Top Indian Songs of the week 8th February 2026

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Here are the best songs releasxed in India across languages and genres for the week ending 8th February 2026

1. Baanancha Daati

Composer/Singer/Music Producer - Narayan Sharma

Language: Kannada

Genre: Light Music/Pop/ Semi-classical

Mood: Calming/Romance

I trust Narayan Sharma to deliver something that always speaks directly to the heart, not through letters but through notes. That is why my inability to fully understand Kannada is not a problem at all. His melody, the poetic and poised arrangements, with a galaxy of celebrated instrumentalists, all come together, and in 4 minutes approximately, even a disturbed and dejected heart is given a spark of joy, the joy of living and feeling the intricacies of music. I commend this man as Narayan composes the melody, produces the music and sings the lines written by the talented Sumedh K. Advait Pattanaik, who teases you with the guitar intro as he plays the acoustic and nylon guitar.

You get a folkish flavour, rustic an drooted thanks to the one-man show on strings from the inimitable Rithu Vysakh. His range extends from the cello, giving that soothing texture, but he also plays teh Viola and Violin solos to strike you with their incisive pathos. The sound of Narayan singing ‘Baanancha Daati’ feels like the fresh smell of coffee to me, invigorating. The phrase means “beyond the horizon”, and it does make me travel to a fairy land far away. The instruments are present, distant, and they slowly start rising in intensity. Is there some fragmented piece of Bihag Ragam, because I am taken to Maestro’s “Un Parvaiyil Orayiram”, and there is also a devotional song from Thiruppavai in Tamil called “Oruthi Maganai Pirandhu” and maybe that is why I sense this Ragam’s influence. 

Santosh Jayaram makes you gasp for breath with that Veena solo in the interlude, and when that combines with the sizzling bassline by Naveen Napier, you already feel like seeing the best of both worlds. The charanam continues to grow fonder in your hearts, and this is where Narayan showcases his vocal range as well as his abilities as the string arranger. I love how the notes end up giving me a surprise “Karmodada usire”, after the way the phrase “pade pade hosa dani” starts. This is what I look for and get intrigued by, because Narayan doesn't settle for the mundane and expected, and with the phrase ”ade ade hale dhani”, that circle of merriment is complete. It is like Rithu’s strings are pulling the melody together and conjoining the various phrases. 

When you watch the amazing video along with the song, anyone will fall in love with love itself. He uses the anupallavi to land back on the main verse at the end of the charanam. The video is directed by Sucheth Ramprasad with Karthik Kamath and Pranam SK as DOPs. The recording engineer is Vishnuraj MR at 2bQ Studios. The mixing and mastering is done by Aniket Mohanty at Audiokraft Studios, Bangalore.

@narayan_sharma227 @advaitpattanaik @santoshjram @rithuvysakh @awwwwwwwwwniket @sreesang_mpse @hypocr8 @audiokraftstudio @vishnuraj.m.r @sumedhk119 @karthiikk.k @ms._.shree @beyondhues.co 

2. Yaad Sajan Ki Aaye

Music: Shekhar Ravjiani 

Lyrics: Anvita Dutt

Singer : Rohit Raut

Produced by Abhijit Nalani 

Language: Hindi

Genre: Semi-classical/ Pop

Mood: Calming

Shekhar Ravijani’s journey in the indie space is something of an inspiration, not just because of the quality of work that gets produced, but also the frequency and the fact that Vishal-Shekhar were one of the most original and pathbreaking in Bollywood as well. This is at least the 10th single by Shekhar that I have featured in the last couple of years, maybe, and I must confess that this one here is probably the most profound yet. I listened to teh song wearing my headphones, performing a very laborious and mundane chore at home, but the song completely turned my mood around, giving me a new lease of energy and life to my spirits. So before I start writing anything else, I must say thank you to Shekhar and this super team. 

I remember Rohit Raut because his song Naar was, in my opinion, one of the best in NEXA S3, and I rated it pretty high, expecting him to be one of the winners chosen by AR Rahman. I am very glad that Shekhar has presented this opportunity to the talented musician, and it looks like Rohit has already paid back with his top-notch singing. A stroke of style with Rhythm Shaw’s lead guitar lifts the curtain up, and when Rohit starts singing, you will feel a rush of blood to the head and a few goosebumps all over your arms, because he loads up the lines with such juicy vibrato and improvisations. A point in example is “Kisse kahein tere bin na hain”, and then the chorus line drops with the ever bankable Gino Banks on drums. The chorus segment takes me back to Pritam’s “Aaoge Jab Tum” from ‘Jab We Met’, while the verse has some similarities with the ‘Taare Zameen Par’ title track composed and performed by Shankar Mahadevan. 

