Top Indian Songs of the week 29th March 2026

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Here are the best songs releasxed in India across languages and genres for the week ending 29th March 2026

1.Elelam Kili

Composed by Sithara’s PROJECT MALABARICUS 

Vocals: Sithara Krishnakumar

Additional Vocals: Gana Vimala

Lyrics: Ahamed Shyam

Language: Tamil

Genre: Folk Fusion

Mood: Energetic

She's one of my favourite singers, and when Sithara Krishnakumar isn't involved in a movie album, she’s raising the stakes and delivering some earthshaking performances for her Project Malabaricus. Being a Tamil, many times I find myself jealous of Keralam and its music, and its overall place as a model state, but I also have to thank that they are our neighbours and we can learn faster from them. It gives me a wide smile when Malayali artists write and perform for teh Tanmil audience just like this one here. O.K. Gopi invites you with his Nadaswaram solo, just like how one gets to feel the power of this wind instrument at a wedding hall in the south, just when you set foot inside. 

Liboy Parisly and Vijo Job give the rhythm guitar support, and soon enough, Sithara sings these amazing tongue-twisting words penned by the talented Ahamed Shyam. The energy doesn't sap for one second thanks to the percussion by Sunilkumar PK. Ajay Krishnan’s basslines and lead guitar interventions, along with Midhun Paul’s drums, elevate the intensity and western Alt-Pop influences to a great degree in this folk-fusion single. My favourite lines are when Sithara sings “Yettram thaazvu ingu vahvenbathe, maatram kondada, nootril ondraaga”, especially as she adds such love and warmth here. Subsequently, when the words are more charged up, Sithara too rides a wave with fire and dagger with “ooraar paarvai uruthum mirattum”. Dance away when we hit the chorus segment of this infectious song. 

Is there some Abheri ragam in the melody? Maybe. The interlude with the Nadaswaram, guitars, bass, keys and percussion is pure bliss to the music lover. Srinath Nair is the keyboardist, and the chorus singers are  Kaanjana Sriram and Sadhika KR. Can you hear those stirring strings in the background? That is Rithu Vysakh casting his spell on Violins and Viola. I love how the lead guitar comes on and plays like a whiff of the Late U Srinivas on the Mandolin. “Thonzhntha pothum munneru neeye un ulae aalu neeye”, Sithara sings in the charanam, with the drums, keys, and bass guitar in sync, and with every note she whips up more and more magic, such is her ability to express vocally. How does she sing this impossible-sounding phrase, “ maarum theermanam un kaiyile, neeyum neeyaga vazhum theermanam un kaiyile” with such fine vibrato? 

Gana Vimala joins as the additional vocalist towards the end, accompanied by those heavy folk percussions, singing “kannu” in the bridge section. Arjun B. Nair is the mixing engineer, with Balu Thankachan handling the mastering. The sound engineers on board are Arjun B Nair, Ashwin Kumar, Sankeerth Shaji and Vivek Thomas.

@sitharakrishnakumar @rithuvysakh @liboypraisly @midhun.paul @srinath_nair_ @sadhikakr @sunilkumar.p.k @gana.vimala48 @projectmalabaricus @thebaluthankaxhan @vijojob @kaanjana_sriram @the_isolated_alien

2.Avasta

Written and performed by 24 Karen Gold 

Vocalist - Jyotisha Santosh Pillai

Music Production - George Thomas Mathew & Jyotisha Santosh Pillai

Language: Malayalam

Genre: Pop

Mood: Energetic

This feels like 24 Karat Gold, and to have a song like this on debut makes me believe in this glitter. I love the bass guitar that sets the tone straight up with Athena Roy as the bassist in charge. Jyotisha Santosh Pillai is not here to mince words, and she gets to the point with impeccable clarity in “Premam Paranayam, what the fuck, yuck? That's what he said after we fucked”. Within just 10 seconds, you are impressed, and you start understanding that 24 Karen Gold is here to make some serious music. The ability of a vocalist comes to be known when they can change gears, shift tracks and make your heart race and also calm the nerves in a matter of seconds with their style of delivery. 

