Top Indian Songs of the week 9th August 2026

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Here are the best songs released in India across languages and genres for the week ending 9th August 2026

1. Sajje Khabbe

Vocals: Sudhir Yadhuvanshi, Bjorn Surrao, Simiran Kaur Dhadli

Lyrics: Siddhant Kaushal

Music composed by Jakes Bejoy

Music Producers Jakes Bejoy, Alan Joy Mathew, Agastya Raag, Joel Johns

Language: Punjabi/Hindi

Genre: Disco-Pop/Folk fusion

Mood: Energetic

I was astonished to see absolutely no promotion, marketing, no reels and videos of this song and the whole album of “I, Nobody” anywhere on the internet and social media. When there are many mediocre songs and albums doing the rounds, how is it that this fine album got lost in the puddle? I recently did a full album review of this on IG last week, do check it out. This track was my absolute favorite, and, in many ways, I find it relatable to the anthem Jakes Bejoy created for Lokah. In my honest opinion this anthem wins over my heart even more than the former. The lyrics are penned by Siddhant Kaushal.

The bass guitar feels like the spiderman’s web to me and I am immediately caught in its web thanks to Keba Jeremiah. I believe it is Bjorn Surrao opening the song with his English spoken poetry and this segment reminds me Apache Indians songs. It feels like so many layers of strings, maybe the Mandolin, Maybe the Banjo and maybe a slide guitar all were combining with the bass guitar showing up on top and giving style. All the additional guitars were played by Alan Joy Mathew. The melody was composed by Jakes, with music production handled by the quartet of Joel Johns, Agastya Raag, Alan and Jakes.

Sudhir Yadhuvanshi’s voice towers over everything else and I loved Jakes’ pick for lead vocals. Many Bollywood composers make that mistake of constantly using Sukhwinder Singh and that becomes repetitive, uninventive, lazy and stale. Romy would have been another great choice too, but Sudhir truly kills it, and the accompanying harmonies are outstanding too thanks to backing vocalists Maahi Sharma and Prasidhi Patil. When we get to the celebratory chorus segment, don’t forget to notice those rousing horns, thanks to Trumpet Viji. Bjorn comes up with these lines “Nothing is real”. Trumpet Viji goes on to give us a very seductive interlude on trumpets in the bass/tenor zone. This is one  rapturous track and the outro with all the horns, bass, harmonies, and Sudhir’s aalap makes it feel like a worthy finish. The tracks are mixed and mastered by Balu Thankachan, the engineers on board are Amey Londhe, Midhun Manoj, Unmesh Unnikrishnan and Aniruddh Khanna.

@jakes.bejoy @bjornsurrao @sudhiryadhuvanshi @simirankaur_dhadli @agastyaraag @theredmoone @joel__johns @midhunanand_official @inobodythemovie @sharmamaahi__ @kebajer @

2. Ho Jayenge Ghum

Written and composed by Raghav & Arjun

Vocals: Taba Chake

Music Produced by Raghav & Arjun

Language: Hindi

Genre: Pop

Mood: Dreamy

The start with the children’s chorus took me back to ‘Lion King’ and I am sure Raghav & Arjun won’t mind that comparison with the legendary Hans Zimmer. These guys consistently keep coming up with the goods and I have tears when I see that there are such musicians who truly are committed to making original, good, music and stay away from the corrupt environment of mediocrity and greed we are surrounded by. This collaboration is another massive plus point and Raghav & Arjun have been picking great vocalists to deliver their songs of late. Here comes one of my favourites Taba Chake on lead vocals.

The guitar riffs are engrossing as they hit deep, but nothing comes close to joy like hearing Taba perform in his lower vocal register as he sings “seedha seedha rasta hai waise toh, tedha medha chalkar yum dekh lo”. The greatest asset for a composer-duo is their ability to write a melody, and Raghav & Arjun make me feel confident of this aspect, a case in point is the next line and how the melody subtly changes, with the chord progression created to cause a light tingle in “ Aur khwaabon ko din mein bhi dekh lo, khayaloon ko aawaara ghoomne do”

By the time we hit the pre-chorus segment we are enamoured and a mild layer of harmonies also has a role to play in that effect. The keys and rhythms take a backseat and lose the intensity when he sings “phir main aur tum kho jayenge ghum”, allowing nothing to come in the way of this message of love. The interlude is an offering of bliss again, with the children’s chorus, Piano and relentless guitars. He leave me with a heavy heart whenever Taba sings “phir main aur tum kho jayenge ghum”. But thanks to the beautifully crafted bridge section, I am able to breathe and feel better. “Le jaaye meetha sukoon hum, le jaaye ghamo saare yeh duniya”

Raghav & Arjun have created a song that feels close to heart and nourishing to my senses like how Lucky Ali would have in his peak. The tracks are mixed and mastered by Prathamesh Dudhane.

