrutii_@n.vaja_ @@_dhadwalpratyush_ @hersh.desai.9 @studioidlandcity

3.Bewajah

Written and composed by Sanchit Khosla and Rishabh Raghuvanshi

Performed, produced by KoshlaRaghu

Language: Hindi

Genre: Rock fusion

Mood: Pathos/ Immersive

As one of those dual acts that consistently stay on top of their game, KoshlaRaghu shines once again with heartfelt vocals and rapturous production to match. This Qawwali-Rock fusion works brilliantly because the melody too has these Indian classical notes and chord progressions. The constant drums, with Keys and guitars keeps the ante up, for example, listen to the lead guitar interventions when we hear “Toothe kaanch se phir khelna hi kyun , sulagti aag ko phir chhedna hi kyun”. This line sticks to your mind both from a melodic and lyrical standpoint as well. The vibrato and the classical-styled harkatein are so engrossing.

The heavy rock flavours on guitars and drums at the chorus segment is addictive “Bewajah na saamne aayiye”. The combined effect of the lead and backing vocals during the chorus segment is pure bliss. Kudos to these two lads for writing such powerful words, and when the melody strikes and carries them, the magic is impossible to avoid. The pain and anguish of these words feel real thanks to the vocal prowess that perfectly emotes the sentiments of the song’s lasting theme and the song strikes deep into your heart. I love how there are moments when the drums go mild, and the clap sounds dominate. Is there some Raag Bhimpasi in the melody? Maybe.

@khoslaraghumusic @creokala

4. Snakes and Ladders

Written and composed by Anoushka Sivasankar

Performed by Noush!

Music Produced by Noush! and Ramon Ibrahim

Language: English

Genre: Latin Jazz

Mood: Dance

Anoushka Sivasankar, who is now going by the new artist name Noush! is a firecracker of a performer, so much so that once when I heard an artist called Aiyana Lee act and peform a single towards the climax of Spike Lee’s “ Highest 2 Lowest”, Noush! was one of the few stars that came to my mind as Indian artists who could replicate that kind of a performance. The intro music opens to a lot of layers and things transpiring happening but the moment we get the rhythms and the horns; we sense the whole Latin Jazz and all the Afro-Cuban soundscape. Feel the mercury rise as Noush! sings “While you sleep in Silence”. She writes the melody, lyrics, and performs the lead vocals with a touch of sorcery.

She is right when she says “It takes two to tango”, and that is precisely what happens here with some stunning music production on keys, synths, and horns thanks to Noush! And Ramin Ibrahim working collaboratively. During this chorus segment, I love the sound of the accordion too being interlaced into the scheme of things. Ramon Ibrahim and Noush! Never let the steam ease off, as the arrangements keep pulsating across layers of keys, horns, percussion, and harmonies. There is a bridge section that follows where Noush!  comes up and delivers aces, transforming her tone and style, and this versatility is the stuff of greats. The tracks are mixed and mastered by Hersh Desai, and he is also the recording engineer at Studio Island City. Ramon handles the keys, synths, and drums with Noush! on keys and programming duties.

@noushfm @ramonibrahim @hersh.desai.9 @studioislandcity @aditisivaraman @chinmayee10

5. Thennal

Music composed by Viswajith Sajeev

Lyrics: Roshan VK

Vocals: Karthik Chennoji Rao

Music Produced by Arjun Chikku

Language: Malayalam

Genre: Heavy Metal

Mood: Energetic

I am a huge fan of this phenomenal vocalist, Karthik Chennoji Rao. When someone tells me he is going to be performing the lead vocals on a heavy metal song, my mind goes straight away to the blitzkrieg called “Saptasagaradache Ello Side B” title song by Charan Raj and Karthik. So, when I heard this track, I was stunned by what Viswajith has created as a composer, and Karthik delivers it with impeccable zeal and gusto. The music is produced by Arjun Chikku, who also gives a pulverising display on lead guitars and bass. The song starts with more serenity in the verse and pre-chorus, but soon, all hell breaks loose with some exhilarating drums by Viswajith, and an explosion of electric guitar arpeggios and basslines follows.

The melody becomes so addictive as Karthik sings “swapnam thedi paayum neram kaanum dhoore mayalokam”. The chorus line with the high-pitched singing and the nervy guitar and drums makes this one stand-out track from this week. Arjun breaks into a feverish solo on the electric guitar, and the drums bombard us straight to heaven. We can hear Maria Martin on backing vocals, singing in different octaves, making this segment just ethereal. Arjun must be appreciated for his wise production as he uses harmonies, milder accompaniments, and then shifts back to heavy metal with great style and ease. Rex Vijayan is the mastermind behind mixing and mastering.