If the opening lines of the verse let you think that Jyotisha is a dominant force, her subsequent lines,” Why, do you not want me baby, am I not good enough?”, make you ponder if she is soft, tender and desperate. Now that is raw talent, according to me. Dennit Shibu Jacob is on the drums, and George Thomas Mathew is the guitarist who alternates between the rhythm guitar and that smooth and silky solo on the lead guitar in the interlude. Kudos to Jyotisha and George, who take on music production responsibilities and effectively create the perfect soundscape and keep manipulating the arrangements to perfectly be in sync with the lyrics and the messaging. 

The song is one helluva roller coaster ride, after all, that is how human beings are, especially when it comes to their feelings. The Verse that follows slows down on the tempo, and all this makes me think if the songwriting structure is like the 5 stages of denial. Listen to this amazing line “melle melle po, I tell it to myself, bakshe nee parayu lets go with the flow, kaalakalamai katthirinnu njan, one day you tell me that you love me too”. I do feel her pain for trusting the guy she loved, and the words encapsulate this perfectly. Let us not forget Jyotisha’s sense and sensibilities in singing with the prefect tone and improvisation to express all this aptly.   The mild drums, guitars and bass also provide that peripheral support without ever intruding. “Why do you not see that I want more?” is where Jyotisha soars, and the harmonies aid. 

A brief pause, and what emanates is the thumping drums and guitars to drive home the point “ for us to be more than just friends” The counterpoint on the guitars in the outro just satisfies me and leaves me wanting so much more from 24 Karen Gold, a band that I will track more closely hereafter. Rishad Mustafa does the mixing and mastering, and the recording engineers are Tjus, Vivek Leo, & Abhiraman. The music video is directed by Dev and produced by Santosh Kumar Pillai. 

@24karengold_ @jyotisha_santosh @george_t_m @athenaroyyy @dennit._.jacob @rishadmusthafa @thetinyroomstudio @tjustjustjus @vivekleo_music @abhiraman_official 

3.Ae Ajnabee

Composed & Performed by: Aditya Rikhari, Ravator, Kutle Khan

Written by: Aditya Rikhari, Kutle Khan 

Producer: Ravator

Language: Hindi

Genre: Folk-Pop fusion

Mood: Immersive

Aditya Rikhari has been part of some good projects, and I, too, have enjoyed some of his singles, but the point that matters is that when one is handed the mantle, they take it up and shine bright in that opportunity. The title reminds us of one of the best Bollywood songs, which came from the album ‘Dil Se’ by AR Rahman, and this one truly feels like a great start to the latest season of Coke Studio Bharat. The lyrics are penned by Aditya and Kutle Khan, who plays a major part in the song’s folkish tendencies. Solomon Konwar Rengma plays the rhythm guitar, and the backing vocalists perform the chorus line just to pique our interest. Vanraj Shashtri’s Sarangi is a delightful addition to paint the soundscape with the flavours of Rajasthan. Ravator is the man on music production and responsible for delivering this blistering soundscape. The song is composed by Aditya Rikhari, Ravator and Kutle Khan

Aditya Rikhari is terrific in the verse, singing his lines with such fervour and purpose, something that has been found wanting in some of the recent Coke Studio singles from previous years. Aditya brings on a charm, but when teh chorus line is then performed by Kutle Khan, there is a vigorous vivacity in the voice. Shariq Mustafa lingers with the mild Tabla, along with Swapnil Tare on keys and Sashi Bhushan on bass. The lyrics are also excellent, enhancing the power of the messaging, as love and passion grow immensely while listening to this single. “Tum se mile, phir ek dafa jeene ki khwaaish si hui” with the upbeat rhythms works brilliantly as a whole. Listen to Suyash Gabriel function like a crouching tiger and pounce with his drums. 

The aalaps by both Kutle Khan and Aditya in tandem, albeit in different styles, and the sargams that follow all are great elements that elevate the song’s originality and creativity. The outro with Kutle Khan’s performance is the icing on the cake. The tracks are mixed and mastered by Mukul Jain at Ferris Wheel Studios. Jaya Rana is the recording engineer. 