@raghavandarjun @taba.chake @firstwav @lazyom @karanutd @raghavmkumar @arjunpremsangeet

3. Kandamma Kandamma

Vocals: Sanjith Hegde

Music composed and produced by Charanraj MR

Lyrics: Nagarjun Sharma

Language: Kannada

Genre: Light Music

Mood: Romance

One of the most admirable and brilliant combinations on film music in the last few years has been Charanraj on composition and Sanjith Hegde on vocals. A humming with backing vocalists, children on chorus, slowly Sumesh Parameswar strums the acoustic guitar and here comes Sanjith with his unmistakable voice. The backing vocalists here are Adhithi, Shreya, Hrudai, Advay Raghavan. The Pallavi immediately soothes me and I am wondering if we have a Keeravani ragam embedded in this melody. Charanraj invokes his inner Ilaiyaraja, and he gives life to the song with a touching melody. The kanjira by Sruthi Raj  dominates, and the anu Pallavi makes things even more mellifluous.

“Usire Usire Omme Kele” with additional keys and guitars is enriching and when Sanjith reaches for the high pitch notes, a chill goes down the spine. Nathan on the flute, and Naveen Napier on bass playfully engage but it is the combination of the Tabla and Manonmani’s Sarangi that makes the heart grow fonder. The bass guitar keeps playing with its own counterpoints even as Sanjith’s ghamakas in “Muddu Muddu Kopa Barutirali” haunt us. This is what I really adore and respect about Charanraj, as he creates this song with such a beautiful melody and when it comes to the structure he goes all in, writes 3-4 melodic phrases for the charanam something no body dares to do these days. Raghothama NS is the additional programmer, and the tracks are mixed and mastered by Sujith Sreedhar.

@charanraj27185 @sanjithhegde @aanandaaudio @nagarjun_sharma @anchor_vanitha_official @napier_naveen @parameswarsumesh @sujithsreedhar 

4. Gehna

Composed and performed by Arul Seth

Lyrics: Dost Arora

Vocals: Arul Seth

Language: Hindi

Genre: Semi-classical fusion

Mood: Mild Pathos

The sound of this Rubab pacifies me, no matter what mood I am in, and I am transported to a better place mentally. Arul Seth begins his vocals with that classical bent and delivery and I could sense Raag Bhageshree. The harmonies are fantastic, almost hauntingly good with male and female backing vocals added as a layer. Arul simply mesmerises with all the high pitches singing “jag mein jo tu chalta jaaye”. The Sitar , keys and rhythms combine beautifully as we hear that mild serene aalaap in the background.

Arul Seth is a classical Hindustani vocalist, and he is delivering proof of that with every note, every harkat, he demonstrates. This is a soothing melody composed by him and  ZRYA (Mayank Choudhary) , is the music producer and we have Dost Arora on lyrics. This song is a great example of music production can work brilliantly when it takes classical elements like the Sitar and then combine with modern western programming.

@ekzrya @arulseth @dostdays

5. Pieces

Written and composed by Anjali Manoharan

Vocals: Anjali Manoharan

Music Produced by Balaji Krishnan and Sanjai Shine

Language: English

Genre: Pop

Mood: Immersive

The mood is sombre, as the music production ensures, we feel that gloom, clouded persistence of melancholy all over. Anjali Manoharan delivers a suave vocal performance and with her writing and composition we get a very fine song that lives off and sustains on its own pathos. That is why the song works, because every element perfectly renders that morose flavour of the song. Shankar Thyagarajan is playing the lead guitar, and he is there to tantalise. She is singing “silence ringing”, and that emotion echoes with our emotion while listening to this. The writing is a sure hero of the song, and that is what it should be.