@project_weofficial @rex_vijayan @chi_kku @mariaa__martin @karthikchennojirao @toroshankv @vinayartifex @viswajith_sajeev

6. Kya Batayein

Written and Sung by Shraddha Pandit

Music Produced by Salim-Sulaiman

Language: Hindi

Genre: Tumri-fusion

Mood:

The mind was entirely caught up in a maze as this beautiful, haunting and many times, melancholic semi-classical track kept making me wonder what these Raag influences and the melody kept alternating and traversing into more than one Raag too. The melody and lyrics are written by Shraddha Pandit, and her evocative voice is the perfect vehicle for this mesmerising Thumri fusion song. She invites us into the song’s verse with her aalap, as the Harp and Sitar, by Bhagirat Bhatt come and go making fine interventions.

But to me the Tabla by Prashant Sonagra, guitars and Esraj by Arshad Khan, make for some impeccable union of distinct sounds and styles. I hear Raag Madhuvanti in the melody, and Shraddha tells me that there is also Raag Multani in the mix. When I dug deeper into this, I realised that Raag Madhuvanti is inspired by the older Hindustani Raag Multani. The heart starts feeling so heavy with the pathos as she sings “Phir bhi tere jaane ka, woh ghum “with some adorable harkatein in the end as well. Salim and Sulaiman make this stunning thanks to the arrangements and production, as lead guitar and basslines deliver such stunning creative blows when you never expect.

The interlude on the Esraj followed by the Sitar makes us go through some deep pathos and the feeling lingers on with the concluding notes on the Sitar. The Antara continues to create that intrigue and persistent mesmerism, making this a perfect song for the twilight of solitude. The standout performers on the Tabla, Esraj and Sitar deserve a standing ovation for such an intricate display. The tracks are mixed and mastered by Tejus Srivastava at Blue Productions. 

@salimsulaimanmusic @merchant_records @shraddhapandit @prashantsonagra @esrajarshadkhan @bhagirath,bhatt

7. Aayi Aayi

Written and performed by Saptak Chatterjee

Music Produced by VNYK

Language: Hindi

Genre: Pop fusion      

Mood: Romance

A distinct voice that keeps lingering in your mind thanks to the serenading quality of his tone and his strong technical prowess, Saptak Chatterjee impresses from the get-go. The rhythms and percussions are so catchy, making you feel chirpy and jaunty and with his voice, you do feel what he is singing “Chehra Khil sa gaya, Dil halka ho gaya”. Shrikant Biswakarma is accompanying on guitars and bass. The melody is composed by Saptak, and he also writes the lyrics, but the effective music production and arrangements are thanks to VNYK. He plays the Keys “Jaane Kab Se aise Khulkar muskuraya hai Nahin” is when I felt that maybe there are shades of Raag Shuddh Kalyan.

Shrikant is not going to be a silent observer and you can hear him sizzle on the lead guitar interventions. The Harmonium is a nice addition in giving the song a folkish flavour. I also love how Saptak changes the vocal scale and delivers the same phrase “Dekho Dekho Aayi .. Aayi” differently. The electronic pop soundscape works very effectively in fusion with this semiclassical melody. As a songwriter, he is immensely talented and he weaves some melodic magic, but that alone would keep the song’s quality and intrigue high without tactical decisions like going mild on the rhythms in the Antara, and VNYK bringing on the Ghatam. The production itself goes softer with only the Piano showing up alongside. The strings in the background with the lines “ dil mein phir bhi mere hera pheri hui” fits the setting perfectly.

This is just a song of love, merriment and the melody, vocals and arrangements feel uplifting as we hit the outro section. The tracks are mixed and mastered by VNYK.

@saptakchatterjeeofficial @vnykofficial @strings_of_karma

8. NYC

Written, composed and performed by Mary Ann Alexander

Music Produced by Hunna G

Language: English

Genre: R&B

Mood: Groovy

Mary Ann Alexander is a supremely talented singer/songwriter, and she proves that as she steps out in NYC and comes across this innovative musician/producer Hunna G, who just sits in a park inviting rappers and musicians to come and show what they got, by helping with the rhythm, beats and some slick production. Do check out his IG page and this one reel where Mary Ann bumps into him and, after a few minutes, writes this worthy dedication to one of the world’s greatest cities.

7 minutes and a few groovy beats later, Mary sizzles per usual with her and her writing is spot on in describing this grand melting pot “I ain’t never felt this small, In a city where they really got it all”. The chorus gets you on a high like the Empire State as she sings “I could get as high as the Empire State, fuck the jet lag, I’m wide awake, I don’t wanna miss a thing”. The guitars and basslines just keeping adding so much style, with harmonies too decorating the song. The tracks are mixed and mastered by pixlpxl