Top Indian Songs of the week 5th July 2026

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

1. Prateekshakal

Written and performed by Gowry Lekshmi

Composed by Gowry Lekshmi

Music Produced by Ganesh Venkataramani

Language: Malayalam

Genre: Folk-Rock

Mood: Energetic

The OG, a relentless force to reckon with, that is Gowry Lekshmi in the Indie space, and you better get that straight to your head. I have featured her countless times throughout this journey in music journalism, and I regret the years before when I missed out. Listen to the way she haunts you with her contralto singing “ Thantha Thaayar Nattar Veetar ellame” with the lead guitars accompanying. The lead guitar starts to take hold with more gravitas as we go past the verse towards the chorus. Suddenly she is off to deliver with such rapturous intensity, singing the chorus line, and the electric guitar and drums are fiery now. Gowry is unparalleled when it comes to writing these excellent melodies and delivering every note with. 

The lead guitar arpeggios are sensational, adding more fuel to this conflagration of a song. Who else but this master, Durwin Dsouza, could generate all this passion and poetry on the guitar? Ganesh Venkataramani, who is the usual suspect when it comes to creating all the majestic soundscapes for Gowry, is teh man behind all the frenzied arrangements, music production, and drum production as well. During this second verse, we can hear so many things happening on keys, guitars, and the marching drums. This chorus line is to die for, with all its intensity and impact. If you can just try to pay attention to all the guitar counterpoints and devastating drums without focusing on Gowry’s vocals in the outro. Kalesh Govindan handles all the amazing album art. 

@gowrylekshmih @ganhitsthings @durwin_dsouza

2. Qaraar

Vocals: Kavita Seth and Kanishk Seth

Composed by Kavita Seth

Music Produced by Kanishk Seth

Lyrics: Dipti Mishra

Language: Hindi

Genre: Tumri-Pop

Mood: Immersive

This is one of the best yet from the mother-son duo of Kavita and Kanishk, and the melody in Raag Yaman is as soothing as things can get. The melody is composed by Kavita Seth, with lyrics by Dipti Mishra. Kanishk comes on board with lead vocals as well as giving this traditional classical song a very lush electronic pop. “Qaraar deke mujhe aur bekarar kar diya” feels ethereal with some keys and synth work in the background. Not many voices can match up to the reverence of Kavita ji , and after Kanishk’s introduction in the verse, the guitar, keys and rhythms in the interlude, but the divinity quotient lands in as soon as Adwait Kashikar plays the solo flute. 

This segment is extremely catchy thanks to the keys and rhythms, but the flute solo elevates the experience altogether. “Woh ek shaksh jisse meri” and here you can hear Devashri Manohar accompany as the backing vocalist. Kanishk doesn't stop here; he gets the Sarangi to come and intervene beautifully, and when the Antara ends, we head back into the chorus line; the combined effect of the flute, sarangi, rhythms and keys is nothing short of magical. When Kanishk comes and performs teh second Antara, he explores the higher end of his vocal range. The Antara's melody is short, but that doesn't make this beautiful song any less impressive. 

If you thought it’s all over, we get an absolute treat with the sargams by Kavita ji and the flute by Adwait accompanying right through. This song just needs to be experienced in solitude, and I can only stand up and give an ovation for the solo flute exhibition by Adwait. The tracks are mixed and mastered by Prathmesh Dudhane. 

@seth_kanishk @prathmeshdudhane @devashrimanohar @kashikar_adwait @misra_dipti

3. Zarb E Jeena

Vocals: Vibha Saraf

Lyrics: Siddhant Kaushal

Composed and Produced by Sachin Mitra

Language: Hindi

Genre: Ballad 

Mood: Pathos

From the ultimate depths, Vibha Saraf sings Zarb E Jeena in that alto pitch, and it immediately haunts you and grabs your attention. Is there some Raag Charukeshi in this melody? Maybe. We get the accompanying Piano playing and the gentle Tambourine as the percussive instrument. The song is composed and produced by Sachin Mitra, with lead vocals by Vibha and lyrics by Siddhant Kaushal. When we get to the chorus segment again , we get a layer of backing vocals, singing “ Zarb-e-jeena Zarb-e-jeena, dohraaye zindagi”, and this whole vocal performance and tone of the song remind me of Madonna’s ‘Frozen’. I loved how we got a faint Pan flute in the background.

