Popular Carnatic vocal duo Srinidhi and Harini Senthilkumar, widely recognized as the Kamakoti Sisters, are looking ahead with optimism. They envision a future where the prestigious Margazhi music season will be invigorated and taken to new heights by their fellow Generation Z artists. In a candid conversation, the sisters, with over two decades of musical practice, opened up about their pre-concert nerves, audience connection, and the evolving landscape of Indian classical music.
Pre-Performance Jitters and Rituals
Despite their extensive experience, the butterflies still flutter before a kutcheri. Harini admits that seeking their guru's blessings just before a performance triggers a wave of nervousness and pressure. However, once they step onto the stage, they claim it as their own space. Srinidhi, on the other hand, adopts a calmer approach, consciously relaxing knowing her sister might be tense.
Their pre-concert ritual is one of focused silence. They enter a 'zen mode', deliberately avoiding any discussion about the performance for four to five hours prior. They believe that since the rigorous practice is already done, maintaining quiet helps them center themselves.
Connecting with Audiences: Live vs. Digital
For the artists, a packed live audience offers an irreplaceable emotional connection. Harini feels that a knowledgeable crowd sparks their creativity, creating a unique dynamic. Srinidhi prefers a full hall and tries to 'feel the pulse' of the listeners, especially the growing number of youngsters, to gauge if they desire traditional presentations or more experimental elements.
However, the digital age has reshaped their perspective. They acknowledge that online content consumption motivates them to deliver their best even if the physical hall isn't full, knowing people may discover their performance later.
Tradition, Technology, and Global Reach
While modern microphone systems set today's concert standards, both sisters yearn for the pure, unamplified experience. Srinidhi cherishes singing in temples amidst the sound of bells, which helps her connect deeply with the lyrics' original bhavam (emotion). Harini passionately describes the divine reverb and echo at places like the Orikkai Madam in Kancheepuram, finding it more satisfying than any technical setup.
They embrace the social media era for its power to provide global recognition and access. It allows them to understand what resonates online versus on stage and fosters awareness and collaborations among musicians worldwide—a scenario unlike the past, which relied on newspaper coverage.
On Concert Duration, Venues, and Fair Pay
On the ideal concert length, Srinidhi humorously notes a dichotomy: as a performer, she prefers three hours for a full exploration, but as a rasika (connoisseur), she'd like it to be just 1.5 hours. Harini adds that shorter concerts could allow more artists to get opportunities.
When asked which city outside Chennai best honours Carnatic music, Srinidhi praised Mumbai for its discerning audience and clear demarcation between Carnatic and Hindustani music in its sabhas. Harini highlighted Thanjavur for its amazing reception and equal dedication shown to both stalwarts and young performers.
The sisters also addressed crucial issues of remuneration and pay disparity. Srinidhi emphasized that fair payment is essential for artists to consider classical music a viable full-time profession without financial fear. Harini linked remuneration directly to respect for the art form and advocated for better, more equitable pay for pakka vadyam (accompanying) artists, stressing that every contributor works hard for a concert's success.