@kutlekhan @ravatormusic @adityarikhari @cokestudiobharat @suyashgabriel @itsjayrana @mixbymukul @eskay____ @vanrajmusic @shashi.bass @swapnil_tare_

4.Beladingalu 

Singer : Vijay Praksh

Lyrics : Raghavendra Kamath

Composition and Production : Nakul Abhyankar

Backing vocals : 

Language: Kannada

Genre: Pop/Light Music

Mood: Romantic

It is the 3rd instalment called “Love Mocktail 3”, and after a fantastic Part 2 album by Nakul Abhyankar, he is back to compose the music for this sequel too. Sheikh Subhani and Abhinandan David are amping up the rhythm quotient with the guitars, and when Lalit Talluri plays the flute solo, we are already enamoured with love. The ‘Thanams’, as we call them in Carnatic music, basically vocalisation,  are how the backing vocalists Sreekanth Hariharan, Sarath Santosh and Nakul introduce us to the melody of this song. Vijay Prakash takes over, and this song gets a colour like never before. 

The arrangements, programming and production are all in superlative mode thanks to Nakul’s vision and artistry. Raghavendra Kamath pens the lyrics. The chorus line “Belandingale Ivalu Beladingalu” is where the heart blossoms as we get a barrage of acoustic guitars, accompanied by Pradyumna’s Tabla and Lalit’s timely interventions on the flute. The segment with the backing vocalists turns out to be that catchy hook line that stays with you long after the 4 1/2 minutes are over. The interlude on the guitar that follows is stunning, with the sound reminding me of a Veena, and all must be appreciation aimed at the soloists who have played it with such finesse. 

The melody and the interlude all show fragments of Mohanam Ragam, in my opinion (Raag Bhoop in Hindustani). The additional rhythms by Kalyan (like the Thavil) with the flute solo make it an enjoyable segment, and this rhythmic pattern goes on in the charanam too. This feels like a song that gave us Vijay Prakash ji something he deserves, and only he could have elevated with all his tone and vibrato. The tracks are mixed and mastered by MT Aditya Srinivasan, with Giridhar Divan as the recording engineer at Grey18 Studios, Bengaluru. 

@nakulabhyankar @milananagaraj @vijayprakashvp @aanandaaudio @darling_krishna @lalittalluri @sreekanthhariharan @sarathsantoshofficial @mountaditya

5.Thaen Sinthuthe

Song Composed, Produced and Arranged by Bharath Sajikumar

Vocals : Punnya Pradeep 

Lyrics : Charu Hariharan

Language: Tamil

Genre: Waltz

Mood: Romantic

The song’s title reminds me of a super song sung by SP Balasubramanyam and S Janaki, composed by GK Venkatesh. Anyway, coming back to this sensational single, I was immediately drawn to it. This is a creation by a duo called Bharath and Punya Collective , with vocals by Punya Pradeep and composition and production by Bharath Sajikumar. The Mild Piano begins slowly, filling the heart with joy, and just then, this expansive intro broadens into a more Waltz-like arrangement and rhythm. The one-man string quartet by Rithu Vysakh is one of the greatest selling points for me whenever he is involved. The moment Punya Pradeep starts singing, it truly feels like drops of honey dripping endlessly. The next line perfectly describes my feeling “

This Contralto singing is mesmerising to me, and Charu Hariharan, the percussionist (I never knew she could write so well, too), writes these beautiful words to tantalise. The romance flows like an endless tap, and Kudos to Punnya for delivering these lines with such apt emotive touches. The drums are mild, without any intrusion to the proceedings, and Rithu titillates with the violins. The additional vocals as harmonies work well in and when we hit the interlude, Bharath’s arrangements make it enticing and complete, with the woodwinds and plucks accompanying the string quartet. 

The melody is where the heart follows and responds, and we have a beautifully written charanam as well as Punnya starts singing “Thookangal tholaivil ponathe”, with the upright bass and woodwinds turning to be my favourite elements in the background. The charanam ends with such a suave and surprising shift in tempo, with Punnya singing “ Kaatril mithandhen kaigal virithen ithuve en swargame”, aided by intermittent pauses as well. The tracks are mixed and mastered by Finny Kurian. As far as video credits go, Pranav Rajeev is the DOP, and Aswin Lal is the editor. 

