Top Indian Songs of the week 5th April 2026

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Here are the best songs releasxed in India across languages and genres for the week ending 5th April 2026

1. Kaattu Thottapool

Music Composed and Arranged by: Sushin Shyam

Singers: iSai, Kapil Kapilan

Lyrics: Anwar Ali

Song Co-Arranged by: Allanfromtheotherside

Additional Music Production: Nivin Raphael

Language: Malayalam

Genre: Alt-Pop

Mood: Immersive

If he comes out of his den, he's gonna make a kill and not just feed his own hunger, but everybody who has been eagerly starving. Yep, that is Sushin Shyam for you, and his murderous spree is the music he makes. This single is from the upcoming movie Patriot, and I don’t wanna bet on anything else except for the music, and this single sets those expectations high. The mesmerising piano in the intro eases your heart rate, and Sushin knows when to amp up the excitement. The song is composed and arranged by Sushin, with Allanfromtheotherside being the other arranger, and his usual aide, Nivin Raphael, does all the additional music production. 

Kapil Kapilan will drag you in with his vocals, and he will make you stay there till the end purely with the power of his voice. The harmonies kick in pretty soon, and they elevate and magnify the melody even more. She has your heart when she makes a foray with “Hridhayame”, this gifted singer iSai. The interlude that follows her lines is hauntingly beautiful, with the Cellos and the choir performing the humming. Rithu Vysakh performs the one-man string quartet like a one-man army, and the Choir is performed by the prolific The Indian Choral Ensemble. This extended interlude with rising pitch and intensity is just a brief phase with more of the pallavi and anupallavi being performed again. 

I love the sound of these catchy rhythms, and the choir performers soar even higher this time. We have Kalyani Nair, Aparna Harikumar as the Sopranos, Sushmita Narasimhan, Sivaranjini Chandramouli as Altos, Shibi Srinivasan, Shridhar Ramesh performing as Tenors, and Shyam Krishna, Neeraj M. Selva as Bass singers. TICE is directed by Kalyani Nair and Karthik Manickavasakam, with Kalyani prepping the Choir scores. “Paravai njan chirakukal aai maaridam, thoora thoorangal thaanda” is one of my favourite lines in the song. The charanam feels like a bridge section, almost pushing the envelope higher and being an effectively moving section of the song. 

Naveen Napier is the bassist, and Manonmani plays the sarangi. This song is more about the vocals,  instrumental and choral arrangements than anything else. Biju James and Amal Mithu are the recording engineers. The song is mixed by Abin Paul and mastered by Donal Wheelan. 

@sushintdt @patriot.movie @sai_prabhaa @kapilkapilanmusic @anvarali @allanfromtheotherside @nivin_raphael @rithuvysakh @kalyaninair86 @napier_naveen @manonmanisarangi @karthikmanickavasakam @theindianchoralensemble @sushmita_narasimhan @sivaranjinichandramouli @shibisrinivasan @shridhar_ramesh @shyam_krish @neeraj_msg

2. Aahana

Written and performed by Rajat Hegde

Music Produced by Narayan Sharma

Language: Kannada

Genre: Pop

Mood: Romantic

The moment I heard this song, I was flying high with “Saptasagara Dache ELlo” Side A title track running on my mind. The electronic pop genre was one reason, the fine keys, synths and exuberant drums too were in that zone. I love the way the intro humming by Rajat leads us higher with our feet definitely above teh ground. Narayan Sharma makes a terrific case with those fabulous rhythms and I feel like I am listening to a piece of ‘One More Night’ by Phil Collins. These references and comparisons are a sign of respect and appreciation for the quality of music and sounds I am hearing here. There is a casual, cool vibe in his singing style, and it works; adding a layer of harmonies makes the song sound dreamier. 

Teh chorus segment is where all hell breaks loose, and the blood flow to the brain is intense; only good music can do that. “Neene Aakasha Neena Aahana”, with the way he improvises on “Aakasha” and “Aahana”, shows Rajat’s abilities and creative vision. The interlude is some funky Keyboard-led melody, and the impact is psychedelic. The charanam is where we come back to the ground, and Rajat gives off some very classical-styled vibes here, and the notes probably represent fragments of Raag Abheri. The melody here is soothing, and Narayan plays it wisely to be distant and minimal in production. But whenever he rains, he pours with those stunning keys and synth interventions. It feels like witnessing a firecracker show, especially towards the outro, as Rajat kingers in the high-pitched space. The tracks are mixed and mastered by Aniket Mohanty. 

