If you’ve secured your passes, blocked your calendars, and are about to dip your toes into the music festival season, then this list is especially for you. Yes, your life is surely going to change for the better, and yes, you’ll be re-watching that footage where you audibly sang louder than the artist onstage for the thousandth time. But, it’s equally crucial that you’ve got your basics in place. Whether you’re a seasoned veteran or a starry-eyed first timer, it’s time to get those checklists sorted as you gear up to see your dream concerts in real life. Rolling Stone India spotlights the most elemental additions that one should have handy for music festivals and concerts. 

Portable Power Bank

All those concert memories aren’t going to be made by themselves. Keeping one handy at music festivals and concerts should almost be a rite of passage at this point. . Between the bad signal and overarching urge to Instagram every damn thing, you don’t need to be panicking over a low-battery warning. Consider this your festival survival tool.

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Digicams and Disposable Cameras

If you’re a physical media aficionado with a penchant for photography, these are going to be your best friends. For many, concerts are that once-in-a-lifetime experience, where time seems to stand still in the most visually striking ways, and point-and-shoot cameras capture those moments with an innate nostalgic charm. While disposable cameras, which are powered by film, have a set limit on the number of photos, digital cameras have a video mode, along with other adjustment options, to experiment with.

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Portable Fans and Air Conditioners

Honestly, these are the underrated heroes of any weekend rager. When the sweat, dust, heat, and swamp vibes hit, whipping out a portable fan might just make you the coolest person in the crowd. You might also accidentally end up at the front of the concert just by cooling everyone on your way there.

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Electrolyte Mixes & Liquid I.V

All those endless nights of dancing, partying, and crowd surfing require a dedicated drinks break, and preferably one that’s packed with electrolytes.  Instant energizers, they replenish and restore balance, keeping you ready to take on yet another fan pit. Pack smarter by taking a collapsible water bottle along.

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Earplugs

The ultimate festival cheat code, earplugs take the edge off the painfully loud speaker reverb while keeping all the magic intact, so you hear the music clearly and avoid waking up with a ringing soundtrack nobody asked for. Not only will you be able to hold conversations with other concert-goers, but they also double up as head-turning, metallic statement pieces that are bound to fetch you compliments.

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Totem Compass

Are concert stories even complete without the “I lost my friends” lore? While we’ve all done the aimless wandering routine when the cell network runs out , the Totem Compass is here to change that. An evolved, digitized version of doof sticks and totems found at raves and electronic music festivals, the tracker, fashioned as a compass, utilizes Global Navigation Satellite Systems to literally point you in the right direction, with the LED lights glowing brighter as you get closer those friends you lost.

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Headgear and Sunnies

Beating the heat is a microtrend of its own. Complete your fit checks with sleek visors or athleisure caps. If you want to take it up a notch, wrap a bandana or a pashmina shawl to nail the boho-chic aesthetic. Y2k enthusiasts, gain infinite aura points with your ski-hats, berets, and vintage baseball caps. For the ones who are still not over Beyoncé’s Renaissance era, rhinestoned or fringed cowboy hats are non-negotiable. Want to emulate Dune energy but also protect your face? Balcavas and ski masks are going to be your best friends. And what’s a festival look without your go-to pair of sunglasses? 

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Sole Finds

Shuttling between brand activations and the F&B counter, concerts and music festivals also function as an unofficial leg-day workout. As you almost hit the step count of your dreams, it’s also important to choose your footwear wisely. Activate your dad shoe mode on with a pair of trusty NewBalance 574 kicks, or opt for a more grungy, punk-rock look with the classic Dr. Martens boots. Want to channel your inner 2014 indie-sleaze era? You’ve got your Chuck Taylors and Vans for that. Aesthetics aside, you can always rely on gel insoles to reduce soreness, muscle strain, and foot fatigue.

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Portable Foldable chairs

All the fellow “uncs” are going to love this one. A lot of festival culture also involves the quality time spent with other attendees, usually at campsites or outside mainstages. Foldable chairs, with their ergonomic support, lightweight structure, and sleek design, come in handy here. Add this to your camping gear shopping list and you’ll be good to go.

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Hangover Pills

A certified non-negotiable, hangover pills are a game-changer for those nights where no one is counting their drinks at the bar counter anymore. Pack prudently, and don’t let your festival experience be overpowered by nasty aftermaths and memory blackouts.

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Festival hygiene 101

 Let’s be honest, nobody wants to be a stinker in the audience. Festival hygiene, although extremely pivotal, is casually overlooked. But quick fixes can go a long way in securing you remain fresh and ready to take on the next set. Build your kit with the basics, starting with deodorant wipes, a toilet seat spray, travel-sized microfiber towels, and hand sanitizers. A UV protectant sunscreen or spray, with SPF 50++, can also help you avoid those nasty sunburns.

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Bag-o-logy

While you may be emotionally attached to your beloved tote or clunky bags, nobody wants to be shoved aside by them as you drag them around during concert moments. It’s time to imbibe “the smaller, the better” mantra and put those crossbody bags and fanny packs to use. To further amp up the functionality factor, add carabiners to your belt hooks and bags to hang reusable cups and concert paraphernalia with ease.

Get the product here

The post The Ultimate Concert Essentials To Carry This Festival Season appeared first on Rolling Stone India.

To say 2025 was the year India’s music festival circuit hit its all-time peak would be an understatement. From Lollapalooza India bringing down global icons like Green Day and Louis Tomlinson, to Rolling Loud making its long-awaited debut in the country with a roaring lineup featuring Central Cee, Don Toliver, NAV, and Karan Aujla, it’s been a watershed moment for the live music market. But India cementing its place in the global festival circuit has been decades in the making.

Building steady momentum since the early 2000s, independent trailblazers like Ziro Festival and NH7 Weekender have been laying the groundwork for today’s explosion, while fledgling efforts are finding a new footing in cities that move beyond the metro bubble. The music festival circuit has evolved into a network of formats, scales and intentions that coexist across the country, each serving a different purpose within the live ecosystem. Some festivals are designed to operate on a global level, drawing in international touring routes and large-scale productions. Others are rooted in place, culture, or community, building something slower and more intimate. A few sit somewhere in between, evolving year after year as audiences and scenes change around them. 

In a hyper-saturated concert economy, it’s harder than ever to tell which festivals actually matter and which will vanish into your Instagram archive. Our writers and editors scoured through lineups, fished out old wristbands, excavated photo storage folders, and debated over Excel sheets to put together a definitive list of festivals that cut through the noise. Each entry is shaped by how consistently the festival has delivered, how clearly it understands its identity, and how well it has earned the trust of its audience. Curation, production, cultural relevance, and long-term impact all factor into how these festivals stack up, especially in a market that is expanding as quickly and unevenly as India’s. 

Here are the top 25 music festivals in India, ranked.

25. Cherry Blossom Festival 

Cherry Blossom Festival has long positioned itself as Shillong’s bid for a place on India’s touring circuit, and while the intent is commendable, the execution has increasingly leaned toward spectacle over substance. Early editions struck a more considered balance between international headliners and the region’s deeply rooted music culture, but recent lineups have pivoted heavily toward familiar, big-ticket global names like Jason Derulo, The Script, Akon, and Boney M. While regional artists remain part of the programming, they receive little of the spotlight, scale, or consideration given to the global acts, leaving them eclipsed rather than meaningfully showcased. Their presence now feels more token than foundational. As India’s festival ecosystem grows more discerning, the lack of a clearer curatorial identity and a stronger commitment to the Northeast’s own musical legacy becomes harder to ignore. Cherry Blossom’s place at last on the list reflects that tension: a festival with undeniable potential, but one that risks becoming another touring stop rather than a destination with a distinct voice. – Shamani Joshi 

24. Sunburn 

There’s no denying what Sunburn once meant. At a time when large-scale electronic music festivals were virtually nonexistent in India, it played a foundational role in shaping the country’s early EDM culture. It brought down global heavyweights like Carl Cox, Armin van Buuren, and Above & Beyond as far back as 2007, and introduced an entire generation to the idea of destination-style dance festivals. That legacy still carries weight. Over time, however, repeated issues around crowd management, entry and exit bottlenecks, logistics, communication, and on-ground coordination have chipped away at that goodwill. The conversation around Sunburn today is less about discovery and more about endurance: how long the lines will be, how congested movement might feel, and how exhausting the overall experience can become. In a festival ecosystem that has matured significantly, these shortcomings are more visible than ever. Audiences now know what well-run festivals look like, and they expect that same standard from a festival of Sunburn’s scale. Its ranking at No. 24 reflects that growing gap between legacy and lived experience, and the hope that the on-ground reality can still rise to match the ambition that once made Sunburn so pivotal. – Peony Hirwani  

23. DGTL India

DGTL India brought clean, industrial sounds and aesthetics lodged at the fringes of electronic music to a bigger spotlight. Since the festival’s India debut in Bengaluru in 2020, its editions across Mumbai, Delhi, and Bengaluru have followed the global blueprint of modular stage design, art‑forward installations, and a roster of international artists like Solomun, Maribou State, SPFDJ, Ellen Allien, Yotto, and Hector Oaks, alongside cult-favorite local names like Sickflip, Anyasa, Parallel Voices, and Kollision. For India’s electronic loyalists, it has become the go-to space to experience international-quality production and underground sounds, presented with restraint. In recent editions, however, its growing scale and broader appeal have softened some of the grungy energy the festival was founded on, a dilution that places DGTL at No. 23 on the list. – S.J. 

22. Udaipur World Music Festival  

While Rajasthan has always had music festivals catering to different demographics, the Udaipur World Music Festival is a prime example of what a free music festival can do for the city’s spirit. Hosted since 2016 and conceptualized and produced by event company Seher, in the past, they’ve had morning sessions that give you a view of the iconic Lake Palace and evening sessions that take place in the heart of the city. Whether it’s hip-hop from Cote d’Ivoire or Yemeni folk or Portuguese folk rock, these acts have been presented alongside Indian favorites like Karsh Kale, Farhan Akhtar, Shaan, Kutle Khan, and others, making it a wide-ranging curation that leads the way when it comes to free music festivals for all.  – Anurag Tagat 

21. Outrage Festival  

After the Great Indian Rock Festival, there hasn’t really been a gathering for heavy music in the capital city of Delhi, and Outrage Festival steadily built itself from indoor club editions that shook up several venues to finally going open-air in the hopes of larger gatherings. They are 11 editions in, and while it’s not been without challenges — tech-death metallers Cryptopsy did not play their headline set owing to local authorities shutting down the festival earlier than anticipated in November 2025 — Outrage has definitely given metalheads in the capital a lot to look forward to in otherwise parched times. The likes of Bloodywood have got their much-anticipated homecoming gig, while Bhayanak Maut, Kryptos, and Gutslit marked their rare appearance in the capital, alongside local rock and metal acts who don’t always find a stage.  – A.T. 

