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Shruti Haasan Interview: Actress talks about her concert in Hyderabad, her films ‘Coolie’ and ‘The Eye’

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Shruti Haasan Interview: Actress talks about her concert in Hyderabad, her films ‘Coolie’ and ‘The Eye’


Shruti Haasan
| Photo Credit: Special Arrangement

Shruti Haasan and her band have been rehearsing in preparation for her live concert in Hyderabad on March 28. “I could not perform live music last year since I got busy with Coolie. I’ve been waiting to do a gig soon after wrapping up the film. It’s been fun jamming with the band. Island City Studios in Mumbai has become our second home,” says Shruti, speaking over the phone from Mumbai.

Talking about her five-member band and music producer Karan Parikh, Shruti says, “This is a great team; I love it that we all share a comfortable equation and enjoy making music together. It is like a match made in heaven and this is more important to me than love.” 

The live gig in Hyderabad, titled Shadows & Silhouettes, will also feature The Deccan Project. Shruti is appreciative of the band’s music and says, “When I was performing in the UK, I used to be excited about who was performing before me, because that is how I started off.”

Music lovers can expect her independent English singles such as ‘Monster Machine’, ‘Her’, ‘Edge’, ‘She is a hero’ and her Tamil single ‘Inimel’, alongside her popular film songs. “There will also be songs that I have not released on my YouTube channel but snippets of which people are familiar with from my Instagram feed.” 

The red thread

When asked if she plans to release a consolidated album, Shruti says at the moment she is focussing on singles in diverse themes. “In the future, maybe I will come up with a concept-driven album. Singles work for me now. I believe in the Japanese idea that everything is connected by a red thread and hope that it applies to the diverse music I am working on.”

Shruti Haasan

Shruti Haasan
| Photo Credit:
Special Arrangement

Shruti admits that the independent music scene is a different ball game from film music. “The numbers are vastly different. I want to reach that level where music can be a self-funding business for me. Ideally I would love to work on music for six months a year. I have realised that my strength lies in live performances.”

She hopes to perform in other cities, including her hometown Chennai. “As a teen, I would listen to music at the Unwind Center and chill out in the parking lot. Meeting other metal heads, it felt like we were a part of a powerful secret society.”

In 2018 and 2019, she performed a series of concerts in London, which gave her the confidence to explore music further. “I had taken a break from movies, was reticent and going through a phase of self-analysis. London accepted me and it became my home. For my first few gigs, the venues were packed to the brim. The audience included the Indian diaspora. Some came in thinking I would sing in Tamil, others who had grown up on Tamil or Hindi film music but were also familiar with hip hop, rock and metal warmed up to my English music. I remember a 16-year-old girl attending my concerts, accompanied by her dad. I learnt that they drove three hours to come and listen to me. All this boosted my confidence.”

At the time, Shruti was adamant about performing only independent English music and refrained from singing film songs. “Now I am open to doing both.”

Movie mode

Things changed during the pandemic. As lockdowns lifted, Shruti worked in Telugu films Krack, Waltair Veerayya, Veera Simha Reddy and Salaar: Part 1- Ceasefire. “My musician friends in the UK and USA are still finding their feet post pandemic. We have fared better in India and I shifted to movie mode. God has a plan for everything and I am happy to do different things.”

In between filming for Coolie in Pattaya, Thailand, Shruti performed with a local band for three nights. She says about the unexpected collaboration, “I had two days off and was chilling with my team at Tree Town Pattaya. I could hear metal music in the vicinity and went to listen to the band. The waitress noticed me singing along and informed the band. No one knew me there. They called me over and we performed a few rock numbers. I sang with the band for three nights. I made new friends and they are all part of my Instagram community.” She pauses and adds, “I have always been antisocial, or rather awkward with people. But I have always made instant connections with musicians since my teens.”

