Kerala music directors making a mark in Bollywood is still relatively rare. How did you break into that space?

Many people have asked me how in the world I reached there. The answer is simple: via Instagram. Joji was the turning point. Amar Kaushik, the director of Stree, messaged me on Instagram after hearing the score and asked for my number. I had watched Stree just two weeks before that, and loved it. Then suddenly I get a message from its director! I didn’t even reply immediately; I responded after two days. We still laugh about how random it was. 

I have received more offers from Bollywood, but due to my commitments in Malayalam, I couldn’t take them up at the time. So far, I have done three films with Maddock Films, and my next project is also with them. 

With successful Bollywood scores like Stree 2, Munjya, and Sky Force, how do you balance your south Indian musical roots with the demands of a pan-Indian audience?

Even when I worked on Joji, the music wasn’t rooted in our traditional sound. I listen to music from all over the world. It’s not just a means of enjoyment, but also a form of study. 

I don’t separate my approach based on language. I focus on the genre and the style the director envisions. Sometimes directors don’t have a clear idea initially, so I suggest ideas. And I don’t think about making my music pan-Indian only when working on Bollywood projects; I have the same mindset for Malayalam soundtracks as well.

You recently won the Pinkvilla award for best background score for Stree 2. Do you think the recognition will boost your prospects? 

I don’t let awards affect how I compose. What truly influences me is the reception of my music by the audience. Sometimes, songs I expect to be popular go unnoticed, which makes me reflect: was it a mistake on my part, or was the marketing lacking? On the other hand, songs I make in a jiffy might become hits. 

I avoid repeating myself by sticking to one genre. I like exploring new genres, even if directors ask for music similar to those produced by some artists I haven’t even heard of. It’s inspiring when directors introduce me to new music; that drives me more than awards. Ultimately, it’s the reach, audience feedback, and opinions of fellow musicians that influence me. There’s always a balance because musicians and audiences might respond differently.

There’s a lot of emphasis on the importance of background scores in storytelling today. This is something you have excelled at…

You can only create a great background score for a good film. When a film comes to me without any background score, it’s raw, and I can often predict its fate after the first watch. For instance, when I saw Stree 2 without scores, I was sure it would be a hit. The emotional and comic scenes were well-crafted. 

So, scoring it was just another step in making it great. With Joji, even if my score wasn’t there, the film would still succeed because the film itself was strong. Dileesh Pothan, in fact, told me that the film didn’t need my score to lift it. That kind of confidence from a director reflects the film’s strength. The music supports the film, but isn’t the sole reason for its success. If a film isn’t good, no matter how much effort I put into the score, the result won’t satisfy me or the director.