@punnya.pradeep @charuhariharan @rithuvysakh @finnykurian @sonic_island_studio @bharath_sajikumar @bscornerstudios @bharath_and_punnya_collective

6.Aawaaz Hoon Main

Written And Composed By Divyank, Akash Bhardwaj

Music Produced By: Divyank

Co-Produced By: Manash Saikia

Singer: Divyank

Language: Hindi

Genre: Rock

Mood: Immersive

Divyank writes and performs this soft rock single, and right from the introductory guitar notes, this is one is splendid all around. The vocals are soothing, and to accompany that smoothness, we have Akash Bharadwaj’s mild drums, Aditya Ahir’s gentle keys, and Manash Saikia’s suave bassline, all coming together. The lyrics and the melody are written by Divyank and Akash Bharadwaj, and the music production is done collaboratively by Manash and Divyank. I love when the melody just starts to waver into this heartwarming phrase, “ Kisi se na kahoon, Kisi ki na sunoon” with some breathtaking bass guitar support in the background. 

Aditya Ahir is playing the keys, and slowly, we get the electrifying guitars by Bastov Borbora. The line that really made me feel a sense of joy was when he sang “woh aaj hoon main” along with the embellishment of the chorus, performed by Ojus Gupta and Nikitha Venkatesh. The intensity of the drums rises, and the acoustic guitars get pacy to match the tempo. Is there some influence of Raag Khamaj? Maybe. “Raahon mein khoye hain maine apne toh kahin, Kharche hain, sapnon pe apne hisson ke sabhi” with just the keys and the harmonies is a beautiful , especially when Divyank delivers some very enjoyable harkatein. Rupjit Das is the mixing and mastering engineer. 

@ab_akashbhardwaj @divi_vox @bastovborbora @aditya_ahir2001 @ojusings @nikitha_venkatesh @cathysachdeva @merchant_records @salimsulaimanmusic 

7.Neeyum Naanum

Music - Keethan

Vocals - Kavin Lavari, Mariya Johny

Lyrics - Vignesh Ramakrishna

Language: Tamil

Genre: Pop

Mood: Romantic

Keethan has been known to create these catchy singles that not only feature some good melodic phrases but also benefit from some nice arrangements and production. He composes and produces the music, and the vocalists are Kavin Lavari and Mariya Johny, with lyrics by Vignesh Ramakrishna. I kind of prefer the diction of Mariya over Kavin’s Tamil lines. Sarath’s flute is accompanying nonstop, and I love his execution as well as the arrangement. A tinge of the sax comes along and makes it a more sultry single. A highlight is when Sravan Sridhar comes and plays a delectable solo with a phrase that sounds like Ragam Abheri to my ears. The words are penned by Vignesh Ramakrishna.

Daszi and Copiedthecat are credited as co-composers, and the tracks are mixed by Abel Libisch. Mariya’s contralto-styled delivery is where the heart beats faster, and when she sings kaadhal mazhai one feels like being under a blissful shower of music and love. The music video is directed by Priya Mishra, with executive production and editing, and features Kinjal Rajput and Akash Gupta. 

@keethanmusic @kiinjal.rajput @eskai @iksha.iyer @shravansridhar @pri.mi @mariya_laly_johny @vigneshramakrishnalyricist @kavin.lavari 

8.Time’s going by

Written, composed and performed by Malvi

Produced by Ankit Ganguly

Mixed and mastered by Anmol Raj Wardhan

Language: English

Genre: Alt- Rock

Mood: Energetic

This is the first time I've had the pleasure of listening to and featuring Malvika Bansal, also known as Malvi, as she writes the lyrics, composes this melody that feels like time standing still, and performs the lead vocals with impeccable style and gusto. The keys and heavy piano at the intro immediately, and Malvi begins to hit you hard with her lines and her evocative singing in “Time’s going by, So is the world changing, but when will my people change”. The basslines and rhythms join in just when she starts becoming vocal about the regressive society that we are. 

The song turns into one heavy Alt-Rock song with the blistering guitars  and drums, and as soon as the chorus segment ends, I was intrigued. When the drums and guitars vanished, the Tabla was introduced, along with Malvi’s mild humming. The interlude with guitars and keys mesmerises, and kudos to Ankit Ganguly for the stunning music production. Adding some death metal elements to the outro was interesting. The tracks are mixed and mastered by Anmol Raj Wardhan. As far as the video credits go, the DOP is Amal Prakash. 

@malvi.ka _ @the_endless_man @boovp_official @anmolrajwardhan @let_it_be_unique @atlasbound @mithunsimon 

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