Top Indian Songs of the week 7th December 2025

If you are a musician wanting your new release to be heard and reviewed,  submit your music here.

Here are the best songs released in India across languages and genres for the week ending 7th December 2025

1. Thaenkoodey 

Composed, Arranged and Produced by Pranav Muniraj 

Singers: Sean Roldan, Sublahshini

Lyrics: Surya Bharathi A A

Language: Tamil

Genre: Pop

Mood: Romantic

Pranav Muniraj’s debut for ‘Middle Class’, the Tamil movie, speaks to me through his musical choices, and the sound design and songwriting give me confidence that he is here to stay. The song here is my favourite from the album, and it is composed, arranged and produced by Pranav, with lyrics written exquisitely by Surya Bharathi A A. The intro is like an indelible mark on my mind as we hear the Solo Violin by Anirudh Kashyap, and the accompanying rhythms on the Ukulele and acoustic guitar. 

That whistle (Vijay Krishnan) that comes in the wind reminds me of Sushin Shyam’s ‘Kannil’ from the album “Kappela”. The tone, the overall vibe of the song and its arrangements also generate that feeling of similarity between these tracks. Vijay Krishnan and Simeon Telfer are the guitarists (Simeon also plays bass), with the Mandolin and Ukulele played by Simeon. Everything comes to a standstill when Sean Roldan sings “Ponanbe Poongatre Naan Setha Thaekoodey”, and that is the impact this man creates with his inimitable voice. The Keys are alive and well with some beautifully arranged harmonies. The solo violin that comes like an interludal piece is stunning, and the swelling of the heart is unavoidable with the Ukulele tickling away. 

I love how Pranav has knitted this melody by giving surprises and twists in teh chord progression, and you will feel a high when you hear “ Bhoomi mele vandhu aadum santhosha moochu kaatre oh oho oh”. You cannot keep this star Sublahshini away from action, as she rides the wave along with Sean, but makes her presence felt on the additional vocals. The joy is endless when we hear the innocent and cherubic voices of the kids' chorus singers Tanu Shree, Divya Shree, and S.Nidra. Sublahshini is terrific singing the line “Ponanbe poongatre, naa setha thaekooday”, with a slight lag. The tracks are mixed by Josh Bourbon and mastered by Rupendar Venkatesh. The recording engineers are Pranav Muniraj at PM Studios, Aswin George John at Sounds Right Studios and Srinath at 2 Bar Q Studios. Ajay Sivashankar is the music supervisor, and the musician co-ordinator is Victor. 

@pranavbalu @rseanroldan @sublahshini @milirkal @kishoremuthuramalingam @kvdurai @trendmusicsouth @goodshowofficial @simeontelfer 

2. Aalapikkey Ummak

Composed / Arranged / Programmed by Santhosh Narayanan

Lyrics: Kelithee

Singers: Kelithee, Santhosh Narayanan

Language: Tamil

Genre: Gana-Pop fusion

Mood: Dance

Who else can you trust when you need a funky Gana song fused wth synth Pop and heavy Brass section? One man - Santhosh Narayanan is the answer. A small snippet of this song’s melody and arrangements was known when the “Vaa Vaathiyaar” teaser was shown a few months ago, and when I heard this as a full-length song, things started getting groovy and upbeat. Kelithee is the writer and lead vocalist who lets you know what he is going to achieve with her very first word “Maame”. This guy impressed me a few months ago with a single along with OfRo, and that devotional fusion pop was produced by Santhosh called “Vetrivel”.

The percussion is on, and we get the combined effect of the Keys and the Clarinet. Santhosh composes the melody and does all the arrangements and programming, while also joining as the additional vocalist. He sings that opening intro line “Variya ah ah Variya, Thariya ah ah Neriya, Varane eh eh Magane, Tharane eh eh Tharane”, which sets the ball rolling. I love the fact that this melody portion never gets repeated in the whole song again, and that makes it intriguing. We get a beautiful interlude on the Accordion (if I am not wrong, it does sound like one), and what follows is the strong point of Santhosh. A super funky line “Skipidi kippidi a, Mattuna Semmadi a” with some powerfully addictive synths. 

The writing is so witty, and when we hear the first stanza “Annan Judge kke Lawyeru, City la Mayoru, Church la paduvan Choiru, ellarum gatheru, vantaru thootharu, buddharu, sittharu, fatheru” followed by teh cionic voice of Karthi saying “yenda”, one can imagine how this song will play on the big screen, inviting the whole crowd for a celebratory dance. The highlight is that snazzy solo violin by Manoj, and these are elements which put Santhosh above all his competition, to have the vision to incorporate a classical instrument like this in a Gana-pop song. Naveen Napier is killing on bass, adding to the song’s originality and funkiness. A line that truly made me smile was “aatathula Ronaldinho, koopudunga veladino”, making me trust this songwriter Kelithee’s abilities. 

