Concert review/ Bhakti Tarang by Kaushiki Chakraborty

BY NARENDRA KUSNUR 

Kaushiki Chakraborty/ Bhakti Tarang 

Genre: Devotional music

Details: Tata Theatre, January 3 2026

Rating: ****

During the second half of the Bhakti Tarang concert on January 3, vocaliat Kaushiki Chakraborty told the audience, "It's your song, you sing along. I won't announce the name now." After a robust percussion duet, she launched into the classic Marathi abhang 'Majhe Maaher Pandhari', ending with the 'Vithal Vithal' crescendo that gave everyone gooseflesh.

It was Kaushiki's first concert of 2026, and for those looking for music that was spiritually uplifting, Tata Theatre was the perfect place to be. For over two hours, minus the intermission, she sang a wide range of devotional tunes Besides the exquisite abhang, there were songs for Ram, Krishna and Ganesh, the inspiring poetry of Kabir, a Meerabai masterpiece and even a thumri with a spiritual interpretation.

The event, organised by Dedhia Music Foundation, began with a short performance by Bengaluru-based singer Hiranmayee S, winner of the foundation's Yuva Sur Sartaj. She sang Swami Brahmanand's 'Jai Jagadeeshwari Mata Saraswati', known for its Pt Bhimsen Joshi rendition, and the Meera bhajan 'Akhiyan Shaam Milan Ki Pyaasi'. She was accompanied by Nishad Chinchole on tabla and Omkar Agnihotri on harmonium.

Kaushiki's set was a mix of known and rare. Joining her were tabla exponent Ojas Adhiya, Ajay Joglekar on harmonium, Ninad Mulaokar on bansuri, Omkar Dalvi on pakhawaj, Suryakant Surve on assorted percussion and a trio of back-up singers. 

One has often seen Kaushiki at classical concerts, and also appreciated her recent independent album Pankh. She is known for intricate harkats and lightning-speed sargams, reflecting her training in Patiala gharana gayaki and command over the nuances. Here, she used them judiciously, focusing on soul and aesthetic expression rather than technical virtuosity. 

If she excelled on the highest notes on the Sant Eknath abhang 'Mhaje Maaher Pandhari', she also sang a divine and melodious version of Kabir's 'Jhini Jhini Chadariya' in Bageshree. Serene and soulful, it was one of the evening's highlights. Also from the Kabir repertoire, and in a complete shift in tempo, was 'Hamare Ram Rahim', composed by Shubha Mudgal. With the words reflecting communal harmony, Kaushiki talked about the relevance of the song in today's times.

The concert began with the Ganesh vandana 'Jay Jay Jay Sutmahesh', set in raag Kedar. This was followed by the bhajan 'Ram Ka Gungaan Kariye'. The Meerabai verse 'Mharo Pranaam', best known for its Kishori Amonkar Yaman Kalyan rendition, prompted Kaushiki to talk about the doyenne's immense contribution and how she believed that a singer's aim was not to 'impress' but to 'express'. This piece was followed by the uplifting Ashit Desai composition 'Krishna Radhika Sang Jhoole'.

The musicians contributed to the evening's ambience, with Ojas playing some smooth passages, Ajay Joglekar providing his deft touch and Ninad presenting magical spells on the bansuri. Between songs, Kaushiki occasionally narrated anecdotes or described her choice. She talked of how she learnt abhang-singing from  contemporary artistes like Jayateerth Mevundi, Rahul Deshpande and Mahesh Kale. "Though we have got our main taleem from our gurus, one should always be open to learning new things," she said. Before her finale, she also explained the spiritual interpretatiom of the Bhairavi thumri 'Babul Mora'. Her own presentation of the gem lasted 13 minutes, and she smoothly blended it with 'Shree Krishna Govind Hare Murare'.

Very often, classical singers get a chance to sing only one or two devotional numbers at the end of their concerts. Full-length thematic concerts provide an opportunity to expand on their repertoire, giving the audience tunes they normally don't get to hear. For Kaushiki fans, this was a wonderful and soulful experience.