Nora Fatehi, long celebrated for her magnetic dance moves and screen presence, has been quietly carving a path as a singer, inviting both curiosity and scrutiny. There’s an almost cinematic quality to her musical ventures — a sense that every note she sings is choreographed with the same precision that makes her dance sequences unforgettable. Her recent work, particularly on tracks like  “NORA”  and  “I’m So Rich”  with Yo Yo Honey Singh, reveals an artist experimenting with her voice, weaving Moroccan, Punjabi, and global pop influences into a singular sonic identity. Critics might argue that Fatehi leans heavily on studio polish, Auto-Tune, and production effects, yet to dismiss her vocals as mere embellishments would be unfair. There’s a texture in her delivery, a playful charm that dances between rhythm and melody, that hints at untapped potential. Her collaborations with seasoned artists lend her music credibility, while her international approach reflects...

On October 18, 2025, coinciding with his birthday, Darshan Raval gifted his fans a deeply personal track, I Loved You . This release, part of his ongoing tradition of birthday surprises, marks a quiet yet significant shift in his musical journey. I Loved You unfolds as a gentle meditation on heartbreak and gratitude, wrapped in pastel synths and his signature soft‑melancholic voice. The production is intentionally minimal—acoustic guitar mingling with airy pads—placing Raval’s vocals front and center in an intimate, confessional space. This stripped‑back approach reflects Raval’s broader pivot toward indie‑pop intimacy, a deliberate move away from the maximalist Bollywood‑style pop that once defined his early career. Calling the song “a track that needed silence around it,” Raval invites listeners to experience vulnerability through restraint. By releasing I Loved You as a birthday gift, Raval not only celebrates himself but also deepens his bond with fans, turning the occasion int...

 When Madhur Sharma released his version of  Kali Kali Zulfon Ke , listeners split into two camps: the loyalists who swear nothing can ever match the divine energy of Nusrat Fateh Ali Khan’s original, and the younger fans who insist Madhur brought a new emotional pulse to a classic. Between those extremes lies something more interesting — the evolution of a timeless song through changing generations. Nusrat Sahab’s  Kali Kali Zulfon Ke  is beyond comparison, it’s pure qawwali gold, built on improvisation, surrender, and spiritual intensity. His voice didn’t just sing, it soared; it broke form, then remade it. You could feel centuries of Sufi tradition vibrating in a single breath. To compare anyone directly with that would be unfair. Nusrat’s version isn’t just a song; it’s a prayer that somehow found rhythm. Rishbh Tiwari’s reinterpretation, on the other hand, walks the indie route — stripped down, intimate, and designed for headphone listening rather than a live me...

She calls herself a singer songwriter but that label doesn’t really capture what Mabes is. There’s something too plain about it for someone who makes music that feels so effortlessly real. Her sound sits somewhere between folk and pop, but what truly defines her isn’t genre, it’s honesty. Every lyric, every note, carries the warmth of someone who’s lived her songs before singing them. Mabes has a rare way of making listeners feel seen. Her songs are open, unfiltered, and deeply human, like a quiet conversation with a friend who understands. She doesn’t hide behind gloss or perfection. In her videos and on social media, she appears just as she is, in denim, flared jeans, or a hoodie, guitar in hand, eyes closed, lost in her own melody. It’s not an image, it’s who she is, and that truth has drawn people in from around the world. Music came naturally to her. Her parents were big music fans, always playing records at home, and by fifteen she was writing her own songs. She describes her sou...

 India’s biggest music company, T-Series, is now experimenting with AI-generated music videos, marking a significant shift in how music is being presented visually. Recent releases like “Naam Hain Tera Tera” and AI reimaginings of classics show that AI can create cinematic, expressive visuals that match the mood of a song, often faster and at a fraction of traditional production costs. The potential benefits are clear. AI allows producers to experiment with surreal or imaginative visuals that would be difficult or expensive to film. It can also help revive older songs for new audiences, giving timeless tracks a fresh, modern look. With AI, music videos can be produced more quickly, potentially reaching global audiences in multiple styles and languages. However, there are challenges. Traditional roles like cinematographers, directors, and VFX artists may face reduced opportunities if AI becomes the default tool for visual content. AI-generated videos might also lack the subtle emoti...

In the late 1980s, a small cassette business in Delhi quietly laid the foundation for what would become a global entertainment empire.  Today, T-Series is not just India’s most powerful music label—it’s the largest YouTube channel in the world, a dominant film producer, and a model of how content ownership can be transformed into an enduring business. The company’s strength lies in a strategy that blends creative output with precise control of intellectual property. Unlike many labels that depend on licensing or temporary streaming deals, T-Series builds and owns its catalog. Every track released becomes a long-term asset, generating revenue not just at launch but for years afterward. This approach, combined with a deep understanding of audience behavior, has created a rare compounding effect: old hits continue to earn while new content fuels growth. At the heart of its model is YouTube. By bypassing traditional broadcasters and distributors, the company turned its channel into a d...

Aneet Padda’s rise in Bollywood has sparked curiosity — and controversy. With her breakout role in   Saiyaara   and a growing fanbase, many began asking if she had industry roots.  Born in Amritsar in 2002 to Navdeep and Sukhjit Padda, Aneet has no familial ties to the film industry. Her entry was far from glamorous — cold emails, shady casting websites, and self-recorded auditions done behind closed doors while telling her parents she was doing homework. By her own account, she sent over 50 emails to casting directors, often attaching Snapchat-filtered headshots and a “horrible biodata.” Rumors that she is the daughter of director Nitya Mehra and actor Karan Kapadia are false. They have a child born in 2019 — years after Aneet. She once referred to them as her “Bombay parents,” a nod to their mentorship during   Big Girls Don’t Cry , not a biological connection. After a small role in   Salaam Venky , and a bigger one in   Big Girls Don’t Cry , Aneet got he...