The award winning musician from India performing South Indian Classical music is a disciple of the legendary musician, Padma Vibhushan Smt. D.K.Pattammal. She was trained under the guidance of Sangeetha Kala Acharya Smt. Sulochana Pattabhiraman, Padma Bhushan Sri RK Srikantan and Padma Bhushan Sri PS Narayanaswamy.
Receiving an award for excellence from Smt Sudha Murthy
Currently, she is being mentored by Vidwan Sri RK Sriramkumar. She has performed over a 1000 concerts at several prestigious venues in India and the US and is also a recipient of several awards and recognitions including from the Government of India. Aishwarya Srinivas continues to gain worldwide recognition, it’s exciting to see how she will further push boundaries and continue to inspire music enthusiasts around the globe with her unique blend of Carnatic and Western musical styles. With over half million followers on her Facebook and Instagram accounts combined, her unique style has resonated with audiences around the world.
Excerpts from an interaction with Retropop…
Tell us about your musical journey?
With Legendary musician Chevalier Dr.M.Balamuralikrishna
My journey began even before my first spoken words. I had an innate love for music and natural instinct to vocalize the music that I heard without even being taught. My formal tutelage commenced at the age of ten under the legendary musician Padma Vibhushan D.K. Pattammal. She is hailed as one of the greatest musicians of all time, a trailblazer who laid the foundations for the musical tradition. Learning from her made me the inheritor of an esteemed legacy very few can claim. When I joined her tutelage, I did not have the slightest inkling how much her association was going to change my life or that I would take up music as my profession. I have had the unique opportunity to have received guidance from other remarkable musicians such as Padma Bhushan awardees R.K.Srikantan and P.S. Narayanswamy, and Chevalier Dr. M.Balamuralikrishna, each leaving an indelible mark on my style and repertoire. From giving my first public concert at about 12 years to performing over a thousand concerts at many prestigious venues, making a name for myself, it is a very humbling feeling, especially as someone who came from a very modest background where becoming a performing musician was something unimaginable.
The last 20 years have been a golden era – the voyage of a young girl who found her calling in music. I owe deep gratitude to my gurus and audiences, without whom this would not have been possible. Their blessings empower me to carry forward an illustrious lineage.
The Meeting with DK Pattammal and her accepting you as a disciple…share those beautiful memories.
With her Guru the legendary Padma Vibhushan Smt. D.K.Pattammal
My first meeting with Pattammal Ma’am as a 10-year old remains etched in memory. She was a doyenne of Carnatic music, freshly honored with the Padma Vibhushan. That she invited me, a little girl, to her home to sing for her was itself a blessing. Too young to grasp her monumental accomplishments, I saw only her grandmotherly warmth and simplicity.
When she asked me to sing something I knew, I rendered Yochana Kamala Lochana in Raga Darbar, taught by my previous guru A.S. Panchapakesa Iyer. No sooner had I finished than she kindly asked, “Would you like to learn from me?” I was overjoyed, as if the Goddess of Music herself had spoken. Beyond generously praising my singing, she predicted I would gain renown in music, as she had. That very day she started my music lessons with Karunai Seivai, a Papanasam Sivan song in Raga Hamsadhwani.
Not only was she beyond generous in appreciating my music, but went on to say that I would go on to make a name for myself in the music field like her. I believe that it is because of her blessings for me that I have come this far in the world of music.
You had a good academic background, but you chose your passion — Carnatic music. Are you happy? Do you ever repent? What was the reaction of the family?
I was a bright student from the beginning, excelling at academics came naturally to me. From being a top rank holder in school and gold medalist in college and Chartered Accountancy, I enjoyed indulging in my academic pursuit as much as I enjoyed performing concerts. But then, there came a point when my musical career totally took over. I believe the process of discovery and the creative exploration and sharing the beauty and joys of music with the audience and reveling in that space is profoundly satisfying. I consider myself very lucky and blessed to live a musician’s life, doing what I love most. I’m extremely grateful to the universe for this gift. During the pandemic when there were lockdowns, people in different occupations had no way of engaging with their work while as a musician I not only got to create music, record and even perform virtually and thus engage with my art but also create a bubble of comfort not just for myself but also for my audiences around the globe.