@raja.hegde @roshni.prakash @narayan_sharma227 @awwwwwwwwwniket @anushalimakeup @audiokraftstudio 

3. Love or A Lesson 

Written and performed by Mary Ann Alexander

Produced by Matt Zara and Linden Jay

Language: English

Genre: R&B 

Mood: Groovy

This was a stunning EP, ‘Love or a Lesson’,  by Mary Ann Alexander, and it is a proud moment when a homegrown talent like her goes on to deliver something in the R&B space that stands up to the mark of international stars. I felt like I was indeed listening to Alicia Keys with these 6 groovy tracks. The title track is one of my favourites. The intro with the sultry and succulent notes on these guitars/plucks makes you freeze in time, but the song alone moves ahead with Mary Ann’s humming catching up to the melody.

The music production credits go to Matt Zara and Linden Jay, who have a pulverising effect with their terrific sound design. The verse ends, and then you are once again subjected to this sweet torture of the interlude, teh same melody from the intro. This is one hypnotic phrase that sticks to your head and doesn't leave until much later after the song concludes. This is songwriting prowess on display!

@lindenjay @mary.ann.alexander @engine_earz @matt_zara

4. Rooh

Music Director- Akashdeep Sengupta

Singer- Akashdeep Sengupta

Lyrics- Alok Ranjan Srivastava

Music Production - OZO Studio

Language: Hindi

Genre: Pop

Mood: Immersive 

Akashdeep Sengupta has been a composer I have liked over the years, for being a standout musician in this cluttered space of Bollywood, and when he steps away from mainstream music, his indie projects shine too. There are a lot of big names involved here as well, and all that makes this single sparkle. Navneet Singh’s mild guitars play these riffs, mild, but they make a mark. The harmonies are one more wise choice as part of the arrangements and production team. The backing vocalists are Mukund Suryawanshi, Keshav Tyohar and Akashdeep Sengupta.

“Tu door jaye toh dil rulaye sataye, meri aadat hai tu” writes the amazing Alok Ranjan Srivastava, and when Akashdeep sings it like a man in pain, along with the amazing keys and synths in the background, the feeling is surreal and exactly what good music must do to your mind, body and soul. Just when you thought the song had done enough, Akashdeep gives you a generous offer that you cannot refuse, as the qawaali-style chorus portion comes on with “ tarse tarse dil tarse”. Kudos to Akashdeep for his vocals, composition, and music production. The humming by the chorus with some Mediterranean-style plucks/ Latin guitars is one fantastic interlude segment. 

Just listen to this extravagant single, with some fine guitars, bass, keys, synths, harmonies and rhythms all coming together to give a music lover absolute delight. The mixing and mastering is by Ashwin Kulkarni at Shraanti Studios, and Surajit is the recording engineer. 

@tseries.official @hashtag.jazbat @keshavtyohar @akashdeep.sengupta @pinoshi_ @pinoshine @pallav_rahi @

5. Bangaru Bomma

Composed, Arranged, Keyboards & Rhythms Programming: Naga Vamshi

Lyrics: Balaji

Singers: K.S. Chitra, S.P. Charan

Language: Telugu

Genre: Light Music

Mood: Romantic

I heard this song and was stunned by the composer’s ability to create something that took me back to teh 1980s and 1990s when music in South cinema was sky high thanks to Maestro Ilaiyaraja. He doesn't take long before setting the tone with the classical guitar, and then the bassline starts to punch you where it hits you the hardest. Arun Chiliveru plays the classical and acoustic guitars along with the ukulele, and Aalaap Raju is the bassist. The percussion by Anil Robin and Chiranjeevi Mothukuri is also reminiscent of the music of yesteryear. 

KS Chithra ji is one playback singer who has never let age catch up, and she pays Naga Vamshi back with dividends for using her, and SPB Charan gives off that incomparable SPB vibe. Pramod Umapathi’s flute interventions and the tinge of Accordion is a great mix here. The interlude with the heavy string section, by The Chennai Strings Orchestra, is where I was completely uplifted and heard tears, thanks to the nostalgic effect. The interlude thanks to violins by Murugesam Kalyan, Sebastian, Imam, Cyril, Murali, Yensone, Samson, and Chandrasekhar, Violas by Rex Isaac, Girijan, Chandru, Vinay Kumar, Mohan and Anitha, and cellos by Sekhar and David. The song that keeps hitting me was “Pani Vizhum Iravu” by Maestro Ilaiyaraja for the album ‘Mouna Ragam’. 