Aditya Ravindran is on electric guitar, and all the additional arrangements are by Karthik Manickavasagam. The tracks are mixed by Santhosh at  Future Tense Studios, Chennai, with additional mixing by Akash Shravan. The sound designer is Vijay Rathinam MPSE, with sound mixing engineer AM Mohammed Rahmathulla. All additional mixing and mastering are by Rupendar Venkatesh @ MixMagic Records. The recording engineers are Karthik, Santhosh and Rupendar Venkatesh. 

@keli.thee @vaavaathiyaarmovie @musicsanthosh @nehagnanavelraja @napier_naveen @karthikmanickavasakam @adityaravindran95 @akashshravan @rupendar_venkatesh

3. Pehle Kyun Na Mile

Music Composed & Produced by: Salim Sulaiman

Singers: Shreya Ghoshal, Papon

Lyrics: Shraddha Pandit

Music Co-Produced by: Tanuj Tiku, Raj Pandit

Language: Hindi

Genre: Semi-classical/Light Music

Mood: Mild Pathos

This has been a very good year for Salim-Sulaiman with their Bhoomi 2025 project delivering one fine song after another. We have two outstanding vocalists on duty here in Papon and Shreya Ghoshal to deliver the slow-burning melody. At the very start, when we hear the verse, we notice the striking Esraj solo by Arshad Khan along with the gentle Tabla accompaniment, thanks to Naeem Sayyed and Prasad Padhye. Is there some Bilawal Thaat influence in the melody? That is possible. The line “Waqt se tum keh do zara, thoda teher ke chalein”, when sung by Papon, starts making the heart swell, and the amazing The Indian Choral Ensemble follows with their support in the harmonies, making it all sound collectively stunning. 

The interlude has the harmonies and the combined jugalbandhi style of the Sarangi (by Bhagirath Bhatt)and Esraj. TICE’s chorals, arranged and conducted by Karthik Manickavasakam, are in prime form, completely making their presence felt in the interlude. The performers are Yazhini, Alisha Mathew Thayil, Nidhi Saraogi, Rajeevi Ganesh, Bavathayini Nagarajan, Rutuja Pande, Sushmita Narasimhan, Fathima Henna, Nayansee Sharma, Megha M Salila, Varsha R Mallya, Sivaranjini Chandramouli, Geethu Nirmala, Shridhar Ramesh, Chirag Shetty, Vivin Richards, Manikandan Chembai, Shivsundar R, Shyam Krishna, Prashanth Mohanasundaram and Cyril Simon. 

The antara is written with the melody traversing in a direction that you wouldn't expect, as we get a whiff of some other scales like the Maand Raag and so on. Raj Pandit plays the Taiko & Duff along with Aslam Dafrani. The Hand Pan comes and goes, and as we head towards teh outro, the choral interjections take over and dominate with such grace and purpose. The words here are written with such care and attention, and credit goes to Shraddha Pandit for instigating these strong emotions of love and longing.  The orchestral arrangements are by Tanuj Tiku, and the strings are orchestrated and conducted by Japjisingh Valecha, with Neel Rupareliya assisting. 

The recording engineers are Biju James, Kalyani Nair, Raj Pandit and Tejus Srivastava with Abin Ponnachan. The tracks are mixed and mastered by  Aftab Khan at Headroom Studio. Tejus Srivastava and Vatsal Chevli are the mix assistants. 

@bhoomi_salimsulaiman @salimsulaimanmusic @shreyaghoshal @paponmusic @merchant_records @rajpandit17 @shraddhapandit @theindianchoralensemble @

4. Hrudaya Hedharidhe

Composed, Arranged by Christopher Jayson

Vocals: KS Harisankar

Lyrics: Shwetha Manjunath

Language: Kannada

Genre: Light Music

Mood: Romantic

I love composers who don't waste any time, and they use the intro itself to give the listener enough juice to know what’s coming. This is one such song from Christopher Jayson, who has composed the melody and handled all the arrangements. Something like a Kazoo plays for a few seconds, and then a solo Violin by Tejus Ravi leaves you speechless. The multiple rhythm sounds, along with the flute solo by Ramesh Krishna, lead us into the pallavi. Here comes KS Harisankar, and you cannot nitpick and look for holes once this man starts performing. I, too, give up and only relish rather than review. 

Christopher is the man behind all the keyboard and rhythm programming. I even heard that Kanjira just at the start of the anupallavi when Hari sings this beautiful line “Preethiya Arthava”. The vibrato, the harkatein and his ability to sing with such finesse in the high pitch are all facets of Harisankar that will keep him as one indispensable star. The interlude takes a lovely shift in the most unexpected way, with the pacy violin riffs giving me vibes of Raag Keeravani and then Some Raag Maand with the Sargams. The highlight in the interlude is the brilliant Tabla by Sudarshan Askihal and savvy basslines. The backing vocalists are Mary Sangeetha and Chethan Naik. 

