At the Music Academy’s 99th Annual Conference in Chennai, the Oscar-winning composer opens up about reinvention, human experience, tradition, and why classical music must evolve to survive the social media age.
Oscar-winning composer and global music icon A.R. Rahman has never been one to shy away from tough questions. On Monday, December 15, 2025, while inaugurating the 99th Annual Conference and Concerts of the Music Academy in Chennai, Rahman voiced a concern that has quietly troubled the classical music world for years — where are the young listeners?
Standing in one of India’s most prestigious classical music spaces, Rahman admitted he had expected to see far more young faces in the audience. Instead, he found himself looking at a crowd largely made up of his own generation.
“How do we get them in?” Rahman asked, blunt yet reflective. “This has been my task for the last 10 years.”
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A Question That Refuses to Go Away
Rahman’s observation struck a chord because it came from someone who has successfully bridged worlds — from Carnatic roots to global pop culture, from film music to international concert stages. Yet even he acknowledged that classical music today faces an existential challenge in an era dominated by reels, algorithms, artificial intelligence and shrinking attention spans.
The composer revealed that for over a decade, he has been quietly working on ideas to reimagine how classical music is presented to younger audiences.
“I have been working on script ideas, how to make a movie, and all kinds of crazy ideas I have not told anyone about,” he said, hinting at possible future projects that could blend storytelling, cinema and classical traditions.
The statement instantly sparked curiosity in the room — and beyond — about what Rahman might be planning next.
Beyond the Performer: Rethinking the Experience
Rahman made it clear that the challenge isn’t just about talent or mastery.
“It is not just the performer or the mastery of singing,” he explained. “It is also the hall, the way spaces are designed, and how audiences experience music.”
In an age where entertainment is consumed almost entirely through screens, Rahman stressed the importance of immersive, physical experiences — something live classical music can offer in a way no algorithm ever can.
“Music has to travel around the world and be experienced in a way that enthralls and immerses audiences,” he said.
His remarks subtly pushed institutions to rethink everything — from acoustics and lighting to audience engagement and storytelling — if classical concerts are to compete with digital distractions.
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‘The Human Experience Is Irreplaceable’
One of the most powerful moments of Rahman’s address came when he spoke about the limits of technology.
“People today are constantly seduced by social media, artificial intelligence, and many other unbelievable influences,” he said. “All of this can happen on a screen.”
Then came the question that silenced the hall.
“But can you sing with the tambura in tune and hold an audience for three hours?”
For Rahman, the answer lies in the human experience — something he believes can never be replaced.
“The human experience is irreplaceable,” he said firmly. “Performing arts must be reinvented again and again to bring in audiences, generate an economy, and instil pride in our traditions.”
It was a reminder that classical music is not frozen in time — it must breathe, adapt and evolve to remain alive.
Creation Is Not Enough, Marketing Matters
In a refreshingly honest admission, Rahman also addressed a topic that classical musicians often avoid — marketing.
“While the creation of music is one aspect, marketing it in a way that allows the world to enjoy it is equally important,” he said.
Coming from a composer who has navigated global music markets with ease, the message carried weight. Rahman implied that reverence alone cannot sustain tradition; outreach, innovation and accessibility are just as crucial.
‘Everything Comes From Bhakti’
Despite advocating reinvention, Rahman made it clear that his foundation remains deeply rooted in devotion and tradition.
“I do not draw borders between traditions,” he said. “Everything comes from bhakti, from devotion — whether it is Sufi music, Carnatic music, Hindustani music, or gospel music.”
Describing himself as an “outlaw” musician, Rahman reflected on his own journey — learning tradition, stepping away from it, and then rediscovering it with renewed freedom.
“I moved away from tradition to rediscover it,” he said. “That gave me the freedom to innovate and collaborate, and the freedom not to feel guilty about breaking rules.”
It was a rare glimpse into the philosophy of a composer who has constantly redefined Indian music on the global stage.
Honouring Excellence at the Music Academy
The evening also celebrated legacy and excellence. Rahman presented the M.S. Subbulakshmi Award, along with the cash prize instituted by The Hindu, to renowned violinist R.K. Shriramkumar, the Sangita Kalanidhi designate for 2025.
Shriramkumar, in an emotional moment, recalled his first performance at the Music Academy — when he had to borrow both his instrument and his attire.
“From then on, my performances at the Academy have been an unbroken sequence,” he said, drawing warm applause from the audience.
He also emphasized the importance of preserving Carnatic music’s unique soundscape, warning against sacrificing its essence in performance.
A Celebration of Humility and Legacy
Music Academy president N. Murali paid glowing tribute to Rahman, describing him as an artist who seamlessly incorporates classical elements from both Carnatic and Hindustani traditions.
Quoting filmmaker Baz Luhrmann, Murali highlighted Rahman’s astonishing range — from triumphant anthems to soulful melodies — while praising him as “a man of humility and an ambassador of our wonderful city.”
The event also marked a significant upgrade for the Academy, with the commissioning of a world-class L-Acoustics audio system from France, installed in June 2025 — a step that aligns perfectly with Rahman’s vision of enhanced musical experiences.
A Wake-Up Call for the Industry
As the evening concluded, one thing was clear — A.R. Rahman wasn’t just delivering a speech. He was issuing a wake-up call.
Classical music, he believes, is not dying — but it must be reimagined. Not diluted, not compromised, but thoughtfully reshaped for a generation raised on screens, speed and constant stimulation.
And if anyone can bridge that gap between tradition and tomorrow, it’s Rahman himself.
For now, the question lingers in the air — how do we bring young audiences back?
If Rahman’s “crazy ideas” ever see the light of day, the answer may not be too far away.
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