The most striking arrangements follow as Rohit embeliishes the “ Yaad Sajan Ki Aaye” line with such beautiful harkatein, thanks to Sheldon D’Souza on bass, Rhythm on guitars and Sanjeev Sen on the Tabla. Teh mild string arrangements are as stunning as the sight of string pearls with Abhijit Nalani handling all the music production. Anvitta Dutta gets into your mind with these tender words. How does one focus , if not he/she were a multitasker because the interlude offers so much on a lead guitar phrase and some slick basslines and rhythms arranged by Raju Sardar. This segment may be some strains of Raag Maand. When teh Antara begins, and the notes start heading up higher in the register, “De Dhoongi usko, tooti si duaayen”, Rohit does sound like Arijit Singh , especially when you hear the phras e” dukh hua meri chaar guna”. 

The recording engineer is Dileep Nair, and Abhishek Khandelwal does the mixing and mastering. This video is directed by Shruti Merchant, with Diptesh Das on VFX & Edit, and Aniket Mishra on the visualiser. 

@shekharravijani @garuudaamusiic @anvita_dee @rohitshyamraut @abhimixkardo @dlieapofaith @bassinnova @ginobanksofficial @rajusardar851 @smerchant84 

3. Aao Na

Composer, Vocalist, Lyricist: Samad Khan

Produced by Khwaab, Samad Khan, Pratham

Language: Hindi

Genre: Alt-Pop/ Semi-classical

Mood: Soothing

A fantastic talent, this guy Samad Khan, has just released his 3-song EP ‘Aasmani’. This is a fantastic song from the EP, and it cements his place further as one of our greatest homegrown talents in the Indie space. The song is composed, written and performed by Samad, with music production responsibilities taken up by Khwaab, Samad and Pratham. The guitars in the intro are like the chirping of birds in the morning, calling upon us to wake up and rise, as though saying “Aao Na”. Khwaab and Samad are the guitarists, and soon enough you are just responding with awe to the beautiful notes and harkatein by Samad.

I love the  way the verse traverses as “zindagi ki shaak se moti” with Samd sprinkling such wonderful surprises in the notes as they go along to compose this. The melody never becomes predictable as he moves from “Aasman mein sukoon kyun nahin” to “tum meri zindagi ka geet”. Things start feeling like a meditative chant with Rohan Prasanna’s interventions on the Sarod. Soother’s (Abhijit Sood) drums feel ecstatic, albeit with a sense of serenity and calmness. The aalaap after the chorus line on “Aao Na” is a  beautiful exhibition of Samad’s abilities as a vocalist. The combination of Sarod and drums feels energising like  a piece of folk-rock music, as we can feel the dominance of Rohan in the interlude. 

The melody has some strains of Raag Bihag, in my opinion, and also maybe some Bilawal and Hamsadhwani, and most importantly, it flows beyond the constraints of any rule. The evocative vocals become a necessary element in a song, and here Samad demonstrates it in the line “Main Bhi Zinda Hoon” with vigor and doubt creeps in his voice with the subsequent “ ya nahi”. The production goes mild with minimal arrangements, just for things to explode with the Tabla(by Mahavir Chandrawat), Drums, Guitars and Sarod uniting. The shift in the singing style is apparent as Samad alters from a semi-classical style to a more westernised Alt-Pop tone, almost reminding me of the grandeur of Bryan Adams in “Everything I do, I do it for you”.

The outro is spectacular with “Gao Na, Aao Na” with the heavy drums and the terrific Sarod riffs. Samad is on fire with his brilliant vocal display, hitting the high notes with such grace and splendour. The tracks are mixed and mastered by Rohit Singh Bhau. 

@samadkhann @khwaab.music @rsbhau @mahavir9663 @soothermusic @rohanprasanna

4. Tera Mera Saath

Singer : Tushar Joshi, Sumedha Karmahe

Lyrics : Priya Saraiya

Music : White Noise Collectives

Programmed & Arranged : Hrishikesh Gangan, Noor Parmar, Amrit Sharma (White Noise Collectives)

Language: Hindi

Genre: Light Music/Pop

Mood: Romantic

This could be an album with some good music all around, despite having multiple composers on board. ‘ Do Deewane Seher Mein’ already had one fine romantic single by Hesham Abdul Wahab. This time, it is White Noise Collectives who already impressed me with the first album of the year, ‘Ikkis’, so I guess I am excited. Priya Saraiya pens the lyrics, and one of the strongest merits of the song is the children’s chorus, which lands perfectly. The lead vocalists are Tushar Joshi and Sumedha Karmahe, with Indrajit Chetia on rhythm guitars, adding to the romanticism. After the verse, the chorus segment is where I am quite drawn, with the slow tempo, the finger flicks and some rhythms. 