20. Jazz Weekender  

The Jazz Weekender has slowly evolved into India’s most interesting jazz-adjacent melting pot, even if strict purists might look elsewhere. The fourth edition, held this October, leaned fully into jazz as a connective language rather than a closed genre, turning the festival into a live crossroads between hip-hop, R&B, electronica, funk, and improvisation. That philosophy peaked with Gujarati rap phenom Dhanji’s blistering 13-piece jazz-funk ensemble, an audacious, loose set that felt completely at home on this stage, alongside Mark de Clive-Lowe’s shape-shifting live remix performance. By framing jazz as a living, adaptive form rather than a museum piece, the Jazz Weekender has become one of the circuit’s most forward-leaning experiments, and a proper showcase for some of India’s finest live performances of the year. – Sharan Sanil 

19. Hornbill Festival 

One of the earliest instances of the state government getting involved in promoting Indian independent artists has arguably come from Nagaland’s Hornbill Festival. What started out as the Hornbill Rock Contest and then became Ticket To Hornbill became a launchpad for bands ranging from The F16s to Yesterdrive, Joint Family, Underground Authority, and Perfect Strangers since 2006. Kohima and its nearby town of Kisama threw their doors open for guests from all over in a cultural showcase like few others. The music is at the core of this, with evening performances from international and national stars alike, ranging from folk to rock to metal at the Naga Heritage Village. Nagaland has led with soft power for decades, and Hornbill is their annual blowout, packed with new discoveries as well as seasoned favorites on the lineup. – A.T. 

18. K-Town 3.0 

One of the few festivals in the country that has consistently tapped into India’s massive Hallyu wave, K-Town 3.0 comes in at No. 18 on this list simply because of the way it has managed to deliver a large-scale festival dedicated entirely to Korean music and culture. Renowned for bringing global K-pop heavyweights to the country, its past editions have featured names like BamBam (GOT7), Xiumin (EXO), Taemin (SHINee), and SUPER JUNIOR-D&E, alongside R&B and rock acts such as B.I, Bang Ye-Dam, Jey, and ONEWE. 

While the festival touts itself as bringing the best of K-culture, including food, beauty, and lifestyle, under one roof through meet-and-greets, official merchandise, pop-up karaoke, and photobooths, what truly gives it its warmth and spirit is the way it also doubles as a community that brims with fandom spirit. You’ll find attendees exchanging photocards, strangers vibing at impromptu flash mobs, and people headbanging to artists they’re probably hearing for the first time, emphasizing the long-standing power of community within the live music ecosystem. K-Town Fest has not only satiated the desi audience’s insatiable appetite for authentic, immersive experiences but also established itself as a platform for musical discovery. – Sharanyaa Nair 

17. South Side Story 

Red FM took an ambitious call when they decided to host a South India-themed music, food, and culture festival outside of the region itself with South Side Story. Then again, perhaps the whole idea was to call on the South Indian community that had settled in cities like New Delhi and Mumbai for a celebration of all things Malayali. Spearheaded by Red FM’s Kerala-origin chief operating officer and director Nisha Narayanan, South Side Story was launched in 2019 to mark Onam festivities. So you can come for performances by bands like Agam, Thaikkudam Bridge, and rapper Arivu, but stay for the sadhya (traditional and wholesome Kerala meals served on a banana leaf). Each edition sees attendees come out in their best lungis and white sarees, also becoming a draw for anyone who’s curious and happy to celebrate South India. – A.T. 

16. Bollywood Music Project  

One of the loudest efforts to take Bollywood tunes from cinema halls to the live stage, the Bollywood Music Project, now eight editions strong, has become a living archive of the genre’s enduring appeal. The festival has showcased legacy powerhouses like Shaan, Shankar Mahadevan, Usha Uthup, Sunidhi Chauhan, and Salim-Sulaiman, while also holding space for names like Dino James, Nucleya, Priyashi Shrivastava, Divine, and more. In doing so, it has carved out a space where generations of listeners converge, offering Bollywood loyalists a live experience steeped in nostalgia, collective memory, and a shared sense of pride in the music that has shaped popular culture. – Veer Mehta 

15. Orange Festival of Adventure and Music, Dambuk  

Whether you were flying in by helicopter or crossing a seasonally dried-up river bed, or perhaps taking a ferry across the Brahmaputra from Dibrugarh, getting to the Orange Festival of Music and Adventure in Dambuk, Arunachal Pradesh, is, well, an adventure. Infrastructure like bridges have made the festival much more accessible for anyone to come for the orange orchards, river rafting, and off-road 4×4 events on the sidelines, but stay for the music. OFAM has hosted the likes of American rock act P.O.D., guitar great Yngwie Malmsteen, rock guitarist Richie Kotzen, rap-rock act Flipsyde, Indian stars like Divine, Ritviz, When Chai Met Toast, and more since 2016. It has quenched the thirst for rock in the Northeast but also now moved into a space of curating national stars, making sure OFAM has evolved for Arunachal as well as the rest of the region.  – A.T.  

14. Ocha Festival  

Ocha Festival is less a conventional music festival and more a cultural convergence point for Kerala’s youth. Fiercely genre and language-agnostic, it reflects how Malayalam rap, English bars, and bass-heavy EDM coexist without hierarchy, mirroring a scene that values intent and authenticity over rigid categorisation. What sets Ocha apart is its culture-first approach. The festival prioritises community, energy, and scene-building rather than spectacle, allowing audiences to engage deeply with the music and the movements behind it. Watching thousands rap along to SA’s English verses or respond with equal fervor to Malayalam hip-hop underscores how “local” here is expansive, not limiting. This year’s highlights included Tamil rapper Asal Kolaar, the OG English rapper and crowd favorite SA, and rising artists such as Lil Payyan and EFY, alongside appearances from Dabzee and Vedan, while forerunners like Thirumali and Thudwiser anchored the lineage of Kerala’s hip-hop journey. Ocha stands out as a festival that documents a scene in motion: rooted in culture, confident in its identity, and unconcerned with external validation. – Srishti Das 

13. Goa Sunsplash

Goa Sunsplash feels like stepping into a reggae utopia carved out of sunshine, community, and impossibly good vibes. Rooted in the ethos of peace, unity, and sound-system culture, this beachfront gathering, founded by Delhi reggae collective Reggae Rajahs in 2016, rolls out a steady pulse of roots, dub, dancehall, and Afro-Caribbean grooves. Mornings ease in with yoga and wellness, afternoons drift into bass-heavy bobbing, and nights belong to massive sound systems shaking up palm trees under starlit skies. What sets Sunsplash apart is its sincerity: there are no gimmicks, just a deeply global yet distinctly Goan celebration where music and community float together on the same warm tide. – S.J. 

12. Bangalore Open Air 

Starting out in 2012 on a college campus, event organizer Salman U. Syed’s bullish bet on giving India a regular metal festival has led to 12 editions of Bangalore Open Air (BOA) in the Garden City. From Suffocation, Kreator, Rotting Christ and Mayhem to In Flames, Animals As Leaders, Alcest and several more, BOA has always been focused on bringing international acts to India. Where production challenges and cancelations have been nagging at them for years, the ship seems to have steadied with recent editions, with the 2025 outing bringing in Ukrainian metallers Jinjer and prog legends Cynic. Metalheads in India haven’t exactly been overrun with options but BOA has been that no-bullshit gathering they can look towards for quality international acts alongside Indian heavy-hitters. – A.T.  

11. Mahindra Kabira Festival, Varanasi  

Endeavoring to put forward the teachings and life of Kabir “in every sense,” the Mahindra Kabira Festival set up in the tourist hotspot and holy city of Varanasi to add a meaningful musical dimension. From sunrise sessions that take you on a boat ride on the Ganga for a ghat-side concert, to storytelling-led city tours and power-packed evening concerts, Mahindra Kabira Festival is the tourist-friendly gateway to Varanasi, but with music curation at its core. From Shubha Mudgal to Indian Ocean, The Raghu Dixit Project, Ranjini-Gayatri, Kaushiki Chakraborty, and several more, there’s a sonic diversity that makes you overlook the fact that artists often draw from the most popular Kabir couplets for their compositions. You might hear a lot of “Moko Kahan” and “Udd Jayega Hans Akela,” but there’s a new soul injected by varied artists. Working with New Delhi’s Teamwork Arts also brings forward theater performances and literary discussions to offer a more holistic deep dive into the poet-saint’s life and work. – A.T. 

10. Rolling Loud India 

Rolling Loud India earns its place on the list because of what it represents for hip-hop in this country. As the Indian edition of the world’s most recognizable rap festival, its arrival marked a turning point — a signal that Indian hip-hop had grown large enough, visible enough, and commercially viable enough to host a format built almost entirely around the genre. The ambition is undeniable: Rolling Loud India brought global hip-hop framing, scale, and intent into a scene that has largely grown from the ground up. Its strength lies in that statement alone, that rap here deserves dedicated infrastructure, headline treatment, and festival real estate without being boxed into side stages or genre silos. At the same time, its ranking reflects a festival still finding its footing locally. The challenge ahead is depth: building stronger continuity, sharper curation, and a deeper connection to India’s regional hip-hop ecosystems beyond the marquee moment. As a first chapter, Rolling Loud India opened the door. What it becomes next will decide how far up this list it climbs in the years to come. – P.H. 

9. NH7 Weekender 

Billed as India’s “happiest music festival,” NH7 Weekender is one of the OGs of India’s modern festival scene. Weekender always felt like a sprawling, communal reunion, whether it’s Pune’s warm afternoons spilling into electronic-charged evenings, or drum ’n’ bass, or pop, hip-hop, and metal sharing the same grounds in Shillong’s hills. It’s the place where college kids discovered their first indie favourites and where artists like Prateek Kuhad, The Local Train, When Chai Met Toast, Parekh & Singh, Lifafa, and more found their earliest festival-stage highs. After the 2024 Pune weekend was cancelled hours before gates opened due to law-and-order concerns, the festival is now toying with a multi-genre one-day festival format, touring in cities like Jaipur, Indore, and Noida while grasping onto the same indie spirit that made it so memorable. – S.J. 

8. Sacred Spirit Festival 

Sacred Spirit Festival earns its place by doing something very few festivals in India attempt, let alone sustain: slowing down. Set against the backdrop of Jodhpur, the festival has carved out a space that prioritizes spiritual, folk, and indigenous music traditions, creating an experience that feels intentional rather than overstimulating. What sets Sacred Spirit apart is its curatorial clarity. The focus isn’t on chasing trends or ticket-selling headliners, but on building a programme that foregrounds cultural exchange, heritage, and context. Performances feel rooted, often immersive, and closely tied to the setting, allowing audiences to engage with music that exists outside the mainstream festival circuit. Its ranking reflects both its strength and its specificity. Sacred Spirit is not designed to be everything to everyone, and that’s precisely why it works. By staying true to its ethos and audience, it has become one of the few Indian festivals where the experience extends beyond the stage, leaving a lasting impression that goes beyond a weekend of live sets. – P.H. 

7. Mahindra Blues Festival  

If the blues have a home in India, it’s the Mahindra Blues Festival at Mehboob Studios in Bandra, Mumbai. It’s really that specific, down to the venue and the locality, and not just the city, because Mahindra Blues has been doing this since 2011. From Buddy Guy to John Mayall, the Tedeschi Trucks Band, Keb Mo, and others, the 2026 edition brought back blues veterans like Shemekia Copeland and Eric Gales. Repeating acts could be a negative at most festivals, but with blues, you know you’re getting an electrifying performance every time, and the Mahindra Blues Festival seems to have cemented their audience on the basis of that, among other aspects like just running a well-organized and limited capacity event that’s meant for blues lovers. Along the way, they’ve even continued to spotlight Indian blues acts like Soulmate, Blackstratblues, Kanchan Daniel and Arinjoy Trio, who wouldn’t get a dedicated festival stage otherwise.  – A.T.  

