The Malayali Carnatic composer behind the soundscape of Anurag Kashyap’s ‘Bandar'

From singing on an international reality show as a teenager to composing the background score for an Anurag Kashyap film, Shivahari Varma's musical journey has been anything but conventional. The Kerala-born musician, who first gained recognition as a playback singer and later worked on ad jingles and film projects behind the scenes, has now reached a significant milestone with ‘Bandar’, his first independent outing as a background score composer.

In an interview with Onmanorama, Varma shares the experience of collaborating with Kashyap, the lessons he learnt, and his belief in the untapped potential of Carnatic music in cinema.

According to Varma, one scene in ‘Bandar’ left a lasting impression on him as a composer. In the sequence, actor Bobby Deol is seen doing push-ups inside a prison. Shivahari initially composed a score that suggested the character had gradually become one among the inmates. But Kashyap had a different interpretation.

“He told me Bobby’s character was still in survival mode. He hadn’t fully become one of them yet, and the music needed to reflect that,” recalls Varma. “That was a huge learning experience. It showed me how important perspective is in shaping a film.”

He never imagined his debut as an independent background score composer would come through an Anurag Kashyap project. “I always wanted to become a full-time composer in cinema, but I never thought it would happen this way,” he says. “Anurag Kashyap is a filmmaker many of us admire. After working with him, I respect him even more.”

According to Varma, Kashyap first came across some of his Carnatic performances and reached out with a specific request. “He initially wanted me to compose a bhajan for the film. He liked the result so much that it eventually grew into an entire album,” he says. What impressed him most, however, was the director’s collaborative approach.

“He respects the opinions of the people he works with. He gave me the director’s cut and asked me to come up with themes that matched the mood of the film. When he handed it over, he told me, ‘This is your film now. Do what you want with it.’ That level of trust was incredibly moving.”

​Varma went on to compose seven to eight musical themes for the project. “When I watched the final cut, I noticed those themes had been used in different contexts across the film. It was satisfying to see how organically they blended into the narrative.”

Parts of the score were recorded in Kochi, where Kashyap and the team travelled to work at Cochin Strings Studio.

“Anurag sir, the background score team and the musicians led by me came down to Kochi for a recording session. We worked with a small ensemble that included violinists and a cellist. It was a wonderful experience, and we also captured some memorable behind-the-scenes moments from the session,” he says.

Though this is Varma’s first independent music, the musician had worked as an additional music composer in films such as ‘Meow’ and ‘Ozler’.

“Meow gave me the break I needed,” he says. “I got the opportunity to sing in the film, and that was a huge moment for me. The song 'Annapoorne...' became quite popular, especially after the film found a wider audience through OTT platforms. Even today, I receive messages from people who appreciate that song.”

Long before films, Varma had earned recognition through Asia’s Singing Superstar, a reality show judged by Shankar Mahadevan and Shafqat Amanat Ali. Featuring contestants from India, Pakistan and the UAE, the competition saw Varma emerge as the only Indian finalist. Having completed his schooling in Bahrain, the experience changed his outlook to life and his career.

“The encouragement I received from the judges gave me the confidence to pursue music seriously,” he says. “After finishing school, I packed my bags and moved to Mumbai.”

His decision was driven largely by his passion for Carnatic music. “I felt Mumbai, with its diversity and musical ecosystem, would help me refine my skills and improve my diction,” he says. “In Bahrain, I trained under Ambili Kuttan. In Mumbai, I came under the guidance of violinist Sangeetha Shankar, daughter of legendary violinist N Rajam. Being there also brought me closer to the film industry, and I began working on ad jingles.”

As someone deeply rooted in classical music, Varma believes Carnatic ragas still have untapped potential in cinema. “People often think the scope for Carnatic music in films is limited. But as someone who loves this tradition, I feel there are many more opportunities to explore it creatively and meaningfully within contemporary cinema.”

With Bandar now adding a significant chapter to his journey, Shivahari Varma is already looking ahead. “I have a number of projects lined up, and they are expected to be announced in the coming months,” he adds.