My parents saw my decision as an obvious choice; as they had secretly wished for me, but let me make my decision. They have been there with me every step of the way. My husband has been incredibly supportive of my career and aspirations, notwithstanding his own hectic work commitments. He is the one who will push me to do all the good things even when I doubt myself. I owe my success as a musician to my family’s unstinted and unconditional support.
What are the basic things you keep in mind while composing your music? How are your compositions different?
To me, music is not mere entertainment. It is a spiritual process. Every note has to be blessed to produce the right emotion and elicit the right feelings in the listener.
Composing is a very instinctive process for me and it is a beautiful journey of being a part of the process, watching how the different elements of composition come together naturally and organically, bringing life to a musical idea that was the genesis. I strive to convey an inner divine experience through my compositions, allowing audiences to connect with music’s inherent spirituality. Ragas and their melodies, the overtones, the interplay of the sounds of different instruments, come together in different ways and often the entire process is very spiritual. It takes me deeper within myself and helps me stay humble and embrace the music as it comes to me.
Post-pandemic what are the changes in the Music Industry?
A lot of good things have also come about after the pandemic like more acceptance of original and independent music. Today the industry is more confident and eager to experiment with new ways of working, interacting, and performing. Also, social media has become more important than ever as a repository of music. Further, remote collaborations and cross genre exchanges have become easier to work on and there’s better awareness about classical musicians and their work.
You are quite popular on social media. How do you engage your audience?
Social media is a platform with the intention of presenting Carnatic music in contemporary and innovative ways. I would have never imagined that my music would connect so many people. However, the reach and numbers don’t really matter to me. The most important thing is the creative satisfaction I get out of making and experimenting with music, and that’s what keeps me going.
It has been a wonderful way to get noticed, I’ve been super lucky to have won accolades from music directors, legendary musicians and other celebrities for my social media content. I believe there is an increased acceptance and appreciation of classical music now because of social media and its reach. I indulge in some fun and innovative ways to get my audiences to understand and relate with my music. Sometimes As a classical musician I try to bring a different dimension of my music to the audience and am often surprised by how much even culturally diverse audiences enjoy classical music if presented in a relatable way.
What do you think is the future of Carnatic music in India as well as overseas?
I am very optimistic about the future of Carnatic music, both in India and abroad. Here in India, I see the audience growing beyond traditional listeners to include more youth who are discovering this ancient art form. New modern contexts are emerging, like Carnatic music concerts at music festivals, studio collaborations with artists of other genres etc. that make it more accessible. Yet the core community of knowledgeable rasikas remains strong, ensuring continuity of our traditions.
Overseas, I find the appeal of Carnatic music spreading remarkably fast. The global exposure to Indian culture has created more awareness and appreciation worldwide. Many are drawn to the spiritual, emotive and mathematically intricate nature of this music. While second-generation Indians form a significant audience base, it is heartening to see more diverse crowds embracing the concerts.
Social media has created global collaborations and fusion projects that retain the essence of raga-based music. To nurture the sensitive balance between tradition and innovation is our responsibility as musicians.
What next?
One particular endeavor that I am currently working on is an all-women ensemble, bringing together artists from diverse musical traditions. This ensemble aims to create a new soundscape that not only celebrates the contributions of women in music but also serves as an inspiration to future generations of groundbreaking young musicians.
Other than that, there are concerts lined up, many interesting projects, collaborations with friends and contemporary music initiatives that are taking my time. I feel there is so much to do, so much to learn. Even the lessons that I learnt over two decades back from my Gurus have acquired new meaning and dimensions with my growing experience. I also take time off my schedule to mentor some really brilliant music students. I feel like a little kid in a candy store…there’s so much music has to offer.