The charanam is tender, and the melody continues to impress because Christopher keeps throwing you off guard. A case in point is the line “Thangaliyu beesithe”. The lyrics are penned by Shwetha Manjunath. Benjamian plays teh electric guitar, Joshua Sathya is on teh acoustic guitar, the tracks are mixed and mastered by Christopher, and the recording engineers are N. Santhosh Steven at  The Rock Studios, Chennai  and Bhuvan at 432Hz Studio, Bangalore. 

@rajiniofficial @christopherjaysonofficial @shwe.manjunath @chetas_tejus.aravi @mary_sangeetha18 @chethannaikofficial 

5. Saaye

Written and Performed by The Yellow Diary

Vocals: Shilpa Rao, Rajan Batra

Language: Hindi

Genre: Alt-Pop

Mood: Romantic/Immersive 

Mark your diary, as The Yellow Diary is now touring India with their new album release “In Case We Forget”. I am yet to do a full album listening session, but when I heard this single, I wanted to straightaway do a review and recommend this blinder. The Piano starts punching in, and don't go too far, because Rajan is about to pull you back with his vocals, like strings clipped to your body. He writes these words and delivers an intensely addictive performance as the lead vocalist. Is this what we refer to as a “Double Dhamaka,” and you will know what I mean when you get to the 40th second, and we hear that mild intervention on the strokes, and Shilpa Rao sizzles away singing “Hum yuun to hain kinaare, Ye aaj ki hai raat”. 

If Rajan is all about being inimitable, Shilpa is all about being sultry. These voices are here to nail our minds to an immovable plane of musical mesmerism. Feel the love oozing when Rajan comes back to sing. “ Haan Kehte toh Vaise toh”. Himonshu is the keyboardist and producer who knows what and when to do with the song’s arrangements, as he gives a flavour of keys, guitars, and gentle rhythms. Harsh prods your inner passions with his electric guitar riff, and the interlude is heavily driven by the piano, giving us the Alt-pop sensibilities. Let us not forget to compliment TYD on this enticing melody, because without that, the song couldn't have touched you this deeply, with lines like “Tere Hi nazaron ke, mere bhi to raz, hain khule, hazaaro se”. 

Everything is mellifluous, and the Piano and mild rhythms alone stay with you, without ever going excessive anywhere. Stuart is the bassist, and Sahil is the drummer. The tracks are mixed and mastered by Sid Shirodkar. How does one resist when Rajan and Shilpa sing in unison, “Aur main tera aasmaan”? Well, the sky is the limit for TYD when you know they are capable of such magic. 

@theyellowdiary @himonshu @rajanbatra13 @harshreality91 @sahilplaysdrums @firstwav @studirt @sharkandink

6. Cortado

Written and Performed by Zeba Tommy

Music Produced by Steve Thomas Kottoor

Language: English

Genre: Soul/R&B

Mood: Romantic

It is my favourite coffee outside my home, well, because when I am home, nothing can beat my Filter Kaapi. Anyway, to stop digressing, I feel so elated when one of my favourite Indie musicians performs a song named after my favourite beverage! The song is written and performed by Zeba Tommy with music production by Steve Thomas Kottoor. She asks, “Have I gone too far?” Oh yes, quite far ahead in the race, beating some many others into musical excellence. The vocal strength, her ability to emote, and the technical prowess are all of a superlative nature, and here Bevan Correya comes along and plays the guitar like a rhythm guitar at first.

She gives these improvisations, vocal riffs, vibratos, and falsettos all packed into one like a string sip of Cortado. “A state of mind I never thought, I'll falter to”, and when she performs this line, the harmonies come and add glitter, like coffee dust. All teh vocal arrangements are done by Zeba, and the Jazzy drums by Sanket Pahurkar make their foray. Maybe it's sheer coincidence, or design, but the song gives me teh vibes of a Christmas Carol. Steve Thomas Kottoor gives all the right elements this song needs, with the harmonies, drums, guitars and the double bass too. The phase where she sings this “ some pages gotta turn, some day some bridge is gonna burn” with the high pitch towards the end, is Zeba’s rightful way of showcasing her abilities. The tracks are mixed and mastered by Reniel Kreji. 