6. RIFF 

The Rajasthan International Folk Festival (RIFF) transforms the majestic Mehrangarh Fort in Jodhpur into a world-music cauldron, marrying centuries-old Rajasthani traditions with global sounds. Taking place during Sharad Purnima under full-moon skies, the festival welcomes folk ensembles, fusion groups, and international collaborators from far edges of the world into its stunning open-air courtyards. Workshops on instruments like the kamaicha and khartal sit alongside Kalbelia and Ghoomar dance performances, while its UNESCO recognition and Mick Jagger lore draw artists and audiences from around the world. A folk celebration with roots deep enough to touch every genre it embraces, its most standout moment is the RIFF Rustle, a one-of-a-kind, all-artist improvisational finale that feels completely electric. – S.J. 

5. Echoes of Earth   

Among Bengaluru’s mainstay music festivals, sustainability is in the DNA of Echoes of Earth, and that’s always been executed without compromise. From upcycled materials for stage design modeled on India’s wildlife, psychedelic art installations that mirror Burning Man, as well as workshops, film screenings, and plant-based food options, there’s been a consistent vision with Echoes that has been both intertwined with music and also existing alongside the performances from Indian and international artists. Often having a bent towards electronic artists as well as genre-agnostic acts, Echoes of Earth’s animal-backdrop stages have featured fungi-obsessed oddities like Modern Biology to Tuareg desert rock act Tinariwen, groovemasters in the Yussef Dayes Experience, Indo-American experimentalist Sid Sriram, and more. The electronic stage involves a walk deeper into the woods near Embassy International Riding School, making the experience of techno and house (among other styles) hypnotic and enveloping. – A.T. 

4. Ziro Festival

In action since 2012 in a verdant valley in Arunachal Pradesh, Ziro Festival is as much a showcase of emerging and established talent from Northeast India as it is for alternative acts from the rest of India and the world. Ziro Festival has been home to international artists ranging from post-rock giants Mono, guitar great Lee Ranaldo to rock experimentalist Damo Suzuki, mainstream hitmakers Kailasa, Lucky Ali, Farhan Akhtar and Shilpa Rao. The stages are built from bamboo, there are traditional folk dances to welcome attendees and ever so often, there’s rain, mist and fog that makes the festival grounds in the town of Biirii like no other music setting in the country. Home stays have grown, as have hotels and campsites, proving hod music festivals can support local economies even as Ziro carefully select their partners each year, making sure Ziro is a place you escape to, not just for the music. – A.T. 

3. Bandland  

Coming up to its third edition in February 2026, Bengaluru got a rock music festival it could call its own after long thanks to Bandland. Still experimenting with lineups that have ranged from Deep Purple to Avenged Sevenfold to The War on Drugs and soon, Muse and pop band Train, Bandland runs a tight ship when it comes to production, crowd management, and tasteful but not clichéd design. Setting realistic ambitions is key for any festival to survive, and Bandland seem to be doing just that. So far, it’s not been stuffed with brand activations, and that makes it a bit more unique, perhaps because it’s trying to build a home for everyone, from parents and their children to new listeners wanting to discover the diverse world of rock and metal. – A.T. 

2. Magnetic Fields 

Ranking as the runner-up, Magnetic Fields has earned its spot for being one of the most forward-thinking festivals to pop up in the country. One of those hush-and-wink secrets you just have to be part of to truly understand, the festival established itself as a sensorial, intuitive escape where underground electronic and avant-garde sounds collided with immersive art, virtual-reality escapes, and wellness sessions like breathwork and stargazing. Previously set against the backdrop of the 17th-century Alsisar Mahal, ravers lugged suitcases through sand dunes, stumbled into secret dungeon stages, floated through palace hallways at 4 AM, danced their way through the biting desert chill, and woke up to the sound of khartals and sarangis. Over its decade-long run, it has hosted artists like Four Tet, DJ Koze, Khruangbin, Young Marco, Peter Cat Recording Co., and Ahadadream, while also carving out space for Rajasthani folk collaborations. While it skipped this year’s edition, it’s now evolving into Magnetic Fields Nomads and is set to re-launch in February 2026 at a new Rajasthan site. And if its past curation is any indication, revellers can hopefully expect late-night raves done right, a lineup with taste, and an atmosphere that can’t really be manufactured. – S.J. 

1. Lollapalooza India 

Lollapalooza India sits at the top of this list because it represents a clear shift in how India is positioned within the global festival ecosystem. It isn’t just a franchise landing on Indian soil, but a large-format event that has proven, in real terms, that India can sustain international touring schedules, headline-level production, and multi-genre programming at scale. What sets it apart is consistency and intent. The festival understands exactly what it’s meant to be: a gateway between global touring circuits and Indian audiences that still makes room for domestic artists across stages and genres. Its curation balances pop, rock, electronic, and hip-hop without feeling scattered, and its production standards match what audiences expect from the Lollapalooza name globally. More importantly, Lollapalooza India has shifted perception. It has helped move India from being seen as an optional stop to a serious market within global touring conversations. In doing so, it has raised the bar not just for international-format festivals, but for the entire live music circuit that now operates around it. – P.H. 

The post Top 25 Music Festivals in India, Ranked  appeared first on Rolling Stone India.

There’s no easy way to quantify the best songs of the year when there are hundreds of new songs coming out every week in the country. But, we know a powerful, memorable and important song when we hear one. 

This year saw fist-raising voices from across languages and genres, even as others celebrated the power of love, devotion, and even food. From newly-crowned hitmaker Kushagra, Bharath, and Saaheal’s “Finding Her” to Gujarati rapper Bhadrankar’s “Lafangey Parindey,” Faheem Abdullah and Huzaif Nazar’s “Sajde” and the unexpectedly baller team-up between Tsumyoki and Gini on “Don’t Even Text,” there was plenty of diversity to dive into in 2025. Here are our top songs of 2025, in no order or ranking. 

Dreamhour x Dokodoko – “Human Ideal”

Dreamhour and Dokodoko’s “Human Ideal” tore through the clutter with nu metal fury and Pritam Adhikary Goswami’s visceral screams over ominous vocals, marking a daring escape from genre constraints into something totally unhinged. The thrilling pivot — complete with a mind-melting music video — proves how the Sikkim/Siliguri-origin duo can soundtrack the downfall of humanity.

The Down Troddence, T.M. Krishna – “Maharani” 

Folk-metallers The Down Troddence’s “Maharani,” bringing in Carnatic vocal doyen T.M. Krishna, was the crossover no one saw coming. It spawned a defiant anthem against oppression that’s as musically audacious (and more polished than their previous songs) as it is urgent. 

Mali – “Dr. Dust” 

Mumbai-based singer-songwriter Mali’s “Dr. Dust” was her lone release this year, and that’s just as well. With producer Rohan Rajadhyaksha casting long shadows over a dark, trip-hop-influenced exploration of blind faith and cult manipulation, it’s a rare moment where an Indian pop artist commits fully to darkness.

Bloodywood – “Tadka”

Considering their broad global fanbase, it was only a matter of time before folk-metallers Bloodywood thought writing about Indian food was a great idea. “Tadka” is delivered in their expectedly exhilarating style, but also leaves room for nuance when they talk about the power of cuisine, connecting kitchens, roadside stalls, and family homes in one slick package.

Siroyi, Siddhant Bhatia – “8 Haath”

Siroyi’s “8 Haath” channeled classical training and fusion sensibilities into a searing critique of how Indian women are expected to be everything at once. In a gimmick-heavy music world, she brought rage, but ensured she wasn’t overplaying her hand when it came to showing off her musical chops.

Aksomaniac, Shreyas, Fatboi Raccoon – “Paapam” 

Indian hip-hop needs more boundary-pushing explorers like Aksomaniac and Shreyas Sagvekar. With producer Fatboi Raccoon’s roving beats, “Paapam” becomes a sensual, unflinching look at desire and intimacy, a Marathi-Malayalam crossover that would’ve never existed if it weren’t for these two risk-takers. 

The Yellow Diary, Shilpa Rao – “Saaye” 

After “Roz Roz” became one of their biggest hits starting in 2021, The Yellow Diary and Shilpa Rao teaming up again was a no-brainer. Both have grown in the years since, making for a more understated, heartwarming song about togetherness. 

Sijya – “Do I Know” 

There’s a wonderful vagueness in Sijya’s Leather & Brass EP that’s well captured in “Do I Know.” Tunneling, cavernous melodies, and a thumping beat make for a powerful yet open-ended treatise on existentialism, or something like it.   

Midhaven – “The Veiler”

When a band says they’ve put out their heaviest song, you can either treat it with skepticism or welcome it with excitement. Thankfully, Mumbai prog/sludge band Midhaven make it an easy decision right from the opening riffs of a seismic song that proves they’re sharpening their craft more than ever before.

Kushagra, Bharath, Saaheal – “Finding Her” 

Singer-songwriter Kushagra with producer Bharath and lyricist Saaheal made for quite the dream team with “Finding Her,” a waltzy, schmaltzy love song that won hearts and evoked bittersweet memories of lost love.  

Kunwarr – “Piche Tere”

Punjabi artist Kunwarr, along with lyricist Taseer and producers Dishant and Chiveer leap for a global sound with “Piche Tere.” In total loverboy mode over house and UK drill-informed beats, Kunwarr brings a refreshing addition to Punjabi pop lore in 2025.

Sudan, Frizzell D’Souza – “Ghost” 

Haunting vocals drift through minimalist production on “Ghost.” Producer and singer-songwriter Sudan’s ethereal tone haunts you, while Frizzell D’Souza adds lush textures that make a sparse beginning feel unexpectedly intimate.

When Chai Met Toast, Job Kurian – “Dreamland” 

If the distinct folk and multi-lingual draw of When Chai Met Toast wasn’t an invitation enough, they called on Job Kurian for a Malayalam verse, added chenda, komb, and elathalam on “Dreamland.” It’s a shiny ode to home that may as well be Kerala’s official tourism anthem.

Street Stories – “Left Me On Read” 

Hungover on Blink-182 and Green Day, Dimapur-based Street Stories serve up a short punk heartbreak story on “Left Me On Read.” It’s got barbs and bass riffs, all packed into a minute. 

Rascals Of The First Order – “Feels Like Shit”

A lot of Bengaluru band Rascals Of The First Order’s debut EP Caged Authority is pure unadulterated rock, but the crowning glory is the stoner epicness of “Feels Like Shit.” Mixing funk, rap and molten riffs, the rage bubbles just right. 

Serpents of Pakhangba – “Invocation of Pakhangba”

Taken from their latest mind-alteringly avant-garde album Air and Fire, Serpents of Pakhangba’s “Invocation of Pakhangba” is a smoldering, hair-raising reintroduction to the band. Featuring the Manipuri pena and metal riffs, there’s a mystique that few others can match. 