We get the Antara with some nice lines, and this is where I feel Sachin really explores and writes a melody that throws great surprises, because in this whole phrase I could sense some Raag Jog “zooni zooni raaton mein , dal pe, chidiya toh hum”. But the true mesmerism comes in the subsequent phrase in my favourite line “sholon ka dariya , jalta nazariya , pehle tha, ab nahi, ab hai bas siyaahi”. A nice  sample of Arabic lines is used as an interlude with heavy Middle Eastern influences. The lines “nabzon ka chalna, girna sambhalna” get some fantastic string arrangements in the background, elevating this line. Amit Yadav is the mastering engineer. 

@sachinmittraofficial @sarafvibh @sidkaushal22    

4. Leher 

Vocals: Arijit Singh

Lyrics: Amitabh Bhattacharya

Music composed by Pritam

Language: Hindi

Genre: Pop

Mood Romance

I really don't remember the last time I featured a song by Pritam; anyway, rather than trying to recall, here is, I think, a non-AR Rahman Bollywood song I am featuring for teh first time in 2026. The things that work are that the melody seems fresh, Arijit Singh performs in a way that doesn't sound repetitive, and the tempo is so ravishing and soothing. Amitabh Bhattacharya, teh usual accomplice, writes the lyrics, and we have a very catchy line in “ Ho, Milta hame kaise dil ke virane mein, doya hua ek shahar?” and this line also immediately took me to “Yeh Dil Dewwana “ from ‘Pardes’. The more I think of the song’s tone, the soundscape, the tempo and style of rhythms, I believe it reminds me of “Return to Innocence” by Euphoria. 

The falsettos hit supremely, and the post-chorus line “ milte nahin hum agar” with some nice variations and vocalisation, followed by the choral humming , is uplifting. he goes on to give a singing masterclass with all those superlative improvisation techniques. 

5. Megh

Vocals: Ankur Banerjee

Written and Performed by Iravu , Ankur Banerjee

Language: Hindi

Genre: Semiclassical rock fusion

Mood: Immersive

The title is chosen to signify the season of rain, as we hear the drizzle in the background and the guitars raining. The lead guitar solo by Pranathi comes and creates awe right at the beginning, and with some thunderous rapture, the drums pour on steadily. Basslines kick in, as do the bass drums, and with that, baritone-ish vocals of Ankur Banerjee create such awe. The melody has Megh Malhar Raag influences and for the right reasons , and Ankur mixes so many different improvisation techniques as would a classically trained singer. The lead guitar follows up and sizzles away, playing Megh Malhar. 

The impact that the rock flavours of the song’s arrangements and soundscape leave behind is heavy, and when you hear the fusion of all the Sargams with accompanying lead guitar arpeggios and funky basslines, it feels like standing under a heavy downpour and enjoying one of the great gifts of nature. 

@ankur_0402_ @iravuwave 

6. Uyirthee

Written and performed by Dr Charulatha Mani

Composed and Produced by Dr Charulatha Mani

Language: Tamil

Genre: Semi-classical pop fusion

Mood: Immersive

Here is Dr Charulatha Mani wither second straight single that gets into my weekly playlists, and this one has a varied soundscape compared to what I heard and featured last time around. We have no melancholy here as Charulatha writes a semi-classical fusion number that marries many influences and gives us something edgy. We get a feverish intro on keys, like the beginning of a pulsating background score, and then, to lower our heart rate, Charulatha comes along, performing these lines with calm. The song gets a rousing rhythm programming introduction when she sings “ unakkul eriyum uyirthee yai kel,” as this is when teh song needs all its positive passion and fire. We get an energetic chorus phrase sung with a lot of vigour by Charulatha, “theeyum theeyum rettaitheeyai,” and this immediately took me to " kaalkal irandu endralum payanam enbathu ondrallo” from A. R. Rahman’s “Kannodu Kaanbethellam”, and that is why I feel the strong influences of Abheri Ragam. 