@zeba.tommy @steve_thomas_kottoor @renielkreji @the_voodoo_child_ @vtp_studios @sanket_pahurkar

@whiteshadowsfilms

7. Aap Is Dhoop Mein

Singer: Arijit Singh

Composer: Vishal Bhardwaj

Lyricist: Gulzar

Music Producer: Meghdeep Bose

Language: Hindi

Genre: Light Music/ Semi-Classical

Mood: Romantic

Form is temporary, class is permanent! Well, it is true here for the legendary Vishgal Bharadwaj, who has composed for this love story “Gustaakh Ishq”. I am featuring a second song from a Bollywood album in my weeklies, and that is quite a rare feat. Vishal has been a gifted creator, but I never expected this man to come back and give us such fantastic music. Another thing I love about this track is that Arijit Singh sounds lovely, because most other composers make him sing very stale melodies that only further go downhill from his monotonous sound. The intro has this chorus by vocalists, viz. Vaishnavi Bhuyar, Surabhi Khekale, Vasudha Tiwari, Sonal Choubisa, Sushmita Narayan & Bandita Bharti, taking us back to 1990s Bollywood music. 

Meghdeep Bose makes it all feel embellished and relevant with his music production. Can you feel the keys and rhythms sounding so pristine? “Aap is dhoop mein kitni acchi lagti hain?” sings Arijit, and Gulzar, the icon, has so much to convey with such loving words. How can I consider myself to be in a position to rate or review this man’s writing? The harmonies are consistently supportive, and I love that effect. The interlude has this brief melody on keys, equal to the sanctity of the melody by Vishal. The antara is brief, but all that is given a facelift with fine arrangements. Meghdeep plays the guitars and Modular Synths as well. 

The music assistant is Anant Bhardwaj, and I realised the song’s bridge section is one final touch of class as Arijit sings “Jahaan baithe wahaan dhoop bicha lijiyega”, leaving an everlasting impression on the mind.  The recording engineers are Salman Khan Afridi, Ashish Biswal and Meghdeep Bose (assisted by Aabhaar Tomar). The mixing engineer is SoundsLikeTintin , with mastering duties on Christian Wright. 

@arijitsingh @vishalrbhardwaj @zeemusiccompany @manishmalhotra @meghdeep_bose @sonalchoubisaofficial @vasudhatiwariofficial @surabhikhekale @banditabhartimusic @sushmitanarayan

8. Kaho Na

Singer: Sobit Tamang 

Composition: Akash Kaushal 

Lyrics: Akash Kaushal 

Production: Maari, Ethan Dias, Pratham, Khwaab

Language: Hindi

Genre: Pop

Mood: Romantic

This is a debut single by singer Sobit Tamang, and he gets some excellent musicians on board, like Akash Kaushal as the songwriter, writing both melody and lyrics. The song is produced by Maari, Ethan Dias, Pratham and Khwaab, who are brilliant each in their own right. You have to hand it to teh young lad, as Sobit has a very affable voice that delights with every note delivered. “ab toh na hai fikar koi, tujpe ho chuka yakeen” with the brisk strumming of the acoustic guitar, makes me feel bliss. We hear the chorus line, and when it plays for the second time, the strokes, ethnic strings and chirpy and teh clap sounds bring on a cheerful energy to the song. 

“Tere Kaabil banoo bhi main, karta koshish badi” is an example of the songwriting we have come to expect from Akash Kaushal, and the producers back it up with the nice keyboard programming. The tracks are mixed and mastered by Rohit Singh Bhau. We also have a very effective video with Bhavna Kankaria on direction, Shushi Gupta as editor and Nandini Mishra as Executive Producer. The artwork is by Shrayona Dhar. 

@tamangsobit_14 @firstwav @kankaria_bhavna @molfamusic @shoo.chee @nandiniicore @shrayonadhar @akashkaushalmusic @maaramaari @ethand10s @prathambarapatre @khwaab.music @rsbhau

9. Kannike

Music Composer: Srajan Kumar Tonse 

Singer: Vijay Prakash 

Lyrics: Keerthan Bhandary

Language: Kannada

Genre: Light Music

Mood: Romantic

I heard this song one early morning as I was jogging, and it took me by great surprise. The melody probably has shades of Raag Hamsadhwani, and that ensures we have a beautiful and hummable song on our hands. Vijay Prakash, with his voice, serenades us and the accompanying flute solo by Varun Rao and programmed strings make this track a well-produced track overall. Srajan Kumar Torse has composed the melody and also done all the arrangements and programming for this. All the additional programming is by M.Fazil. Vijay Prakash weaves some magic as he always does with words penned by Keerthan Bhandary. 

The rhythm programming beats like the central heart of the song, and the chorus singers give a beautiful additional layer of beauty. The backing vocalists are Srajan Kumar Tonse, Shramitha Bejja and Greeshma Kateel. I love the second line in the charanam because of the outstanding harmonies that give goosebumps. 

The tracks are mixed and mastered by RJ Rahul at Rajesh Ramnath Studio, Bangalore, with recording at  Renu Studio, Bangalore and Sound Wave Studio, Mangalore.  

@s_j_k_ @anvithasagar @aanandaaudio @__its_samata_ @prajwal_films @vijayprakashvp