The charanam is again a fantastic composition, with its high melodic value, and when Chithra ji has mild tickling laughter, my heart seems full. The introduction of the Tabla is another masterstroke, and the flute and Veena interventions go a long way in establishing how genuinely beautiful this song is. Phani Narayana is the soloist playing the Veena. This melody during teh charanam does take me back to “Thenmadhurai Vaigai Nadhi” from the album ‘Dharmathin Thalaivan'. Every live instrumentalist does their bit with those tantalising classical guitar notes and groovy basslines. Taja is playing teh saxophone, and the assistant to Naga Vamshi is Shiva Krishna.

The recording engineers are Bhanu Prasad and Aditya at The Sound Dock, Venky Naidu at Everest Studios, Hyderabad,  Antony at Krishna Digidesign, Chennai, and Raj at Studio UNO Records, Chennai. The mixing and mastering is by Balu Thankachan @ 20 DB Studios, Chennai.

@nagavamshi_music @saregamatelugu @spbcharan @kschithra @nidhipradeep_ @

6. Irul

Vocals by Zeba Tommy

Written by Ann Lilly Jose

Composed, Arranged & Produced by Christo George

Language: Malayalam

Genre: R&B

Mood: Dreamy

How else can I describe a single other than dreamy, when the sensations vocalist Zeba Tommy plays her part in a song like this? It is tailor-made with all the R&B and Soul-ness to teh slow-burning song composed, arranged and produced by Christo George. Crispin Netto is on the crispy guitars, and the accompanying basslines are penned by Ann Lilly Jose. The gentle snare drums, along with Zeba’s tantalising voice, make for some addictive listening. Look at the vibrato she produced in “Ormayayai”. She carries pain and longing in her voice, and with such a fine delivery, the message is loud and clear, and that is why the vocalist ends up being the perfect vehicle for a song. 

She doesn't stop there, and listen to her reach for the stars with her suave falsetto at around the 1-minute 30-second mark, and again when she says the words “kathagalo”. So many stories come to life with such brilliant singing. Christo writes a simple melody, but the tempo and arrangements are solid, and they enhance the impact on the listener. Zeba’s improvisation in the interlude raises the mercury, and I have a tear or two listening to her incomparable prowess. The savvy trumpets are a nice addition in the background in the interlude, and Zeba shows she can sing in English and Malayalam with equal ease, “Breathless you leave me, so reckless today”, and the words represent my feelings when I hear her. 

Christina Mary George and Christo George join in the backing vocals, and here Zeba exhibits the lower end of her vocal range with such class. The tracks are mixed and mastered by Abin Paul, and the recording engineers are Reniel Kenji at The Audio Guys (TAG) Institute, Mumbai and Christo George at Geetham Media Studios and Red Rock Records. 

@zeba.tommy @xtogeo @crispin.netto @vox.tina @renielkreji @taginstitute @geethamstudio @redrock_records 

7. Zarii

Vocals, Composition: Rohh, Prateeksha Srivastava, Mr Doss

Music arranged and produced by Mr Doss

Lyrics: Rohh, Prateeksha Srivastava

Language: Hindi

Genre: Pop

Mood: Mild Pathos

I got excited seeing the song’s credits, thanks to the amazing Prateeksha Srivastava. She is involved in vocals and composition along with Rohh and Mr Doss, and Prateeksha has also co-written the lyrics with Rohh. The intro is primarily about the guitar riffs, which sonically feel razor-sharp. Rohh impresses within seconds as he does a crafty harkat on “intezaar”, and he keeps building on those first impressions with some heartfelt singing “kho na jaaoon mein, tujme kahin”. The chorus line really hits perfectly with his classicalised delivery “ hoon nahin hoon nahin main zarii”. 

The arrangements and music production credits go to Mr Doss, and his ability to raise the stakes and ante with the EDM elements makes it relevant and hypnotic, no doubt. The sargams on chorus with some lo-fi sounds make teh interlude, and Prateeksha makes her entry in this contralto-ish Antara. She is gifted, and with every note, her wide range and vocal control are on full display, making the world understand why even Shreya Ghoshal tracks and respects this amazing singer (as she said in a recent podcast). Listen to her sing like a Diva with these lines: “Tera bina khaak hain, hoon yahan, teri yaadon ke sarabon mein main gumshuda”. The vulnerability in her tone, subtle vibrato, are all pointers to her greatness. 

The aalap by Rohh, in the outro, seals the deal. The tracks are mixed and mastered by Basspeak. 