Justh – “Unse Jaake Kehdo”

Almost a year and a half after “Chor,” singer-songwriter Justh returned with “Unse Jaake Kehdo.” The stirring love song retains his simple, heartwarming wisdom and charm, and throws in uplifting gems like “Hum toh khud ko phir pasand karne hai lage.” (“I’ve begun to love myself again”) 

Bhumi, Pixlpxl, Flameboi – “Thalapathi”

Tamil pop’s future is in safe hands thanks to the likes of Bhumi fka Bebhumika. She’s already elevated film songs like “Oorum Blood,” and with her EP Uyir Ponaalum, she added more fervor. “Thalapathi” is an ode to star power like Rajinikanth but also buoyed by folk drums and sweet hooks.

Utsavi Jha – “Maan Jao”

Pop artist Utsavi Jha pivoted from lush and atmospheric songs to a danceable love anthem with “Maan Jao,” produced by Bharath Rajeevan. There’s a nostalgia-tinged music video, but even without it, Jha’s yearning vocals seal the deal, giving us a cheery earworm. 

Skrat – “Circus Act”

Chennai rock trio Skrat still have a good thing going, and thankfully, they’re keeping the engine running to a roar with songs like “Circus Act.” Retaining their fun-loving balance between dancey and ragey, it’s all focused into nearly six-minutes of lore that’ll keep everyone moving.   

Sid Sriram – “Sivanar”

Globe-trotting and genre-hopping are perhaps two of Sid Sriram’s favorite things, and he does both on “Sivanar,” taking a thiruppugazh (14th-century Tamil devotional song) composed by the saint-poet Arunagirinathar and rendering it with reverence and an otherworldliness that clearly comes from treating music as a spiritual medium.

Brodha V – “Hengaithe Maige”

Resolved to be in his own lane as a rap star, Brodha V pats himself on the back with the kind of Kannada wordplay only he can ace on “Hengaithe Maige” (“How Do You Feel Now?”). Over a shimmering dance beat, it really makes you wonder: is there anything the seasoned rapper can’t do? 

Frappe Ash, Toorjo Dey – “Sharmeeli” 

New Delhi hip-hop artist Frappe Ash is in his pookie era on “Sharmeeli,” off his latest album Ice Cream Frappe. Over buoyant production by Toorjo Dey, the rapper adds charm with Garhwali lyrics and there’s even a tabla section that surprises, making “Sharmeeli” ripe for replay value. 

Akshath – “Rozaana” 

A lo-fi diary entry with emotional weight, Akshath’s acoustic arrangements and hushed, humming vocals blossom into something you’d play over a moody evening walk, brimming with poetry and intimacy.

Anirudh Varma Collective, Aniket Chaturvedi, Chie Nishikori – “Saade Naal” 

One of the strongest voices in Indian fusion right now, Anirudh Varma Collective’s resplendent “Saade Naal” is like a rollercoaster, driven by Aniket Chaturvedi on saxophone and flute and Chie Nishikori on trumpet and rhythms that have a party-starting effect. 

Sufr, Arpit Bala, Toorjo Dey – “Bargad”

A modern-day soundtrack for Indian yearners stuck in maladaptive fantasies, “Bargad” builds upon contrasts. Arpit Bala’s intoxicating verse, paired with Sufr’s syrupy vocals, seamlessly glide over electric riffs and an addictive shehnai loop, leaving the listener lingering for more.

Pacifist – “Running Out”

Embodying the true essence of 2010s hardcore punk energy, “Running Out” by Pacifist circles around dystopian themes of disillusionment. 

Karan Aujla, Ikky – “Daytona”

A certified Aujla rager, backed by Ikky’s Don Toliver–esque production inspired by “Kryptonite,” “No Pole,” and “FWU,” “Daytona” is a high-octane victory anthem. Going beyond the materialistic ladders of success, Aujla vocalizes his commitment to the long game. 

Kinari – “Animal”

“Animal” by Kinari, a seven-minute critique of the performative hyper-masculine DHH scene, manages to remain unapologetically audacious until the last minute. Armed with a killer, smooth flow, each one of her verses lands with lethal precision. 

Reble, Parimal Shais – “New Riot”

A track that could score revolutions, “New Riot” is equal parts gritty and flippant, as Reble is growing more comfortable in her identity as a rapper, and unabashedly takes up space.

Ranj, Tienas – “One Stroke”

A track that is just a minute long, “One Stroke,” is almost surgical in its execution. Ranj’s effortless delivery, coupled with Tienas’s sickening, siren-blaring instrumental, heightens the listening experience.

Yelhomie – “We Outside”

Unflinchingly authentic, “We Outside,” infused with Meitei couplets, roars like a war cry. With sharp lyricism that calls out the socio-political disillusionment in Manipur, Yelhomie’s verses vocalize that the personal is indeed political.

Hanumankind, Kalmi – “Run It Up”

Using the crescendo of the Chendamelam to build a frenetic climax, Hanumankind ties culture, community, and hip-hop into one potent blend through “Run it Up.”  

Bhadrankar – “Lafangey Parindey”

Bhadrankar blends vintage R&B textures with Gujarati hip-hop in “Lafangey Parindey,” all while giving the world a taste of an ambition rooted in Vadodara identity and untouched by Western ideas of success.

Dhanji, Rasla – “Khatla Par”

“Khatla Par” by Dhanji and Rasla glides with a butter-smooth cadence, instantly setting the tone like the opening scene of a Western gangster film. Anchored by an earworm chorus and a wicked bassline, the track steadily amps up the cinematic groove.

Vengayo, Foxn – “Chikkama”

Vengayo and Foxn’s “Chikkama” is an unrelenting banger that refuses to let you stay still, redefining Kuthu euphoria with its sudden, thrilling beat switch-ups. Vengayo’s slick delivery pairs effortlessly with Foxn’s suave, old-school production, maintaining the energy throughout.

Seedhe Maut, Ghaatak,  Hurricane – “Abaad”

Seedhe Maut and DL91FM’s “Abaad” is a mellow, ambient rager that commands attention. Bars glide seamlessly against a high-bpm, hyperpop-reminiscent production, interwoven with piano and saxophone riffs. 

Tsumyoki, Gini – “Don’t Even Text”

Peppy from the get-go, the track featuring Gini’s dulcet vocals and Tsumyoki’s effortless flow, is a catchy ode to the “will-they-won’t-they” energy that comes with playing hard to get.

Faheem Abdullah, Huzaif Nazar – “Sajde”

A mellifluous, modern-day ballad, “Sajde” explores the undercurrents of an all-encompassing love — adulation, surrender, obsession, and heartbreak. The track possesses an old-school charm, right from its classical arrangements to Urdu lyricisms. 

KR$NA, Seedhe Maut, Hurricane – “Sensitive”

A clever callout to the fragile state of post-modern internet — cancel culture, half-baked critiques and intellectual bankruptcy — “Sensitive” urges one to not fall for the ragebait, rise above the censorship and live their truth unapologetically. 

Abdon Mech – “Noye Lhokuthu Iwu”

A swoon-worthy indie pop track that transports you to 2000s romcoms, Abdon Mech’s “Noye Lhokuthu Iwu” serenades the listener through its wistful Sumi Naga lyrics.

Param, Manni Sandhu – “That Girl”

Dropping verses over a U.K. drill beat, Param’s voice reverberates from the bylanes of Punjab across the nation. One of the few female rappers in the DHH scene, the 19-year-old Moga native wears her folk identity with pride. 

Shashwat Sachdev, Shilpa Rao, Ujwal Gupta – “Ghafoor”

An oddball that slowly grows with each listen, “Ghafoor” is a certified house-party addition that is bound to stir up the dance floor. 

Chaar Diwaari, Sanjith Hegde – “Banda Kaam Ka”

Fit for the protagonists simping over their manic-pixie dream love interests, “Banda Kaam Ka” sees Chaar Diwaari expand on the “Pyaar Diwaari” arc. Sanjith Hegde comes in full clutch with his bridge, consisting of poetic, classical verses that further heighten the romantic devotion quotient.

Lisa Mishra – “Teri Hoon”

A desi sapphic anthem that scores the quietest, most intimate glimmers of love, “Teri Hoon” is a ballad rooted in tenderness.

Dasagriva – “Jordaar Bonalu”

Telugu rapper Dasagriva comes in guns blazing with “Jordaar Bonalu,” a fiery composition of colloquial bars powered by thumping Dappu beats in the background.

Naam Sujal – “Killa Klassic”

Bound to cause a full-blown gig shutdown, this headbanger of a track by the Nagpur-based rap ace solidifies his signature penchant for lethal verbal weaponry. Part of his upcoming mixtape, Mammafication, the track offers a glimpse into the 19-year-old rapper’s archetype — equal parts ambitious, unfiltered, and cheeky. 

Shikriwal – “Real Baat”

Shikriwal’s “Real Baat” is reminiscent of Tyler, The Creator’s Flower Boy, with the saxophone instrumentals heightening the charisma. A sonic exploration of folk identity, the rapper blends jazz and Bhojpuri rap into a dreamy, immersive soundscape that unravels the poetic soul of the language.

Mary Ann Alexander – “Student of Love”

“Student of Love” shines with its dreamy arrangement and Alexander’s honey-smooth vocals, channeling sultry, syncopated 2000s R&B rhythms reminiscent of Aaliyah’s One in a Million, while SZA-esque vocal riffs take it up several notches.

Parvaaz – “Faani”

Fit for an indie coming-of-age film, “Faani” unfolds like the perfect road-trip anthem. A love child of Euphoria’s “Maaeri” and “Yu Hi Chala Hi” from Swades, the track feels like a time capsule to early 2000s I-Pop, infused with intricate harmonies and instrumental arrangements.

The post The 50 Best Indian Songs of 2025  appeared first on Rolling Stone India.

2025 was a year defined by South Asian cultural domination. From sold-out arenas to global stardom, our artists continued to rewrite the rules of the playground. What used to be representation disguised as exoticized appropriation is now a full-blown takeover, spanning runways, arenas, and even the recording booth. Music soared across boundaries, landing legendary crossovers that continue to appear on our playlists on shuffle. Amidst all the hubbub, sartorial storytelling in MV’s, off-duty fits, and onstage costumes have became an emotive tool, a gateway into the artist’s  legacy, story and authenticity.

Be it Rhea Raj performing a Bharatnatyam-infused dance break during her Commotion tour, or Diljit Dosanjh’s MET gala look that made heads turn, South Asian musicians are working closely with designers, stylists, and creative directors to develop a style of their own that combines the best of heritage, artistry, and brand identity into one, power-packed outfit. From Desi hip-hop heavyweights to subcultural trendsetters, here’s a rundown of all the South Asian artists that made heads turn, one look at a time.

Jonita Gandhi

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From metallic mini-dresses and chromatic hues to knee-high platform boots and form-fitting silhouettes, it’s always a party when Indo-Canadian songstress Jonita Gandhi is onstage, and her wardrobe follows suit. This year, she especially turned heads in her embellished lehenga corset from “Beparwai” MV,  a look that went on to inspire desi It-girls everywhere.