The collaborative shift

Shruti acknowledges the recognition mainstream cinema has given her. Mention that her part in Race Gurram is still referenced in conversations and she says, “I am eternally grateful to Telugu cinema. Race Gurram was a fun experience. I remember how Surender Reddy and Koratala Siva garu were open to my ideas. In the initial stages of my career, I would quietly do what I am asked to, so that I am not branded as difficult. But they both noticed that I grasped the vibe of that crazy character and encouraged me to do it my way. Today I find more directors open to ideas from women, be it Lokesh during Coolie or Prashant sir for Salaar. I don’t go overboard because that can be annoying. But it is nice to have that collaborative atmosphere on set.”

Moving on to talk about her international film The Eye, which was screened as part of the recent Wench Film Festival 2025, Shruti says a wider release is on the cards. She has also composed a song, inspired by her character Diana, for the film’s rolling credits. “I was more than happy to do it. I enjoyed working in the film so much that I could not part ways with the team easily. Soon after completing the film in Greece, I had to rush to Switzerland to dance on the snow with Chiranjeevi garu.” Composing a song for The Eye, gave her an emotional closure. “This process was cathartic.”

Coolie, her Tamil film directed by Lokesh Kanagaraj and starring Rajinikanth, Nagarjuna Akkineni and other bigwigs, is her next big release. “I am excited about both The Eye and Coolie and it marks a new path in my career. I am open to different films and talks are on.”

(Shruti Haasan and band will perform live on March 28; 8pm onwards at Odeum by Prism, Financial District, Hyderabad. Tickets on bookmyshow.com)



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Sunny’s Jaat beats Gadar to become his second biggest hit, Netizens SLAM Amitabh Bachchan for ‘silence’ on Pahalgam attack: Top 5 news | – The Times of India

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Sunny’s Jaat beats Gadar to become his second biggest hit, Netizens SLAM Amitabh Bachchan for ‘silence’ on Pahalgam attack: Top 5 news | – The Times of India


Whether it’s a sizzling new project announcement or a behind-the-scenes look at the lives of your favorite stars, we’ve got you covered. From Sunny’s Jaat beating Gadar to become his second biggest hit, Pahalgam attack sparking calls for BOYCOTT on ‘Abir Gulaal’ to Netizens Slamming Amitabh Bachchan for ‘silence’ on Pahalgam attack; here’s a quick roundup of the top five stories making waves in the entertainment world today!
Sunny’s Jaat beats Gadar to become his second biggest hit
Sunny Deol’s latest film, Jaat, has surpassed Gadar Ek Prem Katha to become his second-biggest hit after Gadar 2. The movie’s success at the box office has made it a significant milestone in his career, further cementing Deol’s position in Bollywood’s highest-grossing films.Samay says he is unable to sleep after Pahalgam attack
Samay Raina has revealed that he is struggling to sleep after witnessing the recent terror attack in Pahalgam. The comedian, who was in the area during the incident, shared how the traumatic experience has affected his mental health, leaving him unable to rest or find peace.

Pahalgam attack sparks calls for BOYCOTT on ‘Abir Gulaal’
Following the recent Pahalgam terror attack, Twitter users have called for a boycott of the upcoming Fawad Khan and Vaani Kapoor starrer Abir Gulaal. Many netizens have recalled the controversy surrounding Ae Dil Hai Mushkil’s release after the Uri attack, urging similar action against the new film due to Fawad’s involvement.

Emergency in legal trouble over ‘historical inaccuracies’
The makers of Emergency, the upcoming film starring Kangana Ranaut, have been sued by author R. N. S. Ayyar over historical inaccuracies. Ayyar claims that the film misrepresents historical events and portrays facts incorrectly, leading to legal trouble for the film’s production team.

Netizens SLAM Bachchan for ‘silence’ on Pahalgam attack
Amitabh Bachchan’s recent cryptic tweet, posted without context, sparked confusion and criticism. While other celebrities condemned the deadly Pahalgam terror attack, Bachchan’s silence on the tragedy drew backlash. Fans questioned his responsibility to address national issues, with one remarking, “Silence speaks volumes, Amit Ji.”