The dazzling ghamakas by Charulatha at the end of the chorus bring on Western vocal harmonies, and this fusion truly works. The song is effectively programmed and produced by Charulatha herself, and she shines throughout. The accompanying guitars and keys render Jathis and Thanams nicely. You really feel those goosebumps when she sings “ naadi narambai silirkka vaitha”. The tracks are mastered by Benny Phelixx.

@charulathamani

7. Batohi

Vocals: Akansha Tripathi and Ishaan Nigam

Composed, written, and produced by Sujeet Anahata Thakur

Language: Hindi

Genre: Tumri-fusion 

Mood: Mild Pathos

The woodwinds right at the start with that Baul-styled folkish melody invite me deeper into the song, composed, written, and produced by Sujeet Anahata Thakur. The flute is played by Harshit Shankar, and soon enough we get the verse performed by Akansha Tripathi, with all the voices that enhance the melancholy in the melody; is there some Raag Pilu here that I am hearing? “Baihenge Kab Tak Nadi Ke Kinaare,” she sings with that longing desperation, and the flute comes along like a lover’s touch from behind, comforting our souls in the process. Joshua Rajan is supremely adding style on the bass. We get drums as well as the Duff, adding vibrant and varied percussive flavours thanks to Latesh Parab. 

The interlude is producing pure bliss with some stunning basslines, and the melody in the Antara drifts to sound more like Sarasangi (Nata Bhairav in Hindustani) to my untrained ears. The flavours of soft rock are unmissable thanks to the rhythm guitar, bass, lead guitars, and some stunning drums. Ishaan Nigam brings on the fervour of folk with his vocals. 

@zariyaa.hun @akanshatripathi22 @isshannigam.music @harshitshankar @lateshparabmusic @im_joshua_rajan @joel_jossy @ilysutrations 

8. Kitni Gardi Hai

Vocals: Arjun Iyer and Christina Andrew

Lyrics: WB Sam

Music composed and produced by Arjun Iyer

Language: Hindi

Genre: Alt Hip-Hop

Mood:

It is not an easy task to captivate the listener in a few seconds of music, but that is what Arjun Iyer does in this track, and like the words “ Kitni Gardi Hai”, the music space is super-crowded, and to outshine and impress in this ‘gardi’ is not easy, so kudos to Arjun Iyer who has composed and produced the songs in this debut album “ Bay Do Die Do”. We hear some scintillating harmonies with Arjun on vocals as well, and this creates the perfect intro along with keys in union. Christina Andrew is the female lead vocalist, and doesn't she kick some ass with that tone and delivery of hers. I love how her vocal presence helps simulate the screen presence of the phenomenal Huma Qureshi. The male humming in the intro is probably a meditative chant, one of the ways to stay calm on the crowded local trains of Mumbai. 

The rhythms and keys elevate the sound, but you just cannot take your attention away from Christina’s contralto rap with words like “chillam chillu badhri hai, kyun nadri hai, kyu ladri hai, kyu adri hai jagadhri hai”. WB Sam is the lyricist . There is that solo lead guitar that sizzles mildly, and we have layers of vocals coming in to enhance the witty writing that only a Mumbaikar will understand and enjoy: “ BEST bhi mast AC kardi hai, phir bhi nahi padri saali sardi hai”. Just when you think that Christina isn't going to surprise you, she moves away from the rapping and gives a sultry vocal performance singing “chipakna seekh, seekha toh theek”. A nice rhythm guitar riff and some arpeggios on the acoustic guitar add some class to the song. Ninad Lad is the mixing and mastering engineer. I love the climactic, tense outro as the keys intensify with lines “ kitni gardi hai, yeh nagri apni sadri hai” 

@kaunarjuniyer @chritinaandrew_music @iamhumaq