The line “Sara Sara Din, Sari Sari Raat” is something I can listen to day or night, such is the delightful mood the melody creates. The melody in the phrase “agar yeh khwaab hai, to hosh aa jaaye na” kind of reminded me of the pre-chorus section of “It's the Time to Disco”. The kids’ chorus is stunning from a melody standpoint, and the way Lara Bhatt, Sanskar Palaskar, Sammiya Guha, Ayurtha Desai and Spandan Mane deliver with an ounce of childish innocence and playfulness. The way the Antara starts is something I never expected, and the composers give me a sense of joy, considering these surprises are what excite a music lover. Tushar aptly sings my feeling too “tyohar se kuch kam nahi”, and his high-pitched singing gives me goosebumps. The arrangements are praise-worthy, and my heart flutters here listening to teh woodwinds at this juncture. The song’s arrangements are handled by Hrishikesh Gangan, Noor Parmar, and Amrit Sharma (White Noise Collectives), and it gives me a Vishal-Shekhar touch in the tonality. 

The backing vocalists are Shreya Basu and Noor Parmar, with Romil Ved as the music production head. Sumedha exhibits such finesse singing in that countertenor kind of voice, adding some subtle vibrato to teh mix as well. The recording engineers are  Swar Mehta & Susmeet Rewaskar (White Noise Collectives), with Amrit Sharm as the mixing and mastering engineer. The key change works well in this song in the outro. 

@hrishikesh_gangan @priyasariayofficial @whitenoisecollectives @noor_parmar @sumedhakarmahe @tusharjoshiii @saregama_official @romilved @kalpana.udyawar @bhansaliproductions @prerna_singh6 @mrunalthakur @siddhantchaturvedi @zeestudiosofficial 

5. Jee Liya

Singers: Adarsh Gourav & Lothika

Composed by: Adarsh Gourav & Aditya N.

Lyrics: Chakori Dwivedi

Backing Vocals: Aditya N. & Lothika

Produced by: Aditya N.

Language: Hindi

Genre: Ambient-Pop

Mood: Dreamy 

We know this guy is supremely talented, and sometimes I have mixed thoughts, like, should he be somewhere better off, like Europe or Scandinavia, where his acting prowess gets some recognition thanks to the plethora of great films they make, but I also feel proud that we have someone of our own who is chased and sought after by great Hollywood banners. Adarsh Gourav is the person in discussion here. Not just that he performs at the highest level that makes others around him lift their game (go check out Alien Earth on Jio Hotstar), but now he seems to be the answer to dudes like Timothee Chalamet (A Complete Unknown) and Miles Caton (Sinners) who come on screen and sing without using playback. This dreamy pop single is not just performed by him, but also composed by Adarsh and another bright composer/producer, Aditya N. 

Adarsh and the striking Lothika are the lead vocalists, with Chakori Dwivedi penning the words. Adarsh does a fine job getting the voice sound soothing in the Baritone-ish zone, and when we get to the pre-chorus segment “ Mera Hai Yeh Pal, Yeh Pal, Yeh Pal”, things start feeling like our body is floating in the air. I am constantly reminded of AR Rahman’s “Khuda Hafiz Anjana Anjani” from the album Yuva. The music production is by Aditya N, and he is solely responsible for creating the hypnotic soundscape of this song. Adarsh exhibits good vocal range when he sings the higher notes with such exquisite comfort, “Sapnon ka ghoont maine pee liya”. The keys and rhythms intertwine, giving an atmospheric tone. The heart skips a beat or two, and the silence around us is really imminent with Lothika’s voice feeling like teh seductive hiss of the serpent from the Garden of Eden. 

I love how Aditya decides make all the sounds fade away with all the focus on Lothika’s syllables and style, and she fills the air with such wonderment thanks to her delivery. Adarsh is capable, and he shows why when he does a mild vibrato with “ jebon main bhar saara”, and I am left with a smile on my face that cannot be wiped off soon. The tracks are mixed and mastered by Prathamesh Dudhane at Bombay Live Studios, with Praneeth Kumar as mix assistant. Farhan Sheikh at Chordfather Productions and Krina Shah, Praneeth Kumar at Bombay Live Studios are the recording engineers. 