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NATYA VRIKSHA’s World Dance Day festival features an impressive line-up of artistes

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NATYA VRIKSHA’s World Dance Day festival features an impressive line-up of artistes


Curated by senior dancer Geeta Chandran, the 18th edition of NATYA VRIKSHA features dance performances, workshop and lecture.
| Photo Credit: Special Arrangement

NATYA VRIKSHA is all set to present the 18th edition of its special event, organised each year to mark World Dance Day. It is conceived and curated by senior Bharatanatyam dancer Geeta Chandran.

“World Dance Day is a moment to pause and celebrate what dance brings into our lives, not just technique or tradition, but emotion, truth and transformation. This festival is our offering to the art, and to the young dancers who will carry it forward,” says Geeta Chandran.

What sets this festival apart is its inclusive embrace of classical, contemporary and experimental dance forms. This year’s line-up includes performances by Bharatanatyam, Kathak, Kuchipudi and Odissi artistes.

Abhinaya Nagajothy will perform Kuchipudi.

Abhinaya Nagajothy will perform Kuchipudi.
| Photo Credit:
Special Arrangement

Each day, the festival opens with a workshop ‘Movement and Dance Aesthetics’, to be conducted by dancer and choreographer, Tanusree Shankar. Over the course of two days, there will be a witty theatrical retelling of an ancient story, scripted and performed by Ramaa Bharadvaj as well as a lecture by Ashok Vajpeyi on how dance, while rooted in the present, opens portals to imagination, memory and transcendence. There will also be performances by Madhura Bhrushundi (Bharatanatyam), Dheerendra Tiwari (Kathak), Abhinaya Nagajothy (Kuchipudi) and Shashwati Garai Ghosh (Odissi).

Shashwati Garai Ghosh will perform on April 27, 7.45 p.m.

Shashwati Garai Ghosh will perform on April 27, 7.45 p.m.
| Photo Credit:
Special Arrangement

Another key highlight is the conferment of the sixth NATYA VRIKSHA Lifetime Achievement Award to SPIC MACAY and its founder Kiran Seth, in recognition of their tireless efforts in preserving and promoting India’s cultural heritage amongst youth. “This honour is not mine alone — it belongs to every student who has sat in awe before an artiste, to every volunteer who has given their time to SPIC MACAY, and to every institution that believes in the power of the arts to shape minds and lives,” said Kiran Seth.

The World Dance Day Festival 2025 will take place on 26th and 27th April at India International Centre, New Delhi.

The festival line-up

April 26, 9.30 a.m.: ‘Movement and Dance Aesthetics’ workshop by Tanusree Shankar. 4.15 p.m.: Lecture: “Dancing Away” by Ashok Vajpeyi; 6:30 p.m: Young Dancers Festival – Madhura Bhrushundi (Bharatanatyam) and 7.45 p.m.: Dheerendra Tiwari (Kathak). 

April 27, 9.30 a.m.: ‘Movement and Dance Aesthetics’ workshop by Tanusree Shankar. 4.15 p.m.: ‘Avatarana – The Story of  Natya’, scripted and performed by Ramaa Bharadvaj; 6:30 p.m.: Young Dancers Festival featuring Abhinaya  Nagajothy (Kuchipudi) and 7.45 p.m.: Shashwati Garai Ghosh (Odissi).



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Prasanna Venkatraman curated an interesting list of songs dedicated to Rama

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Prasanna Venkatraman curated an interesting list of songs dedicated to Rama


Prasanna Venkatraman.
| Photo Credit: RAVINDRAN R

Prasanna Venkatraman’s concert for Rasika Ranjani Sabha and Gaanapriya Foundation featured the Purandaradasa composition ‘Rama Nama Payasake’ with a pallavi that reads like a divine recipe: “To the payasam of Rama’s name, add the sugar called Krishna, and mix the ghee of Vittala’s name — and savour it”.

