A glance through the comment section of the song would leave you wondering why Bollywood had taken so long to take in Anirudh. The music composer has already composed the underrated song, “Yun Hi Re”, for Tamil-Hindi bilingual, David. Jawan is not the Hindi debut of Anirudh like it is perceived to be.
It is easy to employ his rooted voice for true blue folk songs, but how will you categorise Dippam Dappam (Kaathuvaakula Rendu Kaadhal) or Kattikida (Kaaki Sattai) or Aaha Kalyanam (Petta)? One can’t be sure whether or not they are folk numbers, but one can be sure that they are great. I am particularly amused by how Anirudh uses singer Anthony Dasan for his songs. Similar, to Rahman, Anirudh also brought his own unique touch to the folk genre of Tamil cinema. AR Rahman might now be introducing new sounds to the industry, but he also had to prove his folk mastery with Kizhakku Chemmayile (1993) and Uzhavan (1993). The market of a Tamil musician is also determined by his mastery of that genre. One of the predominant genres of songs you find in the south are the folk numbers - as a significant number of the films here are set in villages. You might not even like the entire song, but the hook will live in your head rent-free. The need to be instantly good has only worked in favour of Anirudh, whose expertise in coming up with a jingle or chorus or even something gibberish that gets imprinted on our minds instantly is almost masterful.
Now, tracks have to get into your head the second time or third, or else they don’t make it to our Spotify or YouTube playlists. Gone are the days when we provided the time for the songs to grow on us.
In the age of reels and stories, people have no time for ‘slow poison’ anymore.
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