@adityan28  @luceamma @bejoynambiar @gouravadarsh @colouryellowmovies @lopamudrasofficial @chakoridwivedi @farhanshaikh @prathmeshdudhane @

6. Tulasi

Music Composer, Producer : Sumedh K

Lyricist : Shri Purandara Dasaru & Sumedh K

Language: Kannada

Genre: Pop-classical fusion

Mood: Dreamy

Sumedh K is one bright talent, and this just sets the ball rolling for an upcoming EP called ‘Tulasidasa’. The song is composed and produced by Sumedh, utilising the original words of the legendary Shri Purandhara Dasaru, along with fresh lyrics by Sumedh K. The voice starts to haunt with a mix of innocence and divinity, and the melody with strains of Raag Darbari is here to conquer your thoughts. Sumant Shridhar is constantly pulling the strings to your heart with his flute solo interventions. A brief pause brings the verse to an end, and as we hear the chorus line, it feels like all hell is going to break loose.

The start-stop styled electronic sounds, with heavy keys, synths, and rhythms, are a fantastic addition. And when you assume the song is heading in one way, Sumedh brings on some sanity and tranquillity with the mellowed background sound, incorporating only the Tampura, folk percussion, and flute. The outro with the flute solo and the upbeat synths and rhythms feels like a BGM track in an action movie chase sequence. There are moments with the melody and the flute that I am reminded of Vidyasagar’s “Malare Mounama”. As far as the video credits go, Vishno Rao is the director, and Yogesh Srinivas is the producer. 

@sumedhk119 @sumanthshetty_  @sush_bhat @sumantshridhar @yogesh_srinivas 

7. Paatha Edathila

Composed, Arranged and Produced by 808Krshna

Vocals : 808Krshna, Sublahshini

Lyrics by Adesh Krishna, Thejas Krishna

Additional Lyrics : Regan Mon

Language: Tamil

Genre: Pop

Mood: Romantic

808Krshna , will straight away remind you of the Roland Drum Machine and like that let there be some slow drum roll for this youngster who rose to fame with some fine work, my favourite being his involvement in the production of “Retro” on the BGM tracks, especially “Lose your Fkin Mind”. This indie single is composed, arranged and produced by 808Krshna, and he is also performing the lead vocals. I love the acoustic guitars in the background, and this is where the big guns are brought along as Keba Jeremiah plays the acoustic and electric guitars with Varun on additional guitars.

Sublahshini is like a land mine; you step on it, and you will be blown away within milliseconds, and that is how long she takes to blow your mind away.  She sings “Paatha Edathila Vizhundhutten Naane”, and I’m thinking in my mind “Ketta Edathila Vizhundutten Naane”, if you follow Tamil, that explains my feelings. Adesh Krishna and Thejas Krishna are the lyricists. My favourite part of the song is the chorus segment, and as the song progresses, we get to hear these layers of guitars along with Keys, Synths and Rhythms (all programmed by 808Krshna), and the similarity of the soundscape with some of Sai Abhyyankar's  songs is uncanny. This segment, especially with both lead vocalists performing in harmony, “kaalam poora neram theeka kelvi tharava, vizhi nee thaaka, badhil naa kekka, vali nee theerka, ada kan korka, theeradha thee, thoovadha nee”.

All the additional lyrics are written by Regan Mon. The outro with the heavy rhythms, keys and synths works beautifully to end matters here. The recording engineer is Hariharan at 20dB Sound Studios, Chennai and the creative consultants are Madhan Ram, Ashwaaq Rafi. Don't forget to watch the video featuring the BB Tamil fame Nivaashiyni Krishnan

@vyrlsouth @808krshna @tatva_man @nivaa.sh @sublahshini @sai_munish @keerthana_varadarajan @lenin_srikanth 

8. Promise to Lie

Written and Performed by Judah Sandhy

Language: English

Genre: Pop

Mood: Mild Pathos

I have spoken to many mainstream composers who function in the movie space, and despite many things going great, a common thread of regret is that some of the freedom of expression is curtailed, and creative juices are sucked out a bit, if not entirely. Here is Judah Sandhy, a well-known name in Sandalwood, who has been regularly featured on my website. In fact, he has a song in the Best of Kannada as well as Telugu compilations from last year. Judah goes solo and keeps it minimal, accompanied only by his acoustic guitar, as he writes and performs this gentle pop delicacy.

I love his voice and his tone, with a sense of vulnerability. The writing is superlative, with pain, suffering, and the need to tell white lies to your partner. Take a look at this beautiful line, “ It ain't that I don't trust you with all my pain, I just don't want you always thinking it's your fight”, he goes on to show some class and philosophical astuteness with, “Ghost don't need a lie, scars dont need a witness, I hold it all inside”. The tone of his voice feels like Bryan Adams serenading me all the way. This is a great beginning as Judah promises to create more such heartfelt singles in the indie space. I promise to tell the truth always, and this is a

welcome change.

@judahsandhy