In Candescence is a sparkling example of what can happen when two vastly different musical worlds collide in one harmony. This much-anticipated collaboration between renowned guitarist Nadaka and young percussion prodigy Keshava delivers an East–West fusion that feels natural & refreshingly joyful. The album’s very title (a play on “inner candescence”) hints at the radiant quality of the music. Listening to the album feels like being bathed in a warm, inner light.
East Meets West in a Luminous Collaboration
From the first track, In Candescence establishes a soulful bridge between Indian classical tradition and contemporary global music. Nadaka plays the Geet-Taar, a unique 24-string hybrid instrument he invented that combines the resonant depth of Indian string instruments with the versatility of an acoustic guitar. Its sound is at once familiar and exotic, you hear shimmering guitar-like melodies that bend into the microtones of a raga, all in one instrument. Keshava complements this perfectly with his tabla and an array of world percussion. His rhythms form the heartbeat of each piece, ranging from delicate hand taps to driving grooves. Together, their music is almost meditative: one moment you’re gliding on a serene melody, the next you’re carried by an energetic tabla solo. The chemistry between the two artists is palpable; their years of performing together have created an intuitive musical conversation that feels effortless and genuine.
A Journey Through Diverse Soundscapes
Each of the five tracks on In Candescence offers a distinct flavor, yet the album flows as a cohesive journey. Nadaka and Keshava draw on a broad palette of influences without ever losing their own identity. The title track “In Candescence” opens the album on a gentle, luminous note; it’s a perfect invitation into a world where Eastern melodies dance with Western harmonies. As the album progresses, we traverse different moods and cultures:
“Ananda Lucia” brings a blissful energy with hints of Latin guitar flair. The interplay of Nadaka’s strings and Spanish-tinged rhythms creates a feeling of sunny uplift and joy.
“Raga Blue” (featuring vocalist Gopika) is a standout, seamlessly blending an Indian raga scale with a subtle bluesy undertone. Gopika’s soulful vocals add an emotional depth, making this track a beautiful East-West fusion of its own, imagine a classical Indian melody soaring over a gentle, blues-influenced chord progression.
“Arabika” lives up to its name by weaving in Middle Eastern textures. The song rides on a hypnotic groove, with Keshava’s hand percussion and frame drum conjuring desert landscapes while Nadaka’s Geet-Taar phrases echo like a soulful oud (Middle Eastern lute) improvisation.
“L’Air du Printemps” (French for “Spring Air”) closes the album on a light and hopeful note. This track feels like a breath of fresh air, delicate, acoustic, and melodic, evoking the sense of new beginnings that spring brings. It’s a gentle finale that leaves the listener in a state of calm and contentment.
Throughout the album, the production remains organic and clear, highlighting the textures of each instrument. There are no excessive studio tricks here, you can almost imagine you’re in the room with the musicians, feeling the resonance of each strum and drum hit. Despite the complexity of some rhythms and scales, the music never alienates the listener. In fact, In Candescence is very accessible. Each composition has a strong emotional core that shines through the intricate arrangements.
The Artists Behind the Music
Part of what makes In Candescence special is the story and synergy of its creators. Nadaka, originally from Québec, has lived in India for over 50 years, immersing himself in the country’s musical and spiritual traditions. He studied classical instruments like the veena and sarod, and his creation of the Geet-Taar is the culmination of decades of exploration. Nadaka is no stranger to pioneering fusion music, he has collaborated with legends like A.R. Rahman and members of the iconic fusion group Shakti in the past, bringing a wealth of experience to this project. On this album, his playing is masterful yet unshowy: he lets the melodies breathe and shine, balancing technical skill with heartfelt expression.
Keshava, on the other hand, represents the new generation of world musicians. Remarkably, he gave his first public performance on tabla at the age of two, and by seven he was captivating a global audience (he performed center stage at the 2010 Commonwealth Games Opening Ceremony as a child prodigy). Now in his early twenties, Keshava continues to refine his craft, he studies ethnic percussion and improvisation in Vienna and has been mentored by none other than Ustad Zakir Hussain (the legendary tabla maestro). His upbringing in a multicultural musical environment (with a vocalist mother, Gopika, and years of playing alongside Nadaka) has shaped him into a versatile and sensitive percussionist.
Notably, the rapport between Nadaka and Keshava is the album’s soul. There’s a genuine sense of dialogue in the music, it never feels like soloist and accompanist, but rather two storytellers exchanging ideas. As Keshava himself described in an interview, playing with Nadaka has always been like a “joyful conversation of rhythm and tone,” and In Candescence indeed captures those moments where the music “effortlessly falls into place.” The listener gets to eavesdrop on this musical conversation, and it’s a delight to witness how each inspires the other.
Bridging Worlds Through Sound
In Candescence is a triumph of cross-cultural music making. It’s impressive how the album manages to be complex yet approachable, and rooted in tradition yet refreshingly contemporary. Fans of Indian classical, jazz fusion, or world music in general will find a lot to love here. But even if you’re not familiar with those genres, the album’s warmth and creativity make it easy to enjoy. There’s a universality in the emotions and the craftsmanship that transcends any one style.