@officialprateeksha @mr.dossmusic @basspeak @rohh.wav @kubricksnoodlesoup @aranyakav

8. Ithiriponnoru

Music & Programming : Ranjin Raj

Lyrics : BK Harinarayanan

Singer : Anila Rajeev

Language: Malayalam

Genre: Light Music

Mood: 

Anila Rajeev is so diverse in her skills, just last week I mentioned a song by her where she performed a haunting piece called “Makkale Kathoole”. If there she sang with a demonic possession, here she renders this melody with an angelic warmth. The humming in the intro feels like a cradle of love that we used to hear when S Janaki or KS Chithra would sing in the 80s and 90s. The melody probably has shades of Ragam Kalyani. Ranjin Raj is a composer and handles all the programming, with additional programming by Aby Tom Cyriac. The rhythms are fantastic, and not the run-of-the-mill beats, making this song feel fresh.

Marc D Muse handles the rhythm programming. The melody somehow took me back to the Laksmikant-Pyarelal Tamil song “Panneril Ninaaintha Pookkal” sung by S Janaki, especially when Kiran’s flute plays in the interlude, and I sense the charanam of that Tamil song. Anil Rajaeev and Ranjin Raj just pierce through your heart with these amazing phrases in the charanam. It is thanks to composers like Ranjin that we still have the sanctity of music maintained. When the verse comes on again after a nice interlude, we feel the notes truly touching our hearts. Every time Anila sings the words “or ishtam”, my love and desire for music just keeps growing. BK Harinarayanan is the lyricist.

The tracks are mixed and mastered by Midhun Anand, and the recording engineers are Aswin Kumar, Amal, Senthil Kumar, Vanaj Kesav, and Prince Joe. 

9. Ninne Na 

Sung & Composed by : Aishwarya Daruri

Programming : Jayaram & Sairam  

Lyrics : Lalitha Kantharao 

Language: Telugu

Genre: Pop

Mood: Groovy

Harmonies right at the intro feel like a beautiful welcoming ritual, and we have Aishwarya Daruri sparkle with her beautiful voice. This is a song composed and performed by her, with lyrics written by Lalitha Kantharao.  Jayaram and Sairam have done all the programming. The melody is strikingly good, and is there some Raag Hamsadwani? The chord progression deserves some appreciation, especially when you hear the phrase “Na Uprantha “, and she throws in a few surprising notes here and there and delivers the same with finesse. The constant keys and rhythms are engaging and consistently elevate the soundscape to a high. 

The chorus segment is ballistic , the way she sings, and the melody here is uplifting, “chilipiga Sagada Prati Khanam, Tholakari Chinukulai nenunna”. A refreshing Veena solo interlude, with the initial part sounding like it's played live, and then we get a small phrase feel like a sample. The singing is exemplary, with such purity and subtle vibrato woven throughout the charanam. This song is a perfect example of how to write a very hummable and catchy tune and juxtapose it with modern sounds. Kishan Sreebal is the mixing and mastering engineer. 

@_jaisairam @jayaram_29 @kishan_sreebal @aishwaryadaruri @madhu_keshava @illustrationsbyparwana 

10. Maname 

Written and Performed by Sarah Black

Lyrics by Sathyan Ilanko

Language: Tamil/English

Genre: Pop

Mood: Romantic

I have heard so many amazing things about her, but I am finally glad to feature her on my website. This song deserves all the attention it is getting, and my respect for it has risen multifold for this talented singer-songwriter, Sarah Black. All she needs is a guitar to play, creating the rhythm and a hint of tenderness, and her voice to elevate my senses with the change of every note and phrase. Sathyan Ilanko pens the lyrics in Tamil, and she writes the words in English. The heart rips apart when she sings “ feel it like I feel it, won't you?” and this question can have only one answer “, yes, I will” if your woman sings like this. Her vocal abilities are evident as she improvises and does this mild vibrato on the phrase “ rose-coloured glasses”, and that is true even if you aren’t wearing any rose-tinted glasses. 

The line “Kanave nenepila odutha” is finely delivered with her in that contralto-ish voice. The layer of harmonies is a great addition, and it adds depth and character to the lines “kara thoda paakutha”. The harmonies keep hitting you “maname maname usure usure nee than” like a chant of loyalty and deep love. The passion is evident in the lines “My fingernails bleed from so tightly holding you”, and her voice exhibits a bit of pathos and desperation as it should. The melody, writing and vocals steal the show despite being a very simple track. The gentle keys and harmonies do their bit to keep us tethered to teh track and its message of love. 

@kingsarahblack