Yashraj

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To a casual observer, rapper, producer, and writer Yashraj may look like a quintessential boy-next-door, but step into his musical sphere and things take shape differently. Bringing the best of Indo-western aesthetics to the fore,  the multi-hyphenate oscillates between bedazzled jackets, baggy harems, craft-laden bomber jackets, and more. A nod to nostalgia and all things desi-hip hop, everything rests on a threshold, not more, not less; just enough.

Kayan (Ambika Nayak)

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A striking cross between Winx Club fantasy and Y2K glamour, the DJ, singer, and performer embodies a bold aesthetic defined by bodysuits, asymmetrical skirts, and embellished cutouts.

Vengayo

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At first glance, Chennai-based rapper Vengayo, or Isaac Vengayaperumal, may seem like any other guy. But it’s when the camera begins rolling that he gets into character. From pairing traditional gold jimmikkis with a bloodied durag and angel wings in “Chikkamma” to sporting textured leather ensembles in “Sridevi,” each rollout unlocks a new realm for his audience. Setting new benchmarks with every project, the artist, who started out as a dancer, uses his platform to champion folk narratives and heritage through his music videos.

Lara Raj

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While the world is still agape at the thought of Indian “baddies” existing, Lara Raj was at the forefront way before it was cool. A Pinterest staple for Brown girls all over the world, the Katseye member’s personal style is a combination of hip-hop, grunge, and R&B, coupled with her lethal smize and swagger, and often rooted in nods to her Tamil background. Bold and experimental, Raj’s choices reflect a time capsule of 2010’s party girl fashion along with Nineties hip-hop mixes in the shuffle. Her signature elements – Gold jimmikis, Om necklace, ornate sparkly bindis, Indian henna tattoos — have become beloved non-negotiables for fans from around the world.

Arogya

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Assamese Dark Synth rock band Arogya’s versatility extends to both their sound and creative ethos, curating a KISS-esque visual-kei-coded onstage look with elaborate headgears, consisting of northeastern tribal patterns, intricate jewelry, face paint, and more. They’ve also previously collaborated with designer Yana Ngoba Chakpu for their custom tour ensembles during their performance in Russia.

Aksomaniac

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Trivandrum-based singer and pianist Aksomaniac’s magneticity grows on you with time. Mixing mythos with reality, the artist owns up to his cultural eccentricities, dismantling societal narratives surrounding sex, relationships, and beauty standards, especially from a South Indian perspective. Looking like an Indian version of the 2Hollis otherworldly character archetype, he’s instantly recognizable through his curly mane and Seventies, hippie-esque ensembles.

Wild Wild Women

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No other girl group does it like Wild Wild Women, an all-female hip-hop collective representing the South Indian peninsula.  Draped up in nine yards of pure Kanjeevaram and Kasavu realness, the members deservedly take up space in the best-dressed list. Everything, from their flashy nail rings to their color-coordinated ensembles, remains tethered by a string of coherence, much like their music.

Raveena Aurora

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Encompassing all things ethereal and whimsical, Indian-American singer-songwriter Raveena Aurora’s onstage presence holds strength within softness, giving you a momentary glimpse of true serenity. This is further heightened by her free-flowing dresses, iridescent makeup, and dainty, butterfly-inspired accessories. 

Reble

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Representing the North East, Reble is as volatile as she is demure, commanding the stage with her hard-hitting verses. Fierce and grunge-coded, she is rarely seen without her trusty black boots by her side. Her wardrobe expresses an almost gothic, witchy intensity, her all-black ensembles coming together to unapologetically scream rebellion.

Ranj

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Recognizable by her signature teeth grills and stack of gold jewelry, Ranj’s style echoes a little bit of everything — Madras checks, Chopova Lowena-esque kilted skirts, boxy jerseys, and makeup — that would put clean girls in a coma. Part of the Bengaluru-based duo Ranj X Clifr, the Tamilian rapper, songwriter, and singer honors her heritage while also carving a distinctly global sound. Her experimental nature also extends beyond the recording booth, both outfits and mane-wise. From wild, Sixties-inspired bouffants and jewel-encrusted wigs, to 2000s-inspired spiky space buns, her hairstyles further reflect her uncontained range. 

Mary-Ann Alexander

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Alexander’s personal style exudes the same kind of freshness and vibrancy that can be found in her songs: Think Football jerseys and skorts paired with eclectic scarves and bandanas. Staying true to her ever-evolving R&B sound, the singer, songwriter, and producer is a walking moodboard for Nineties hip-hop style inspiration. 

Gini

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Redefining slow, cottage-core aesthetics by adding her own desi spin to it, Gini is one of the few Gen Z indie musicians who has made her audience fall in love with not just her music, but also her taste in pastel sarees. Like her EP, Sukoon, her visual identity evokes tranquility, be it through the flowy blouses or Studio Ghibli-coded floral skirts. 

Yung Raja

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Tailored, preppy fits mixed with street influences are synonymous with Indo-Singaporean rapper Yung Raja. The “high fashion” rapper’s retro, gentlemanly vibe is clearly visible, shaped by his deep-rooted love for style: well-fitted silhouettes,  scarves, jewels, drips, and kicks. His Rolling Loud India look captured the best of both worlds — an all-black distressed denim ensemble by Eric Créer, featuring a cropped jacket and bootcut trousers. Having graced global runway showcases and co-founded the fashion label “Pharaoh’s Horses,” he takes his fashion game very seriously.

Hanumankind

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Forget the year of the snake; it was certainly the year of the “Big Dawg.” Southside heavyweight Hanumankind, decked up with shiny grills, made the whole world rumble to his tracks at Coachella this year, all while donning a humble angavastram, tank top, and Air Force Ones. Leaning into a simpler wardrobe, the “Run It Up” rapper relies on selective essentials and color palettes, saving the theatrics for his performance. 

Arpit Bala

Like his discography, Bala’s stylistic presence continues to send tremors across the DHH landscape. Part digital court jester, part musical ace, he diversifies his online perception by playing various “characters,” both on and off screen. Bala’s stage ensembles rotate in a constant shuffle between oversized leather jackets, baggy jeans, boxy tees, and a pair of sunnies. As his new album, Keychain Laalu, dropped earlier this year, Bala’s world-building also expanded sartorially along with his creative partnership with stylists Sagaal Singh and Yatin Srivastava. From straightjacket-esque monochromatic ensembles, mob-boss fur coats to run-down Balenciaga venom boots, Bala uses clothes to create distinctions between his many worlds. 

Chaar Diwari

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DHH household name Chaar Diwaari is eclectic and disruptive, both in terms of style and sound. While he’s often seen in hipster-esque, signature harem pants and short kurtas, he’ll amplify it onstage with custom-printed co-ord sets and oversized jackets from brands like Dilli Disco District and Lead-A.

Himesh Reshammiya

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Leading one of the country’s most celebrated musical comebacks, Himesh Reshammiya’s “Cap Mania” tour embodied both extravagance and nostalgia. Reshammiya’s onstage looks radiated “Badass Ravikumar” energy — floor-length leather trenchcoats, oversized leather trousers emblazoned with zippers, and, of course, his bedazzled baseball caps, embossed with the classic “HR.” An icon for the ages.

Rishab Rikhiram Sharma

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Hands filled with henna, sitarist and composer Rishab Ririkram Sharma commands the stage with calculated ferocity. Shuffling between cream-colored anghrakhas, embroidered sherwanis, and dreamy anarkali kurtas, Sharma looks like a painting commissioned to be hung amidst a royal palace. Rewriting the rules of traditional masculinity, the instrumentalist does not shy away from donning the most intricate pieces of jewelry, namely ornate necklaces and equally alluring rings. Off the stage, he sticks to elevated basics, including classic tees, well-fitted denim, and sneakers.

Anoushka Shankar

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Always composed and heritage-forward, Anoushka Shankar’s looks consist of rich, jewel-toned Banarasi and brocade drapes; a thoughtful mishmash of tradition and modernity guided by structure. Craftsmanship takes center stage, even sartorially, when the sitarist carries pieces by renowned Indian designers like Sabyasachi, Rahul Mishra, Gaurav Gupta, and Amit Aggarwal with effortless grace and poise.

Rhea Raj

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The Raj sisters honor their roots in their own distinct ways, and Rhea Raj does it by channeling a fairy, amping up each look with subversion and sensuality. Bedazzled but effortless, her looks inculcate desi futuristic elements, all while embodying a divine feminine energy and repping modern, maximalist iterations of lehenga cholis, pencil-thin brows, and waist-length hair. Y2K makeup is her best friend: Icy eyeshadow palettes, dual-toned lips; the tiny details accentuate rather than conceal her South Asian heritage.

Sunidhi Chauhan

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Indian Pop heiress Sunidhi Chauhan’s “I Am Home” tour got the audience hollering at her impeccable dance moves and modern renditions of “Crazy Kiya Re.” But her wardrobe choices equally grabbed eyeballs. Wearing custom rompers, bedazzled dresses and corseted outfits, she rivalled the sartorial prowess of Beyoncé, Taylor Swift, and Shakira, establishing her might as a sartorial supernova.

Karan Aujla

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Spreading P-Pop culture around the world, Aujla melded luxury streetwear essentials with Punjabi components, namely Kurtas, armored vests, bedazzled gloves, and mandatory chunky bling that demands attention at every turn.

Talwiinder

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The Punjabi singer, songwriter, and producer, best known for his elusive nature, has dedicatedly carved out his alter ego, face paint and all. Taliwinder is an extension of that exuding a structured yet edgy exterior powered by denim, acid wash tanks, layered vests, leather trousers, and his trusted bandana. 

Diljit Dosanjh

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Diljit Dosanjh wears his culture like a second skin, whether on red carpets or while performing in sold-out stadiums, seamlessly mixing armor-like utility with the fluidity of the Punjabi kurta-tamba. For the Met Gala, he stepped into true royalty in a custom Prabal Gurung look inspired by Maharaja Bhupinder Singh of Patiala. Bathed in an ivory sheen on the Met carpet, the ensemble had an unparalleled regality, complete with a jewel-encrusted turban, kirpan, and an embossed cape adorned with the Gurmukhi script. Celestial shapes, a ceremonial sword, floral motifs, and rich gold embroideries ensured no stone was left unturned in amplifying the grandeur.

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From mixtapes by seasoned artists like rap maverick KR$NA that shut the haters up to gentle and meditative reminders to oneself by singer-songwriters like Tanmaya Bhatnagar, Anika, Ditty and Taba Chake, 2025 gave us stellar EPs and albums by seasoned and new artists alike. 

It’s clear in hearing these records that these artists have not only held the narrative value of an album in high regard, but also subverted formats and expectations when it came to narrative and sound.  Here are the best albums and EPs of 2025, in no order or ranking.

Hanumankind – Monsoon Season 

Even before “Big Dawgs” took rapper Hanumankind global, the Kerala-origin, Bengaluru-based artist was plotting a full-length album. When each of your recent singles is a smash, from “Genghis” to “Go To Sleep” to “Big Dawgs,” a mixtape may not be the best way to hold an audience’s attention in the streaming age. HMK didn’t care for that, and rightfully so, because each of these 12 songs was a gem encrusted into a crown. From star team-ups like Denzel Curry, A$AP Rocky and Maxo Kream to singers like Roisee and Rudy, Monsoon Season is a reintroduction to new fans and a deeper look for the day ones, sonically designed for adrenaline, introspection and grit by the rapper’s go-to producers Kalmi and Parimal Shais. 