Anjali slowly reveals the pieces of the puzzle as she sings the chorus line “pieces of you, some of it lives in my mind as it slowly withers away” and you can sense the pain of the protagonist with faint memories of a loved on and that too slowly fading away. The harmonies are added as a layer and just when she beautifully sings “its only natural” in that high pitch. The brief interlude with the Piano and acoustic guitar by Sanjai Shine, and kudos to the producers who show the way with their sense and sensibilities viz. Balaji Krishnan and Sanjai. The mild rhythms, keys, harmonies, are soothing but when the acoustic guitar comes on, there is a sense of aggravated positivity and this also perfectly gets in sync with the words “Cease your suffering, no need to worry, Ill take care of everything”.

Anjali is spectacular in her delivery, and she has a wide vocal range that she puts to great use as well. The mood keeps changing and the song now is all about individuality and acceptance with lyrics that go “I think its time for you to leave”. The rhythms now create that foot-tapping tempo, with some dreamy keys and the n a softer interlude on the Piano. As we head to the final act of the song we have Sanjai and Balaji energizing us with some brilliant guitar counterpoints, string arrangements and jaunty rhythms as well. The artwork is by Jhaey, video production is by Archi Bhardhwaj. The tracks are mixed and mastered by Sajin A Stanly.

@itss_anj_ali @sajin_a_stanly @balaji_r_krishnan @soundtechmedia @justjhaey @shanky.plays

6. Seethakaalam

Composed by Damini Bhatla and Rishi Roy

Vocals: Damini Bhatla and Rishi Roy

Lyrics: Damini Bhatla

Music Produced by Rishi Roy, 30KEY!

Language: Telugu/ Hindi

Genre: R&B

Mood: Immersive

Damini Bhatla is one artist who stands out of the crowd especially in this space called Telugu Indie music and she is a source of massive inspiration for young artists to break into this space without being dominated and suppressed by the behemoth called Tollywood. I am yet to listen to her two-sided Album with songs and instrumental versions, but when I heard this track, I wanted to feature it first. The opening lines come and go in Telugu and English, but that tinge of a melody is enough to confirm that there are traces of Ragam Darbari Kanada in this. The singing is brewing something extraordinary, with her stylish vocals that alter between western and Indian classical styles based on the melodic phrases.

The song is written by Damini, and the melody is composed by Rishi Roy and Damini. The music production is kept minimal, with just some keys and drums. Rishi and 30KEY! Handle the music production duties and the drums are played Ranbir Kapoor. “You and Me mounaniki” with tow layers of vocals is damn cool and addictive to listen to. Rishi joins on board with the Hindi lines and his tone compliments Damini’s lines quite well. “Dhoop ki who pehli kiran” is a phrase that starts something quite ecstatic as the chord progression titillates. The various modifications done on vocals, with the two varied octaves in the outro, as well as brief bridge section all work effectively. The tracks are mixed and mastered by Ayan De.

@prodby30key @mixedbyde @kpr.ranbir @rishiroymusic @shrishti @massappealindia @daminibhatlach

7. Mannaru

Vocals: Mannar Muthu

Lyrics: Gana Francis , K Kattiayan

Music composed, arranged and produced by Santhosh Narayan

Language: Tamil

Genre: Gana

Mood: Anthem/Inspiring

This track is rightly named Mannaru, and there are a couple of reasons you could attach to it. First and foremost, the song is performed by Mannar Muthu, a fantastic folk music artist from Tamil Nadu. The word Mannar means King, and the words in this splendid Gana offering are like the commandments if you want to lead a life , not just by leading a few people in the right direction, but also to see yourself never following someone else blindly.  People misconceive Gana music as rhyme, but it is about rhythm, they think of all the additives and seasoning, but Gana too just like Hip Hop is all about the meditative effect and the reason behind the lyrics. It is expressionism at its best.

