Embark on a melodic journey with Srivathsan , a rising star in the Carnatic music cosmos . Rooted in the rich tradition of Tiruvaiyaru , he captivates audiences with his creative and aesthetic renditions . Trained under renowned gurus and an A-grade artist of All India Radio , Srivathsan seamlessly blends classicism with innovation . A recipient of prestigious awards , his performances resonate globally , making him a distinctive voice in the realm of Carnatic music . end game for the evolution . In more recent years , the focus has shifted to voice management , keeping up and incorporating lessons in voice culture from other forms of music and tailoring that to Carnatic music .
What do you do to maintain your vocal health ?
At some point , we all realise that the voice is akin to the rest of the systems in the body , and it needs discipline and repeatability to thrive . Each one ’ s body also has certain things that it can take / cannot take , so identifying and eliminating those triggers helps . Basic stuff like keeping a warm up routine for concerts , practicing at similar times of the day , knowing when to give the voice a break vs when to push it are some of the key areas of focus . Exposure to voice culture techniques from other forms like Western Classical music has helped immensely , but it needs a level of maturity to adapt those for Carnatic music .
Are there specific challenges you face in maintaining the authenticity of Carnatic music while exploring contemporary expressions ?
I treat music as an expression of personality , and bringing that personality to whatever art form helps you stay rooted to it . Of course there is a spectrum of opinions and critique to contend with , but as long as you trust your foundations , the overall expression takes over . Having a good peer group that provides honest feedback really helps when faced with self doubt .
In the realm of Carnatic music , who are your major influences , and how have they shaped your style ?
I have grown up listening to a lot of Nadaswaram music , and I relate a lot to the creative freedom that the format brings . I have drawn inspiration from stalwarts like Ramnad Krishnan and Semmangudi Srinivasa Iyer for their affinity to certain kinds of ragas and their performance dynamics . Amongst contemporary stalwarts , the music of TM Krishna anna was something that inspired me a lot in my formative years .
How do you perceive the contemporary relevance and future of Carnatic music in the ever-evolving music landscape ?
The biggest challenge in my view is that the audience profile is not growing at the same pace as the number of artists . Musically , the form has withstood the test of time , and will find its own way to ebb and flow , but a more conscious attempt into making Carnatic centric spaces and the ‘ Carnatic Experience ’ more attractive to the younger generation and more inclusive is the need of the hour . Organisations like Madrasana and Sound Creed are doing a great job of it , and we need more such initiatives .
As a Carnatic artist , how do you approach collaborations with artists from different musical traditions ?
A certain level of openness and willingness to go out of your comfort zone is required . For example , I have dabbled in Acapella reconstructions of Carnatic pieces , and one of the key learnings was , you need to learn to use your voice to different effect while retaining the authenticity of your core content . Also , bringing a ‘ team ’ ethic to collaborations is important instead of competing . Also , a level of research into the history of the art form you are collaborating with ( from musical , social contexts ) is necessary .
Can you share a memorable experience or performance that has had a profound impact on your musical journey ?
I recently performed at The Hindu ’ s made of Chennai festival where the entire crowd was probably first-time Carnatic listeners . It was an open air setting with a standing , whistling audience , so it was as new an experience for me as it was for them . The sense of instant feedback was palpable and it created a huge impact and shift in the way I have always treated Carnatic performances . As an improvisational art form , Carnatic musicians are always thinking on their feet , but this took it to a different level . It broadened my perspective on ‘ what works ’ and how the space can really shape the art in so many ways . It was a brilliant experience , and to hear people whistling and clapping to Carnatic music definitely was nice to look back at !.
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