Singer Vidhya Gopal who has lent her voice to popular series like ‘Mirzapur’, ‘Permanent Roommates’, and ‘Modern Love Hyderabad’, as well as films such as Sanya Malhotra’s ‘Mrs’, and ‘Motichoor Chaknachoor’, now brings a fresh meaning to mehfil, blending it with guitar, violin, bass, and more.

After her 2023 album ‘Par’, she returns with ‘Mehfil’, a live eight-track album recorded in a single day across three intimate sets. Rooted in traditional forms like thumri, dadra, and folk, her sound seamlessly weaves in western instrumentation and contemporary arrangements, creating a rich and fluid listening experience.

Gopal has collaborated with different artists, including Digvijay Singh Parihar, Yashika Sikka, and Ajay Jayanthi, to bring in harmonium, keys, tabla, guitar, bass, and percussion in her album. 

Verus Ferreira caught up with the extremely talented Vidhya Gopal—best known as the voice behind Jaadu Waali Chimki from the recently released ‘Aap Jaisa Koi’— to talk about her music Music Needs a Mehfiland her live album.

Excerpts from the interview:

You recently released a live album ‘Mehfil’ featuring eight songs. Could you tell us more about the album and what inspired the title Mehfil?

Mehfil means an intimate gathering for music and poetry. I wanted listeners to feel as if they were in the room with us, sharing the energy, silences, and conversation of a live performance.

Could you walk us through each track, what the lyrics convey and how the process unfolded?

Most songs are beloved traditional pieces presented in fresh arrangements. The exception is Moko Kahan, a Kabir bhajan that DigV (Digvijay Singh Parihar) and I composed especially for our voices and shared aesthetic. The other tracks are Naina More a classic song of yearning with Ajay Jayanthi’s deeply emotive violin. Then there’s Jamuna Kinare a playful bhajan sung as a duet with Yashika (Sikka). One of my tracks has only voice and piano titled, Akeli Darr Laage which is about a search for a lover who hasn’t returned, with dancer Shreya Pandit adding graceful movement. In Room Jhoom its about a joyful monsoon earworm, while Piya Milan which is the show’s opening piece, is a greeting to the audience as the beloved. Amir Khusro’s spring celebration, Sakal Ban is reimagined with tabla, cajón, bass, and guitar with the final track Aavat which is a vibrant Tilak Kamod bandish with lively tabla padhant.

Mehfil beautifully blends traditional elements with a modern touch. How did you approach creating that balance?

I did not intentionally try to create a balance. Between the musicians and me, we each brought our own languages and grammar, and that shaped the final sound.

From being an architect to becoming a singer-songwriter, what motivated your shift to music?

Architecture taught me to design layered spaces, but music was always home. Eventually I realized I’d rather create emotional spaces through sound than through buildings, so I pivoted fully to music.

Who were some of your biggest musical influences while growing up?

The women of Hindustani music shaped me, namely Begum Akhtar, Shobha Gurtu, Naina Devi, and Shubha Mudgal. Their authentic, powerful voices continue to inspire my own.

After releasing your studio album ‘Par’ in 2023, what made you choose a live format for your next album?

I wanted a reflection of my live show on streaming platforms and online spaces so that listeners know what to expect when they buy a ticket to my concerts.

What challenges did you encounter while recording in a live setting?

We recorded at Veda Chaubara, a new venue then, and built three different stage sets to match the moods. With Drum Roll Please handling production, we worked through intense sound and light planning. In a live take there are no retakes, so full presence from everyone was crucial.

Do you see your next album also being recorded live, or would you prefer going back to a studio setting?

I would love to alternate, live for its raw unfiltered energy and studio when a more layered soundscape is needed.

Since many of your songs are season-inspired, how often do you perform live?

Quite often. I also have three concept shows. In Monsoon Mixtape I perform songs like Room Jhoom, in Shades of Love a piece such as Sakal Ban beautifully expresses the love between a student and teacher, and Rang Tarang brings the colours of Holi to life.

Now that you have gained experience with live album recording, do you plan to host more live sessions to engage directly with your audience?

Absolutely. Small mehfil-style gatherings are my favourite way to connect and are very much on the cards.

You have not signed with a record label to promote your music. How do you manage to fund your projects, from albums to live recordings?

I teach beginner-level music classes and take on commercial recording work for ads, films, and OTT projects. That income supports my life in Mumbai and funds my independent releases.

As an independent artiste trained in Hindustani Classical music, could you share a bit about your musical background?

I started training in Hindustani classical as a child and continue to learn even now. My semi-classical influences come largely from listening to the fascinating women I mentioned earlier.

Could you tell us more about your themed shows, Monsoon Mixtape, Rang Tarang, and Shades of Love?

Monsoon Mixtape celebrates the rains, Rang Tarang features songs of Hori and Holi, the festival of colours, and Shades of Love traces a journey through love’s many facets. Each is an immersive, story-driven experience.

Having released singles, sung ad jingles, and contributed to OTT and film projects, what do you personally enjoy doing the most?

Performing live. Nothing compares to the instant dialogue with an audience.

Are there any upcoming projects or collaborations you are currently working on?

Nothing specific yet, but several shows are lined up for the upcoming season and hopefully many more will follow. Performing live is my happiest place.

Do you still practice or pursue architecture alongside your music career?

No, I am miles away from architecture now, though the training makes me think about stage design and sets a little differently.