In an exclusive conversation with The Pioneer, Vivek Hariharan opens up about the transformative leap from his stable consulting career to the unpredictable world of music. Sharing the journey that led him to his Bollywood debut with Fateh, he dives into the making of his trailblazing opera-inspired track Nindiya and Roohdaari and its reprise version
Tejal Sinha
In a bold move that many would consider daunting, Vivek Hariharan traded the stability of a lucrative management consulting career for the uncertainty of pursuing music. Today, as he debuts as a music director in Bollywood with Fateh and shares album credits with none other than Hans Zimmer, it is evident that his decision has paid off.
Speaking about his career shift, Vivek reflects on the pivotal moment that changed his life in this exclusive chat with The Pioneer. “I’ve been an artist since childhood, and art has always been a central part of my upbringing alongside mainstream education,” he shares. After spending over three years in consulting, Vivek realized excelling in both consulting and music was not feasible. “I had to choose between continuing my consulting career or following my inner calling as an artist. My true passion lay in music, so I took the leap,” he explains.
However, the transition was not without its challenges. Coming from a family that valued stable, service-oriented careers, convincing his parents about his decision to pursue music was initially an uphill task. “There was a strong preference for stable jobs over creative paths. But once my parents understood my vision, they became incredibly supportive. Their blessings and encouragement have been the cornerstone of my success,” Vivek says gratefully.
As a playback singer with hits like Challa from Uri: The Surgical Strike and Current Laga Re from Cirkus, he has gained insights that influence his approach as a composer. “Having sung a wide range of songs, it definitely helps when composing and presenting music to directors and producers. It gives them a clear idea of the direction the song is taking,” he says. This experience also enhances his collaboration with other singers. “I can envision how their unique flavours will enrich the track. That said, composing and singing are two distinct skill sets, each requiring its own expertise.”
Now, as a music director for Fateh, an action-drama film, Vivek has composed three tracks that stand out for their creativity and innovation. One of the most striking tracks is Nindiya, a haunting death lullaby that blends opera, orchestral hip-hop, and high-intensity action visuals. It’s the first opera-based composition in Bollywood. The song, which plays during a high-octane action sequence featuring Sonu Sood, was meticulously crafted. Vivek travelled to a remote chapel in Antwerp, Belgium, to achieve the authentic room dynamics and natural reverb needed for the piece. The opera segments were recorded with Belgian opera singer Tineke and a team of professional vocalists under the arrangement of Kris, a frequent collaborator of Hans Zimmer. Ukrainian violinist Yevheniia added layers of Western classical depth to the composition, while Indian vocalist Hamsika Iyer brought a delicate balance with her ethereal voice. “Debuting on a theatrical project like Fateh and sharing credits with Hans Zimmer is a truly special moment for me. Having grown up admiring his work, it’s surreal to contribute to a project associated with his legacy. This collaboration reflects the filmmakers’ vision to deliver top-notch quality, and being part of such a large-scale production has been a tremendous learning experience. I hope to continue growing as an artist and look forward to potentially collaborating with Hans Zimmer in the future.”
Reflecting on the process of creating such a unique piece, Vivek explains, “The filmmakers, particularly Sonu Sood Paaji, had an international vision for the sound, look and feel of the film. He wanted me to compose an opera for an action sequence he described. Considering the Indian audience’s limited familiarity with opera, I suggested creating a song that was contextualized to the scenes rather than a standalone three-minute opera.”
The result was a “death lullaby,” a philosophical take on the idea of eternal sleep juxtaposed against an intense action sequence. “Philosophically, death can be seen as a form of eternal sleep, so a lullaby felt fitting – a death lullaby that juxtaposes the action sequence with a poignant perspective. Sonu Paaji showed immense courage and trust in this unconventional idea, despite the absence of any precedent for such an approach,” Vivek says.
The track also features the work of international collaborators like opera singer Tineke, vocal arranger Kris and violinist Yevheniia. Each brought their expertise to the table, shaping the final composition. “For a cross-genre track like Nindiya, selecting the right collaborators was crucial,” Vivek says. “Tineke, an exceptional opera singer, brought the right emotion and authenticity to the recording. Kris, an experienced singer and vocal arranger, added dynamic depth through harmonic vocal arrangements, and his expertise in opera was honed through collaborations with Hans Zimmer. Yevheniia, a classical violinist I met in Belgium, played a pivotal role as well. Initially, the melody was produced using a synth, but her violin performance infused a natural, organic vibrancy, making the track richer and more alive.”
With Nindiya being hailed as Bollywood’s first opera-inspired track, Vivek Hariharan is earning accolades for his innovative compositions in Fateh. The song, a haunting blend of opera, orchestral hip-hop, and lullaby elements, has sparked conversations about whether this marks the beginning of a trend.
“I’ve never consciously followed trends, whether as a singer or a composer,” Vivek says. “Trends often emerge unpredictably, reflecting audience preferences at a given time. For me, the focus is always on creating something original and contextually relevant. While I wasn’t aware of any previous opera-inspired Bollywood tracks, that wasn’t the motivation behind Nindiya. This song was born from the synergy between the director’s vision and my musical approach. I hope to collaborate with more filmmakers who are open to pushing boundaries and creating meaningful, innovative music.”
In addition to Nindiya, Vivek has also composed Roohdaari, a romantic ballad sung by Jubin Nautiyal, which merges pop, Indian classical and qawwali influences. Its reprise version features acoustic guitars and classical ‘sargams’, showcasing Vivek’s versatility as both a singer and composer.
The primary version of Roohdaari is lush and up-tempo, combining Indian and international sonic elements. “It features instruments like the sitar paired with contemporary production, giving it a rich, dynamic feel,” Vivek explains. On the other hand, the reprise has a more intimate tone, characterized by acoustic guitars and intricate sargams. “Each version complements the other while offering a unique listening experience,” he adds.
When it comes to Roohdaari, a romantic ballad with influences of pop, Indian classical, and qawwali, Vivek’s approach was equally meticulous. “The word Roohdaari translates to ‘soul’ in Urdu, which naturally evokes sufi and qawwali influences,” he explains. “However, I wanted to blend these traditional elements with modern production to create something fresh. Growing up in the ’90s, I was inspired by the musical pieces that were part of many songs. That influence is reflected in Roohdaari, where the sitar adds a contrast to the modern production. The tabla, introduced in the latter part of the song, brings in a qawwali feel but with a slightly unconventional twist. A lot of these elements came together organically, driven by my desire to create honest music that expresses emotion.” Collaborating with Jubin Nautiyal for Roohdaari, Hariharan found the perfect voice to bring his romantic ballad to life. Jubin’s soulful rendition adds a unique dimension to the track, blending seamlessly with its pop, Indian classical and qawwali influences.
“Jubin is a dear friend and an incredible vocalist. We’ve known each other for a while, and he’s always a pleasure to work with. He understood the brief and nuances of the song effortlessly. Jubin’s voice added a special touch to Roohdaari, bringing a ‘Chris Martin’ vibe that elevated the track and made it unique.”
The reprise version of Roohdaari takes a different approach, offering a stripped-down acoustic feel while maintaining the essence of the original. Featuring classical sargams and guitars, the reprise stands out as a cinematic counterpart to its lush predecessor. “For the reprise, I kept the ‘sargams’ aligned with the melody from the original version, played on the sitar. This created a connection between the two versions,” Vivek explains. “I didn’t want to introduce entirely new melodies, so we focused on reinterpreting the guitar sections and adding cinematic elements to give it a contrasting, yet complementary, feel to the main version.”
