Celebrating three remarkable decades in music, Anoushka Shankar opens up in an exclusive conversation about her journey, her emotional return to Kolkata, and her recent Grammy-nominated collaborations. The accomplished musician, composer, and producer shares heartfelt memories and insightful perspectives on her evolving artistry.
A Nostalgic Return to Kolkata
Anoushka Shankar recently shared a clip from her debut performance in Kolkata thirty years ago, when she shared the stage with her father, the legendary Bharat Ratna Pandit Ravi Shankar at the Netaji Indoor Stadium. The post drew emotional and nostalgic responses from music lovers worldwide. Next year, she will return to perform at the same iconic venue, completing a meaningful circle in her career.
When asked about her memories from that significant day, Anoushka reflects on the overwhelming experience. "When I try to go back 30 years to being 14, it's hard to remember all the feelings," she admits. "But I remember the awe of seeing my father play in Kolkata, and witnessing the relationship the audience had with him. To see that from the stage, being in the eye of that storm, was overwhelming."
She vividly recalls it being one of her first ten shows during her debut year of performing. "It was a huge auditorium. I was very nervous. My main takeaway was just seeing that Bengali relationship with music and with my father. It felt vivid and incredible."
The Evolution of Performance and Recognition
Anoushka maintains that self-evaluation remains a constant process in her career. "Before a performance, there's always hope for how we'll play and connect. After, there's some analysis — technical things to improve, learning about flow," she explains. However, her perspective has matured over time. "Now I'm a little less perfectionist about the technical side and more focused on the overall musical experience."
Her recent Ivor Novello Innovation Award recognition as a composer holds special significance. "It means a lot to be recognised as a composer because it's been a slow process," she reveals. "If I were a man doing the same things – writing and co-writing my last ten albums, scoring projects – I think I would have been called a composer sooner. I've had to push that forward myself."
She acknowledges her father's influence while emphasizing her unique path. "My father was a huge example – an instrumentalist, composer, innovator. Seeing him showed me it was possible. But I had to find my own way; what felt honest to me."
Grammy-Nominated Collaboration with Alam Khan
Anoushka received two Grammy nominations this year. Her single Daybreak earned a nomination for Best Global Music Performance, while her latest album Chapter III: We Return To Light – a collaboration with sarod player Alam Khan and drummer Sarathy Korwar – secured a nomination for Best Global Music Album.
The collaboration carries deep historical significance since both artists share a musical lineage. Their fathers – Ali Akbar Khan and Ravi Shankar – were trained in the Maihar Gharana under Allauddin Khan, and their collaborations were legendary.
"There were sentiments, but I also trust my instinct," Anoushka says about working with Alam. "We spent months texting ideas. Then we had a week together in London with Sarathy Korwar, and the music just flowed."
She describes magical moments during their collaboration. "With Alam specifically, there were moments when we'd play a phrase with such matching nuance that we'd just look at each other and go, 'Wow.' For two people who had never played together, that was special."
The final song, We Return to Love, uses raga Manj Khamaj, which has special family significance. "When we played it together, it felt like the spirit of something was with us. It felt beautiful to make an album that's our own sound — not our fathers' — but still honours them just a little."
Navigating Different Performance Spaces
Like her father, who famously performed at Woodstock Festival in 1969, Anoushka has headlined multi-genre festivals alongside intimate auditorium shows. She explains how she navigates these different energies.
"There isn't a huge difference between a festival and a concert hall in terms of what we play, but the energy changes," she observes. "Outdoors versus indoors, day versus night — people tune in differently."
She notes that "festivals are technically harder" with quick soundchecks and rolling with chaos, while "concert halls are more controlled." However, she thrives on variety. "Concert halls, big festivals, small jazz cafes — each changes how people listen. Sometimes I can be gentler; sometimes more expansive. I enjoy that."
Perspective on Technology and Legacy
When discussing AI-generated performances, such as the recent Mohammed Rafi hologram, Anoushka expresses thoughtful reservations. "I understand why people are embracing the technology – it's here. No shade to anyone doing things differently. But for me, I don't like that people who have passed don't get to consent."
She draws parallels with biopics, noting that "viewers don't know what's real and what's not." Regarding hologram performances, she emphasizes that "it matters whether someone would have wanted that."
She questions the allocation of resources in the music industry. "I can't help wishing that money went to actual musicians touring today. Why go to Vegas to see a hologram of someone who's passed when we could be discovering the next legend? I get the novelty factor, but I'm not a big fan."
Looking Forward: Current Projects and Instrument Legacy
Anoushka is currently touring six Indian cities with her quartet, presenting an unusual evolution of her trilogy – Chapter I, II, and III. "As each chapter released, the setlist changed. Now, with all three chapters out, we tell the full story on stage," she explains.
She describes the band as "versatile, virtuosic, soulful" and notes feeling creatively free with them. Her setup includes significant technology integration. "I also use a lot of technology—pedals, looping, live effects. Nothing is playback, but sometimes my feet are as busy as my hands. It's taken a lot of training. It lets us push the instrument forward."
She also shares insights about her instruments, particularly the rare sitars crafted in Kolkata by master instrument maker Nodu Mullick that belonged to her father. "They're like the Stradivarius of the sitar — unique in quality and feel," she says. "I don't play them anymore because, in the last decade and a half, I developed an internal microphone system for festivals and crossover shows. I wouldn't dare drill into one of those sitars. They remain rare, special instruments, not in daily use."
Throughout the conversation, Anoushka emphasizes her intuitive approach to music. "A lot of what I do is intuitive, not scholarly," she reveals. "Some people want to learn how I make music, and I tell them it all came from learning Indian classical music first." She teaches the same essence she learned from her father, adapted for contemporary students.
Reflecting on her artistic philosophy, she shares: "I like music-making to feel easy, safe, vulnerable. Maybe it's a feminine approach. Sometimes that makes it look deceptively easy. A lot goes into creating that ease."
