Mumbai: Over the years, Oscar-winning composer A.R. Rahman has shaped Indian cinema with some of its most iconic soundtracks, seamlessly bridging regional industries and global music traditions. From Roja and Bombay to Dil Se.. and Taal, Rahman’s work has transcended linguistic and cultural boundaries, earning him a devoted following across India and abroad. However, in a recent conversation with BBC Asian Network, the legendary composer offered rare insight into how changing power dynamics in the Hindi film industry have affected the nature of work coming his way in recent years.
Rahman, who has often been described as a unifying force in Indian film music, reflected on his early years in Bollywood, his sense of being an outsider, and how shifts within the industry have altered creative decision-making.
Feeling like an outsider in Bollywood’s early years
A.R. Rahman revealed that despite the massive success of films such as Roja, Bombay and Dil Se.., he continued to feel like an outsider in the Hindi film industry for several years. According to him, it was only after Subhash Ghai’s Taal that he truly felt his music had become part of everyday North Indian life.
“Actually, I was still an outsider with these three, but Taal became a household album,” Rahman said. He explained that the music of Taal resonated deeply with listeners across regions, finding its way into homes and daily routines. “It entered the kitchens of everybody, so to say. Even now, most North Indians still have it in their blood,” he added.
Rahman attributed this wide appeal to the album’s blend of influences. The soundtrack combined elements of Punjabi folk, Hindi melodies and mountain music, creating a soundscape that felt familiar yet fresh. He also spoke about the linguistic challenges he faced, noting that for many Tamil speakers, Hindi does not come naturally because of strong emotional and cultural attachments to their mother tongue.
Learning languages to connect through music
The composer recalled an important piece of advice he received from filmmaker Subhash Ghai, who encouraged him to learn Hindi to better engage with Hindi cinema. Instead, Rahman chose to learn Urdu, recognising it as the foundational language of Hindi film music during the 1960s and 1970s.
Rahman explained that his linguistic journey did not stop there. He went on to learn Arabic, citing its similarity to Urdu in terms of pronunciation and expression. Later, he developed an affinity for Punjabi, influenced significantly by singer Sukhwinder Singh, whose powerful vocals played a key role in some of Rahman’s most celebrated songs.
This willingness to adapt, learn and immerse himself in different cultural traditions has long been considered one of Rahman’s greatest strengths as a composer.
On prejudice and the recent power shift in Bollywood
When asked whether he faced prejudice in the 1990s as a South Indian composer in Bollywood, or discrimination against the Tamil community within the Hindi film industry, Rahman said he did not consciously experience it at the time.
“Maybe I never got to know of this, maybe it was concealed by God, but I didn’t feel any of this,” he said. However, he acknowledged that the situation appears to have changed over the past eight years.
Rahman pointed to a significant power shift within the industry, suggesting that people who are not necessarily creative now wield greater influence. “The past eight years, maybe, because a power shift has happened and people who are not creative have the power now,” he said. He added that this shift might also have a communal dimension, though it has never been overt or direct in his personal interactions.
He described how he sometimes hears, through what he called “Chinese whispers”, that projects initially planned with him were later handed over to multiple other composers by music companies. Rahman’s response to such developments has been notably philosophical. “I say good, I have more time to chill with my family,” he remarked.
Letting work come naturally
Rahman made it clear that he is not chasing assignments or attempting to stay relevant through aggressive networking. “I am not in search of work. I don’t want to go in search of work. I want work to come to me; my sincerity to earn work,” he said.
This approach, he believes, allows him to focus on meaningful projects rather than volume. According to Rahman, whatever he deserves will come to him naturally, a belief shaped by decades of experience in an industry known for its unpredictability.
Upcoming projects and collaborations
Despite his reflections on reduced work opportunities in Bollywood, Rahman remains creatively active. He has composed the soundtrack for Gandhi Talks, an upcoming silent drama starring Vijay Sethupathi and directed by Kishor Pandurang Belekar. The film also features Arvind Swamy, Aditi Rao Hydari and Siddharth Jadhav, and is scheduled for a theatrical release on January 30.
In addition, Rahman is working on one of the most ambitious projects of his career — Nitesh Tiwari’s Ramayana. For this epic, he has collaborated with Grammy-winning composer Hans Zimmer, marking a rare and high-profile partnership. The film stars Ranbir Kapoor, Sai Pallavi, Sunny Deol and Yash, and is slated for a grand theatrical release on Diwali 2026.
Conclusion
A.R. Rahman’s comments offer a candid glimpse into the evolving dynamics of Bollywood, highlighting how shifts in power structures can influence creative opportunities. Yet, his measured response underscores his confidence in artistic integrity and patience. As his upcoming projects suggest, Rahman continues to choose quality over quantity, reaffirming his belief that sincere work ultimately finds its audience, regardless of industry politics.