Karan Aujla – P-Pop Culture 

Name a better team than Karan Aujla and Ikky in Punjabi music. The Canadian-Punjabi’s next move after songs like “Wavy,” “Tauba Tauba,” and “Softly” was highly anticipated, and acknowledging his place in the Punjabi movement, Aujla made P-Pop Culture. It cemented Punjabi pop as both a genre and culture that’s here to stay. Doused in good vibes and gangster energy alike, songs like “I Really Do…” and “For A Reason” get you into the groove instantly, as though Ikky and Aujla are throwing a dare-you-to-stand-still challenge that they’ll win every time. Ikky’s modern composing and production spans bright guitars, lofty hip-hop beats (“I’ma Do My Thiiing”), and grandiose, distorted synth (“Daytona”). There’s a little bit of all of that on “MF Gabhru!” — a song that shapes the new direction of Punjabi music.  

Sijya – Leather & Brass EP 

New Delhi producer, composer, and vocalist Sijya has had quite the journey, going from a fledgling electronic artist who also designed her own cover art to signing with One Little Independent Records (home to the likes of Björk) with her new EP, Leather & Brass. Her visual/graphic designer mind is clearly entwined with her artistry across six, mostly downtempo tracks. Degradation and decay are key sonic touchstones for Sijya, allowing her to wander on songs like “I Only Want To Crash.” Synth lines rear their head and crash out over Sijya’s abstract lyrics (“Rust,” “Why Do You Fight Me”), and the most accessible, rhythm-driven song is “Do I Know,” in which she asks, “Will it ever be enough? I don’t know.” It’s the kind of EP that can speak to anyone in existentialist dread, of which we can always use more. 

Anika – Five Foot Three 

In a year where Indian independent music searched for its distinct voice, Goa-based Anika’s Five Foot Three arrived with clarity and conviction. This seven-track debut, produced by Mumbai’s pop ace Tejas, establishes a vocabulary for vulnerability that feels refreshingly unpretentious. The title track excavates small victories that accumulate into selfhood, while “Tic Tac Toe” wraps sharp pop instincts in inviting warmth. There’s punchy rock with “Dancing With A Piscses,” while “Sex Is Overrated” and “19” are humorous and heartbreaking, often simultaneously. The former dismantles romantic mythology with wit; the latter champions friendship over materialism.

Tanmaya Bhatnagar – Phoolon Sa Dil EP 

Five years since her debut song “Kya Tum Naraaz Ho?,” singer-songwriter Tanmaya Bhatnagar has traversed continents, motherhood, and sonic experimentation. It all led to her Hindi EP, Phoolon Sa Dil, which distills tenderness into something vital — the joys, trials, and power of love. Produced by Dhruv Bhola and Amar Pandey, the title track’s swaying, atmospheric pop establishes the EP’s emotional core. “Kinaare” carries the hummable warmth of her brightest work, while “Noor” splits the difference between lullaby and devotion for her daughter. “Supriya,” a dedication to her mother, radiates unguarded love. “Zindagi” with its lo-fi textures and sampled vocals captures something cinematic, like a contented, sunny day smile. Bhatnagar reminds us to bask in the glow of this love, which she reminds us is essential

Sanjay Divecha – Leela

After decades shaping India’s guitar vocabulary, Sanjay Divecha turned inward for Leela, a nine-track acoustic meditation that’s been years in the making. It opens up a sonic portal like few other guitarist-composers in India can do. “When Mountains Meet The Sky” distills classical guitar to its essence, while “Afrika” carries melodies learned directly from Cameroonian master Andre Manga. The album’s tributaries run deep, from “Song for John Ji” honoring jazz-fusion titan John McLaughlin with Apoorv Petkar’s vocals, to the Bossa Nova-nodding “For Tom” featuring Vasundhara Vee’s wordless grace. There’s a spiritual intensity on “Path To You” and “Anandi,” featuring Anand Bhagat and Ananya Sharma, that you don’t often hear. If you consider the stirring title track that is spread across the album in two parts, Leela proves that in the right hands, an acoustic guitar contains multitudes. 

KR$NA – Yours Truly

When New Delhi rap star KR$NA calls Yours Truly a mixtape, he’s kind of underplaying the true power of the format. This 15-track statement is more of a masterclass in sustained excellence. Collaborating with producers Phenom and Karan Kanchan, plus heavyweights Raftaar, Badshah, Seedhe Maut, Yashraj, Awich, and Aitch, KR$NA demonstrates range without pandering. “Nothing To Prove” addresses release patterns with disarming honesty, while “Sensitive” with Seedhe Maut playfully takes apart performative activism. The Japanese-Hindi conversational flow on “Hello” and the boom-bap buoyancy of “Talk My Shit/Guarantee” are potential hall of fame-level cuts in terms of pen game. Yours Truly is KR$NA at his funniest, most vulnerable, and indefatigable, often simultaneously. 

Alva Kuuto – Alva Kuuto 

For years, Praveen Alva commanded South Indian stages with Tulu storytelling that needed no translation. With Alva Kuuto, the Mangaluru-origin band’s self-titled debut, that visceral energy finds its fullest expression across eight tracks that leap across any language barriers. Producer Varun Murali, drawing from his folk-rock pedigree with Swarathma, helps the band shape a sonic arc that swings from the playful “Ashana” to the wistful “Ee,” from the funky strut of “Gongey” to pumped-up fury on “Pukkele.” Alva’s throaty shouts and soaring guitar solos, particularly on “Pageyta Pugey,” channel Rage Against The Machine’s intensity without mimicry. This is a rare Tulu-language rock album that proves regional language albums can communicate universally through sheer sonic force. 

Agam – Arrival of the Ethereal

After eight years of meticulous crafting, Agam‘s Arrival of the Ethereal sees the Bengaluru sextet push their boundaries to exhilarating new heights, from the ferocious “Between Doubt and Destiny” featuring folk-metallers The Down Troddence’s Munz to the wedding anthem “Walk of the Bride,”  which has thousands singing along at every show. Ambitious collaborations with Grammy winner Pandit Vishwa Mohan Bhatt on “Flight To The Summer Sky” and an 80-piece Czech orchestra elevate their already grandiose sound. Nearly 20 years into their journey, Agam proves their music — rooted in rich, underrated as well as popular traditional compositions and soaring through prog arrangements — is always going to enthrall across generations.

Hanita Bhambri – Shoharat

New Delhi-bred, Mumbai-based singer-songwriter Hanita Bhambri sheds her mournful singer-songwriter skin with ferocious intent on Shoharat, a gothic pop-rap manifesto born from rage, grief, and unfiltered honesty. Archiving her past work and emerging in full hater mode, Bhambri crafts darkly textured bangers like “Zillat,” “Kadva,” “Bhool Bhulaiya,” and “Bhediya,” which was written in 15 minutes after sobbing on a bathroom floor. Songs like the eerie “Daayan” sum up the middle finger she’s raised to toxic exes, fake friends, and an exploitative industry. There’s a necessary catharsis and reclaimed space in her sound and goth visual aesthetic that match the album’s potent fury. After years of being underestimated and silenced, Bhambri’s debut reclaims power through pure artistic defiance.

Meewakching – Bildungsroman

At Manipuri indie act Meewakching’s Bengaluru gig to promote their new album Bildungsroman in August, English as well as Manipuri songs were sung at full volume by the crowd, which really made you think about how this may not have happened for a Northeast indie act six years ago. Emerging from the chaos and uncertainty of conflict in their home state, Bildungsroman is, as the name suggests, a coming-of-age story amid it all. There are bittersweet, dreamy love songs like “Supermarket (Everytime)” and “Make Me Glad, Don’t Make Me Sad,” and more gutsy songs like “Anarcho Love Song.” The hyperlocal “Crabwalking In Imphal” is transportive and sees them try a bit of rap, and there’s a punch hidden in the sweeping shoegaze of “I Can’t Trust”: “I can’t trust the government/They, they let our people die young.” Conscious and carefree at different times, Bildungsroman takes us straight into the minds of Manipur’s young, who are perhaps saying they’re not so different from the rest of the world. 

Kavya – Hyperreal EP 

New Delhi-origin artist Kavya broke out beyond her pop, R&B, and singer-songwriter expectations on her second EP Hyperreal, which came four years after her debut EP Know Me Better. In some ways, Hyperreal – co-produced with New Delhi’s Goya aka Abhishek Sekhri – is another way to know Kavya even better, as a shapeshifting creative powerhouse. Sure, it has the experimental sonic palette that recalls the likes of Björk, but when you hear the gigantic bass and swiveling beats go over wistful, echoing vocals on “Felt,” it can best be described as sounding like Kavya. The futuristic pop of “Submission” is overwhelming, and there’s more mystique she offers on “Stolen Games,” which is maximalist without being over the top. Hyperreal is yet another reinvention from Kavya, and we’re here for it. 

OAFF – Between Flowers

Composer-producer OAFF, aka Kabeer Kathpalia, used the attention he got from film and mainstream pop projects to show the world his most personal narrative and experimental soundscapes yet on Between Flowers. Just shy of the 20-minute mark, you could debate whether it’s an album or an EP, but then, the artist also added a visual film to go with it, marking just how ambitious his solo dreams were. In the span of a year, he grieved the loss of his grandparents but also got married. Finding that life exists amid this spectrum, OAFF enlisted a stellar cast of voices. Sid Sriram elevates “Falling” as a perfect fusion between two shapeshifting artists. Amira Gill and lyricist Manreet Khara light up the shimmering Punjabi title track, while Vidhya Gopal injects soul into the slowly unfolding “Rooth Gaye” and Pratika Gopinath brings her distinctive vocal style to “Forever.” Divyam Sodhi starts Between Flowers off strong, with glitchy, upbeat electro-fusion on “Baalmaa.” 

Ditty – Kali 

Berlin-based, New Delhi-bred singer-songwriter Ditty channels folk tradition’s cynicism and satire into Kali, her politically charged second album that refuses to look away from the world’s ugliest truths. From confronting colorism and structural racism on the title track to questioning consumerism’s environmental toll on “Money,” Ditty weaves intimate confession with urgent activism. “Dunya (For Our Children)” stands as the album’s moral core, addressing genocide in Palestine while drawing parallels to humanity’s war on nature with unflinching clarity. Produced with Bowls and pressed on recycled vinyl, Kali balances bleakness with Ditty’s hope that humanity might yet change its ways. It’s conscious folk music for an unconscious age, delivered with grace and fire.