Taking forward this blend of devotion and music, Prasanna, along with M. Vijay (violin) and Poongulam Subramanian (mridangam), embraced the concert’s theme — ‘Kritis on Rama by Vaggeyakaras upto Tiruvarur Trinity’ — to present a melange of delectable music at R.R. Sabha’s Kamakoti Hall.

Not surprisingly, it was Anjaneya who ushered in Rama as Prasanna began with Dikshitar’s ‘Pavanatmaja’ (Nattai-Khanda Chapu), with the kalpanaswaras providing a vibrant start. ‘Maakelara vicharamu’ in Ravichandrika served as an ideal gateway to Rama’s world, with Tyagaraja’s sentiment — “What is there for me to worry about with you around?” — rendered in a serene flow. The swara exchanges at the pallavi opening saw the accompanists respond in perfect synchrony.

Evocative rendition

Prasanna’s delineation of Anandabhairavi was evocative and replete with the signature vakra phrases. ‘Rama nama payasake’ in Rupakam, with its lyrical instruction on how to prepare, serve and partake of devotional nectar, was sung in a manner that reflected its profound joy.

Dikshitar’s ‘Sriramam ravikulabdhi somam’ in Narayanagowla was an apt pick. This kriti encapsulates the Ramayana in a nutshell. Prasanna negotiated the challenging swarakalpana for the delicate raga — bearing the hues of Kedaragowla, Surutti and Kapinarayani — with elan, and Vijay proved equal to the task in his response.

“Emani pogadudhura’ in Veeravasantham, in which Tyagaraja wonders aloud, “How shall I extol you, Srirama?”, was rendered with verve, followed by snappy kalpanaswaras. Bhadrachala Ramadasa’s ‘Emayya rama’ in Kamboji-Khanda Chapu brings out the attributes of Rama, and Prasanna’s rendition was imbued with the raga’s characteristic gamakas and grandeur.

The regal aura of Atana came to the fore in Prasanna’s precursor to ‘Ela nee dayaraadhu’. The classy composition, which sees Tyagaraja at his descriptive best, was another fitting choice. The cascade of vocatives extolling Rama, the distinctive melodic appeal of the raga, and the exquisite rendition combined to provide an elevating experience.

Prasanna Venkatraman with Poongulam Subramaniam (mridangam), and M. Vijay (violin). 

Prasanna Venkatraman with Poongulam Subramaniam (mridangam), and M. Vijay (violin). 
| Photo Credit:
Ravindran_R

Good teamwork

The main raga of the evening was Saveri and the composition Tyagaraja’s ‘Rama Baana’, which celebrates the prowess of the divine archery that felled Ravana. Prasanna’s alapana unfurled with the raga’s natural ebb and flow, offering hints of the kriti in store. Vijay’s version mirrored that of the vocalist. After a polished presentation of the kriti, Prasanna took up the sole niraval of the recital at the anupallavi opening ‘Bhamakasapadu’. It was extensive and absorbing, and well supported by the team. The tani avartanam by Subramanian was succinct and spirited.

A couple of observations need mention. Niraval is the acme of manodharma, and a concert of this nature has scope for and merits at least two explorations. Moreover, compositions by Annamacharya and Arunachala Kavi would have enriched the canvas further. The latter’s ‘Rama Nataka Keerthanas’ offer a near-complete musical Ramayana. Oothukadu Venkata Kavi, too, has several kritis on Rama to his credit.

The concluding section comprised ‘Rama mantrava japiso’ in Jonpuri by Purandara Dasar, ‘Vaidehi sahitam’ a Dhyana sloka for the Ramayana, sung in Sahana, Shanmukhapriya and Manirangu, followed by Dikshitar’s coronation kriti ‘Mamava pattabhirama’, and Tyagaraja’s ‘Ramachandra nee daya’ in Surutti.



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