Mannar Muthu performs this with incredible energy, an attitude of confidence in himself and disregard for anything restricts and constraints his honest growth.  The hook line steals the show as it to tell you to stop looking at his past and history so closely because you have your own future and story to focus on. He says in crystal clear words, no matter what anyone around you does, make sure you walk ahead in life with your story at the core, that is the essence of “un kadhaiyila munneru”,  The way he describes the impact of hubris and ego is simple but effective, saying that if you walk with your feet in the air, living upside down, be mindful of your head and your brain.  This would be impossible without the writing of Gana Francis and K Kattiayan. They use satire, and humour in general so effectively to deliver such important messages of originality and progress.

There are always going to be people you help by being a ladder or holding something like a nail to a wall, but in the most humorous way Mannar tells you that neither have ever earned the respect or due credit they always deserved. I love the phrase where he says you need to earn by not just working hard but also by doing the thing you love. All these amazing words might distract you, rightly so, but try and focus on the amazing composition, arrangements and music production by Santhosh Narayanan. There are not many around in the country who can take an original piece of local music and give that grand mesmerising touch, which can be understood and appreciated by anyone.  That piece of harmonium, and the mild humming makes slow, intriguing start to the song.

The live instrumentals are elevating the sound, the authenticity of this Gana track , the uber cool bass guitars played by Naveen Napier and Rupendar Venkatesh , the grounded and rooted tapes by the amazing Buddhar Kalai Kuzhu, Dholak by Kaccha & Venkat, side drum by Muniya and the stylish Drums by Siddharth Nagarjan. Every tap, every hit, every bang of the percussive instruments feels like beat of the heart, and it is all performed by live by these amazing musicians. The melody once again never loses its purity and that is why Santhosh will remain unconquerable as a composer today.  The track can stand alone with its charming notes and hard-hitting lines, but Santhosh makes a magisterial impact with the arrangements and production, and you will feel elevation, and grandeur something that every music genre and style deserve, especially when they seek your full attention, and a rapturous celebration.

The last two lines keep ringing in my ears” un katha un katha un katha” keeps on repeating , saying the focus has to always be on “your story”, and “ tighta pidi, udathe”, are golden words to every youngster with hope, as they tell you to “ never lose your grip , keep holding tight to your dreams “. The background keys by these amazing musicians Aditya Ravindran and Bhuvanesh ensures the words hit with intent and potency too. Keys and the percussions feel like another tribute to Karnan returning home! The recording ins done by Santhosh, Rupendar, Pranav Muniraj and Karthik Manickavsakam. Kudos to the Brillant work on the music video by director Ken Royson, co-directed by Devikaa Suresh, and DOP Jagadeesh Jayamani. The life, stories, talents and generation of North Madras are depicted in alternate black & white and colour frames.

@mannar_muthu @musicsanthosh @directedbykenroyson @devika_surie @rupendar_vankatesh @alsoabijeeth

8. Tipsy Topsy Tears

Written and performed by Peep Peep

Composed by Preeti Kuber and Akash Navalkar

Music Produced by Ronit Sarkar

Language: English

Genre: Jazzy/pop

Mood: Groovy

With the very first line, I am already intrigued, as Peep Peep a.k.a. Preeti Kuber sings “We are dancing to two different songs one happy one forlorn”. This is a very unique scenario but if you think about it, maybe it just boils down to perspectives and that happens every minute of every hour in our lives. The words are penned by Peep Peep and the choice of the word ‘forlorn’ as the antonym for happy. The guitar plays along mischievously just like her tone, her sly admission of her tipsy topsy tears, don’t mean much. But what I love is that she has a story to tell and with words like “transpired” and “conspired” Peep Peep makes the listener stay longer to know how this story will unravel.

The mild drums are just there to embellish as the melody co-composed by Peep Peep and Akash Navalkar gets a savvy production from the established Ronit Sarkar. Peep Peep is on a roll with her vocals , as she delivers every note with gusto, and impeccable control. Satyajit Chatterji is the man on the Piano. The bridge section is when she convinces her partner that they got to stay together and here the drums and rhythm guitar vanish as she sings “we will fight the fights, we will run the race at our own pace, ill take your hand when you cant stand” with some mesmerising harmonies too. The tracks are mixed and mastered by Soutrik Chakraborty. Taab, Rono and Peep Peep also ensure we get a ravishing, engaging video.

@awkwardbong @taaabus @peeppeep.wav @rakshandairanimakeupandhair @satyajitchatterji @zeek_zico @a.navalkar