Mumbai-based artist Shreya Jain’s latest EP, Bawari, is a captivating blend of her classical Hindustani roots and her modern independent artistry. Collaborating with Juno, Shayra, Apoorva, and more, she fuses traditional melodies with contemporary elements to create a unique and refreshing sound.
In recent years, India has witnessed a surge of independent artists experimenting with the intersection of classical music and modern genres. Shreya Jain joins this wave, seamlessly juxtaposing Hindustani music with what can be inferred as electro-pop influences. Intending to invite listeners worldwide to appreciate and engage with the depth and beauty of Indian culture, she released the EP, which in my opinion was quite a refreshing detour from the usual rock and multi-genre blends.
Starting off the 4-track EP is ‘Kaahe,’ which was one of the first singles released from ‘Bawari.’ Featuring BLUCK and JUNO, the track delves deeply into the inquisitive mind of a girl as she questions and explores the mysterious magnetic attraction that continually pulls her closer to a particular individual. With downtempo beats coupled with Shreya’s angelic vocals, she provides an immersive and melodic experience to the song. The changes in beats and a misty interlude break the repetition of the chorus which keeps the listeners grooving to the song. The stunning music video, a splash of red across the screen sees the artist in a fusion setting.
‘Ghanan,’ the next song in the 11-minute journey uses the imagery of rain as a powerful symbol of rejuvenation and bliss through ambient rain sounds and synth melodies. Sanah Moidutty’s gritty vocals provide a nice contrast to Shreya’s sweet ones, while snippets of Tamil lyrics vividly express rain’s transformative impact on life. The song’s rising tempo also makes it a danceable tune.
Encapsulating the lively interplay between the two is the third track ‘Aaja,’ as Shreya narrates the boy’s playful teasing and flirtatious demeanor. With a glitchy intro, her vocal prowess takes on a different form as it gets more sensual which eloquently conveys the narrator’s yearning for her lover to linger beside her, enveloped in their shared connection. Adding to the uniqueness of the song arrangement is rap by GRAVITY and beautiful, grainy male vocals by The Rish.
‘Birha,’ the final track of the EP begins with a rich synth background, slow beats, and a melancholic yet beautiful classical string interlude to capture the profound yearning and sorrow of two lovers aching to be reunited. The husky male vocals and the poetic lyrics vividly express the depth of the sadness and solitude endured during the absence of each other.
Sonically, the EP is a departure from Shreya Jain’s typical acoustic, pop-infused tracks like ‘Na Rahi’ and ‘Aashiyan,’ which is the sign of an artist not afraid to experiment with new sounds. While the obvious argument against ‘Bawari’ could be that it does not do offer anything groundbreaking in terms of the fusion of Indian classical music with contemporary sounds, I think it need not always be an artist’s goal to try something novel. Shreya Jain has skillfully delivered a project that is true to her style, combining Hindustani classical vocals with excellent production and arrangement. Only time will tell what she creates next.