Shikriwal – Natya Alaapika

Shikriwal is building a world of his own. And it’s not like he started yesterday. His album Natya Alaapika is a polished, resolute, and powerful release that comes on the back of years of showing people what Bhojpuri music can also sound like. Across 18 tracks and the span of an hour, Shikriwal proves why he can be Indian hip-hop’s next favorite rapper. Rapping like he’s often speaking directly to the listener about relationships and family, there’s different sonic approaches that make Natya Alaapika shine. Take the campfire jam vibes of “Kuiya Koop,” the resplendently confident “Kaaya” and “Kajri Geet,” and the chaos of tracks like “Vyapar” and “Tanashahi.” There’s a powerful directness to “Mahabharat,” with all the tracks building off a bed of woodwinds, horn and unpredictable production choices. He even squeezes in a Birthday song, “Janamdin,” that can just take you to the room (or road procession) where Shikriwal is throwing a genre-bending hip-hop party that draws from Bhojpuri music’s daring experimentation and adds a new chapter. 

Shauharty – Farookh 

As we noted earlier this year, New Delhi artist Shauharty’s Farookh is proof that alternative hip-hop can thrive outside India’s commercial rap lanes. Named after Egypt’s King Farouk and split into sides examining ego versus acceptance, this 14-track mixtape journeys from braggadocious narcissism to vulnerable queer identity with unflinching honesty. The psychedelic “Earth, Wind & Fire” confronts trauma and abuse over hazy beats, while “Stancyk!” enlists Kashmiri rapper Ahmer for a trippy fever dream. Blending jazz, funk, indie songwriting, and multilingual flows across Hindi, Marathi and English, Shauharty constructs an immersive world inspired by the likes of Kanye and Tyler, The Creator. Farookh represents self-acceptance as a radical artistic statement.

Dhanji, Rasla – Drive-in Cinema 2.1 

Mining ideas that have been kicking about for about eight to ten years, Ahmedabad maverick Dhanji and producer Rasla’s Drive-In Cinema 2.1 is a beautifully chaotic testament to desi hip-hop’s outsider spirit. This 18-track mixtape stitches together verses, beats and ideas from different eras of Dhanji’s journey into something defiantly unpolished. From the freestyle energy of “Hashishbhai” (a live staple that’s a moshpit-starter) to the pure chaos of closer “Bhool Mat Jana,” where overlapping vocals and roughness remain intentionally intact, this album is arguably a watershed moment when it comes to defining how well hip-hop as an adopted culture is constantly evolving across India’s subcultures.

Bloodywood – Nu Delhi

Bloodywood’s love letter to home on Nu Delhi, their second album, was exemplary of how a global breakout act from India can continue to surge forward. The folk-metallers take aim at haters with gnarly beatdowns on “Hutt,” raise slogans and fists on “Halla Bol,” and profess that Delhi has made them who they are. Uplifting, emotional rap-metal has always been Bloodywood’s forte, and songs like “Kismat,” “Bekhauf” (featuring none other than kawaii metal act Babymetal singing in Japanese and Hindi), and “Dhadak” are both familiar and hard-hitting in a way they haven’t done before. When you have more listeners around the world than in India, it can always be tricky to put forward multicultural, multi-faceted stories honestly. But if you can have fun with food puns and also invoke a mother’s love like they do on “Tadka,” you know exactly why Bloodywood are making fans everywhere they go. As Raoul Kerr raps, “We gonna win it even though we didn’t plan this.” 

Taba Chake – Khud Ko Miloon

Arunachal Pradesh singer-songwriter Taba Chake’s second album, Khud Ko Miloon, came about six years after his breakout debut Bombay Dreams. While that was about trying to make a new home while staying rooted, Khud Ko Miloon clearly comes from more time back home in Arunachal, and trying to find himself. Across 10 tracks (and adding three ‘raw’ versions for a full 13), Taba effortlessly pulls off the chill, introspective guy (the instantly hummable title track and the cheery “Kya Ho Agar”) but also offers refreshing indie rock turns on “Jee Le” and “Suno Dil Ki.” There aren’t songs in native Arunachali Nyishi or other dialects like previous projects, but Taba does return to his fingerstyle guitar roots on serene cuts like “Whispers In English” and the interlude. At a time when Indian indie has a lot of heartbreak stories, Khud Ko Miloon offers encouraging words like a friend who sits by you in your toughest moments. 

AFKAP – Parat 3 EP 

It was quite unorthodox for hip-hop artist AFKAP to release the third part of his soul-baring Parat record right after Parat 1 from 2023, but he did thankfully close the loop soon enough and release Parat 2 later in the year. The entire three-part project marks a shift in the outlook AFKAP has for life, and Parat 3 is where the artist gets fully real about how work has had him in a chokehold, and he finally breaks free from it in one of those cathartic rap songs of the year, “Resignation Later.” Beyond confessional themes, AFKAP remains a masterful artist who’s never tied down by a single style of hip-hop. From the pulsing fusion of “Mehek” featuring vocals by Kamla Devi to sampling a dialogue from the film Anatomy of a Fall to raging with Raga and Zero Chill on “Hurt” and reaching for that stadium-ready banger on “Dhyaan” with Stunnah Beatz, Parat 3 is a turning point and a focal point all at once. 

Farhan Khan – Alif Laila 

The year belongs to artists like Farhan Khan, who still believe in the narrative and thematic power of a concept album, in hip-hop in 2025, no less. Like AFKAP, the story didn’t exactly roll out in order (Part 2 came out in 2024), but that’s another subversion of convention by Khan, who mostly moved away from being a hardcore rapper and became more of a world-wise, heartsick poet with Alif Laila. With producers like Mr. Doss, Vedang, and Deetocx, Khan takes listeners back to first love, in its innocence as well as its intrigue. “Masoom” pairs qawwali and hip-hop like few others would’ve expected, and there’s a cinematic air to songs like “Raaz” and “Lifafa” without losing their hip-hop foundation. Part 1 of the album signs off with guitar noodling, sitar power from Mehtab Ali Niazi and Khan’s impassioned pleas to an already-departed lover. Khan made Alif Laila like he was acting, directing, writing and composing music for a film of his own, and it shows — the album is storytelling at its finest this year.

Sutej Singh – Restless | Relentless 

About seven years after his breakout album The Emerging, Solan, Himachal Pradesh’s guitarist-composer Sutej Singh proved once again he has a flair for epic-level prog on Restless | Relentless. At a time when guitar music is still a niche in India, Singh has certainly on the cusp of a global following, but he still deserves his flowers for championing the movement back home with surging experiments like “Kaadambari” (his first song to feature vocals, by artist Nandini Srikar). In swearing by mystique-building intros before riffs (“Bring To Light”), Pink Floyd-esque grandiosity (“Restless | Relentless”), and enchanting orchestral arrangements (“Mayflower”), Singh takes us on a journey like few other Indian guitarists. Yes, we have plenty of revered axemen in the country, but Singh represents a new generation who can pack story, soul, and wizardry all in one. 

Parvaaz – Na Gul Na Gulistan 

One of the last additions to the list this year, but certainly not the least, is Bengaluru-based band Parvaaz’s Na Gul Na Gulistan. Almost entirely hopeless about the future, Khalid Ahamed, Fidel D’Souza, Sachin Banandur, and Bharath Kashyap still persevere to find the light across eight punchy, shapeshifting tracks. Kashyap’s first album with the band leads to him bringing soul-drenched, sonorous guitar work right off the bat on the echoey “Talafi,” while “Dogma” has a nod to U2. They go from strength to strength on tenuous prog songs like “Zor-o-Zar” and soar like few others on “Khwab Gah,” and the standouts remain “Kauai’ōʻō” (featuring an unforgettable, flittering oud and a poignant sample of the last ever recording of a bird call) and the ominous, Radiohead-esque trip that’s the closing title track. Parvaaz have taken a look at the world around them and found little to celebrate, and that’s the most important thing that a rock band can do in 2025. 

Kayan – Is Love Enough? EP

Mumbai singer-songwriter and DJ-producer Kayan maps modern dating’s hope and exhaustion across five intimate tracks that refuse to offer easy answers. Opening with the breathy tension of “Denim Jeans” and moving through the amapiano-laced resilience of “Hold Me Down,” Is Love Enough? documents love’s unglamorous corners with restraint and specificity. “Good Kinda Love” blends seemingly Indian rhythms with nervous sweetness, while “Too Long” captures the fatigue of giving someone more time than they deserved. Kayan closes with “I’m Fine,” offering up a hook like an increasingly unconvincing prayer over Afrobeats-influenced production. What makes this 13-minute project especially affecting is Kayan’s willingness to sit with denial, disappointment and the messy in-between without making it about vocal acrobatics or production chops. 

Sen – Pages From The Past 

For all their bravado and badassery, rock artists often become reticent as they grow older. There was a bit of reluctance on Kolkata-bred, Goa-based artist Sen, aka Ananda Sen, to release his album Pages From The Past for fear that it was a little too personal. Made with his friend and extraordinary proponent for rock, Miti Adhikari (who passed away just days before its release) as well as former bandmates from The Supersonics and fellow Kolkata-bred artist Suyasha Sengupta, Pages From The Past has endearing chapters of a life well-lived and adventured. Meant to be heard in its entirety, Sen has now taken the album on the road (after being expectedly reluctant and cynical about being in the Indian indie scene), and it’s a shining tribute to Adhikari (the rock champion he was at heart) and maybe the closest we’ll get to a Supersonics reunion, and we’ll take that. 

The post The 25 Best Indian Albums and EPs of 2025  appeared first on Rolling Stone India.

As the credits roll signalling the end of 2025, there have been several unforgettable characters that have lived and breathed on screen. Some have lingered in our memories longer than the others, like imaginary ghosts taking up space, their existence looping on repeat in the theater of our minds.

Their impact is undeniable, making us question everything from their motives to their journeys. In order of release date, here are some of the films from around the world that stood out on the silver screen this past year.  

On Becoming a Guinea Fowl (Zambia)  

Directed by Rungano Nyoni 

When Nyoni’s grandmother died, she penned her dream down. That dream, born out of grief, has taken the shape of a 95-minute film. Uncle Fred is dead, his body is discovered on a desolate highway by his niece, Shula. Uncle Fred has a long list of sexual assault charges to his name but as per tradition, the funeral will be held and everybody must grieve for the deceased. Shula, a victim of sexual assault herself, becomes a reluctant mourner in a performative funeral. A guinea fowl’s job is to alert the savanna of the coming danger. Here, Shula is the guinea fowl, and the danger was Uncle Fred. But now that the danger is dead, is the coast clear or will the pain and burden brought about by generational trauma and silence persist? 

Train Dreams (United States) 

Directed by Clint Bentley 

This is a quiet film. Based on Denis Johnson’s 2011 novella, it follows the life of Robert Grainer, spanning eight decades set during the late 1800s to the slightly more modern early 1900s. Life is like a train, you get a ticket without knowing where you’ll end up. You take your seat and watch the world pass by around you. You stop for a while at each station, soaking it in. Passengers come and go, but you stay rooted to your seat, governed by inertia until you finally arrive at your destination. Robert Grainer was packed off on the Great Northern Railway as a little boy; he didn’t know where he came from or where he was going and wandered through life in a dreamlike haze. This is a tender film, grounded in the reality of what it is to take that journey on the train called life. No matter what happens, you are helpless and you can’t get off until you reach the last station. This film makes fantastic use of third-person narration, gently guiding the story along one stop at a time.  

Kokuho (Japan) 

Directed by Lee Sang-il 

Ningen Kokuhō translates to ‘Living National Treasure,’ an award bestowed by the government of Japan to a master of a craft, working in a field dedicated to preserving art of cultural significance like music, noh and even kabuki. This 175-minute film encompasses five decades of Kikuo, a kabuki actor’s life. When 14-year-old Kikuo’s father, a yakuza boss, is killed, he is taken in as an apprentice by a renowned kabuki master and trained alongside the master’s son Shunsuke. Both of them specialize in onnagata — male actors who play the roles of women in kabuki. Their strong bond of brotherhood is tested are they are pitted against each other both on and off stage. Fame, success, skill and talent alone aren’t enough to make it in an industry where your blood determines your worth. Both Ryo Yoshizawa (Kikuo) and Ryusei Yokohama (Shunsuke) trained for a year to prepare for their roles as kabuki artists, and it shows in their performances in the film. Playing out as dramatic as a kabuki performance, Kikuo’s saga gives you a front row seat to the elusive, often ruthless, but undeniably beautiful world of kabuki. 

Sentimental Value (Norway) 

Directed by Joachim Trier 

When their mother passes away, Nora and Agnes find their estranged film director father, Gustav, coming back into their lives. His next project is about their grandmother Karin, who killed herself in their family home when Gustav was a child. It is to be shot on location, and he’s written the lead role for Nora, who’s an actress, as a peace offering. Nora refuses, prompting Gustav to cast famous Hollywood actress, Rachel Kemp in her stead, leading to greater strain on their bonds. What follows is a realistic look at complicated relationships, generational trauma and how sometimes, creative outlets–not time–can be used to heal wounds. Gustav’s film isn’t just about his mother. Its scale stretches to warmly envelop his daughters, himself and even his grandson. One of the takeaways is that when art is something deeply personal, it’s hard for an outsider to convey those emotions, as seen from the differences in Nora’s and Rachel’s performances for the same monologue. Fantastic performances from Stellan Skarsgård, Renate Reinsve, Inga Ibsdotter Lilleaas, and Elle Fanning with Trier and Eskil Vogt’s strong screenplay is what makes Sentimental Value stand out. This film within a film is one of the most genuine portrayals of fractured familial relationships and how they can be glued back together one shattered piece at a time to create something beautiful–kintsugi at its finest.     

Sound of Falling (Germany) 

Directed by Mascha Schilinski 

In this haunting film, the viewer is made to wander like a ghost through a farmhouse in Saxony-Anhalt, Northern Germany. Four women of different ages scattered across different times are tied together by an invisible anchor, tethering them to the same geographical location. Etched into the estate are the trapped echoes of memories, eroding the walls with generational trauma, abuse and other dark secrets that stain the wallpaper. Time flows disjointed, past and present coalescing as you witness the lives of those who occupy the space between these walls; peering through a keyhole, between the bars of a window, obscuring your view of a door that’s left slightly ajar. You come away feeling uncomfortable, an unwelcome phantom that bears witness to something not meant for an outsider’s eyes. Schilinski’s second feature film is a century of wallpaper affixed to the walls of a house that begs you not to look away, no matter how melancholic the pattern is. 

No Other Choice (Korean) 

Directed by Park Chan-wook 

This is the Korean remake of a 2005 French film Le couperet (The Axe), which in turn was an adaptation of Donald Westlake’s novel of the same name. Finding a job is the modern version of the Labour of Hercules; today’s world has an oversaturated job market, featuring enough desperados who would gladly take anything they can get. Plus, there’s AI, which can replace their human counterparts, saving the company time and money. Park Chan-wook has expertly depicted a disgruntled laid-off employee’s sure-fire method to landing that dream job. Loyalty is seldom rewarded, as Man-su finds when he’s fired from his company. Constantly passed up wherever he applies, helplessness and desperation sink their claws into him. He’s a good man, a family man, and he needs a job. His solution? Eliminate the competition. He’s sure to land a gig if his competitors are dead. The cinematography and sound serve as another layer of throwing the audience off because you never know what to expect. Darkly comedic and mildly concerning, No Other Choice is the office worker’s guide to murder.  

Frankenstein (United States) 

Directed by Guillermo del Toro 

Mary Shelley’s Frankenstein: The Modern Prometheus is the reanimated corpse that refuses to die, two centuries later. This book has received countless adaptations, all of which vastly differ from the source material. While del Toro’s is the closest we’ve come to getting a faithful adaptation, it undoubtedly isn’t what Mary Shelley penned down all those years ago. Instead, this film focuses on an aspect of the Creature that most adaptations choose to forget — that this patchwork galvanized corpse held together by stitches with the overpowering need to be human just wants to be accepted by his creator, Victor. As a result, in the pursuit of showcasing the humane side of the Creature, the film humanizes him a little too much. But interpretations are what keep the source material alive, and it is undeniable that this is a classic Gothic horror story done right. Finally, the Creature gets his spot in the sun.   

Blue Moon (United States) 

Directed by Richard Linklater 

It’s a tough choice between two of Linklater’s biographical directorials Blue Moon and Nouvelle Vague, but Blue Moon wins out by an inch. Blue Moon is one night in the life of Lorenz Hart. One of Broadway’s biggest breakups was of the songwriting team Rogers and Hart who were responsible for a lot of standards like “My Funny Valentine,” “Blue Moon,” “Manhattan” and “The Lady Is a Tramp.” On the opening night of Oklahoma!, the play which would cement the partnership of Richard Rodgers and Oscar Hammerstein II, Hart departs the play early and finds himself at the bar at Sardi’s. Hart waits anxiously, despair pooling at the pit of his stomach for the inevitable rave reviews for a project he backed out of and his own declining career. When the crowd arrives and the night progresses, it becomes increasingly painful and an uncomfortable sort of funny. The kind in which you find yourself laughing in situations that are frankly bittersweet and heartbreaking. Ethan Hawke, digitally shrunk and looking quite unrecognizable in a combover, delivers a brilliant performance as Hart. Blue Moon feels like a play masquerading as a film, which perhaps makes it an apt tribute to Lorenz Hart.    

The Secret Agent (Brazil) 

Directed by Kleber Mendonça Filho 

The story unfolds in 1977 Brazil, set against the canvas of the country’s military dictatorship spanning 21 years. Armando arrives in Recife when the Carnival is in full swing and is caught in the maelstrom. This is an unusual spy thriller, moving at a languid pace with a complicated cast of characters that merits at least three watches to untangle each thread of the film’s tapestry, all of which could very well stand as individual films themselves. Corruption, political unrest, hired hitmen, a tiger shark and a severed leg; in the world of The Secret Agent, paranoia is injected into the characters’ veins, whether they like it or not.    

Hamnet (United Kingdom) 

Directed by Chloé Zhao 

Shakespeare is a bard who is as colorful and intriguing as the characters in his plays and whose life is as rich as his stories. But in Hamnet, it is his wife, Agnes (whose name was changed from Anne) who takes center stage, shining brighter than the spotlight. The story focuses on the courtship and marriage of Shakespeare (Paul Mescal) and Agnes (Jessie Buckley) and the tragedy that is the death of their only son. Buckley’s powerful performance is balanced by Mescal’s understated one, both perfectly depicting the two sides of people broken by grief. Dreamlike, heartbreaking and surreal, Zhao’s film feels as mystical as the woods Agnes feels at home in.    

The post The 10 Best World Cinema of 2025  appeared first on Rolling Stone India.

Picture this: It’s finally Christmas, the gingerbread cookies are ready, and as everyone eagerly makes their way into the living room, the great movie debacle begins. While some want to soak in the saccharine dullness of Hallmark movies, others want to opt for a more rom-com-infused pick. As chaos ensues, the screen sadly flickers, with “Are you still watching?” glimmering in the distance.

Perhaps, the solution to the watchlist conundrum is not to pick the most quintessential X’mas flick, but choose the most off-grid option. It’s time to ditch the predictable plot lines, unimaginably corny climaxes, and overtly sappy soundtracks for a more diverse catalog that has something in store for everyone. From daylight horror flicks to Bollywood comedy essentials, beat all the performative cinephile allegations as Rolling Stone India brings to you a not-so-cliched Christmas watchlist.

The Parent Trap (1998)

Is it even the holiday season without a Nancy Meyers movie? Unlike stereotypical Hallmark film slop, The Parent Trap doesn’t walk around clichés (identical twins separated at birth, English versus American lifestyles, “evil stepmother”, and more), but rather pokes fun at them in its own way. Turns out, summer camps are a true ground for mending wounded relationships, as Anjali from Kuch Kuch Hota Hai would know. Starring Lindsay Lohan, Dennis Quaid, and Natasha Richardson, the Nineties film follows identical twins Hallie and Annie (both played by Lohan) trying to bring their once-separated parents back together after a fateful meeting at a summer camp. With its cozy escapism, themes of family and reconciliation, The Parent Trap feels like a comforting hug of a film, perfect for Christmas viewing, when all you really want is a little nostalgia, a little magic, and the reassurance that broken families (and hearts) can still find their way back together.

Eyes Wide Shut (1999)

Christmas deserves a Kubrick entry, and Eyes Wide Shut fits the brief. An erotic psychological drama, the plot unfolds in a high-society setup, featuring Dr. Bill Hathford (Tom Cruise) and his wife, Alice (Nicole Kidman). Riddled with sexual tension, from orgies to occult practices, the film taps into the human subconscious, particularly the moral greyness of desire. Set against a backdrop of glittering Christmas lights and decadent holiday parties, Eyes Wide Shut is a strangely fitting festive watch that uses the season’s polished surface to expose the darker, unspoken desires beneath, a provocative counterpoint to the usual cheer and sentimentality.

In the Mood for Love (2000)

A stunning, audio-visual masterpiece, In the Mood for Love is a cinematic treat. With carefully crafted frames, full of longing, the film leaves space for all that remains unsaid. Set against the bylanes of British Hong Kong, the plot focuses on an unconventional love story between protagonists Su Li-zhen (Maggie Cheung) and  Chow-Mo wan (Tony Leung Chiu Wai), one born out of extramarital affairs. Take your yearn-o-meter up a notch as you press play on this critically acclaimed film. Its hushed intimacy, slow-burn romance, and aching sense of loneliness make it an unexpectedly perfect Christmas watch, ideal for a season of heightened emotions and reflection.

American Psycho (2000)

A film that tapped into the soulless finance bro trope ahead of its time, American Psycho is a non-negotiable vibe-setter. Enter Patrick Bateman, the OG ten-step skincare girlie, whose maladaptive, violent fantasies, powered by patriarchy, are slowly taking over his present reality. Sigh, employment (cue drum sting). Aside from his murderous ordeals and psychopathic tendencies, Bateman’s hyper fixation with critiquing mainstream Eighties pop rock remains resolute. Now that’s a true melomaniac right there. With a brutally satirical plot that’s guaranteed to cut through the season’s sugar rush, American Psycho deserves to a worthy contender for an X’mas movie night.

Golmaal 3 (2010)

One thing about 2010s Bollywood brainrot is its everlasting versatility, and Golmaal 3 certainly fits all the bills. Part of the Golmaal franchise, the third instalment of Rohit Shetty’s car-crashing cinematic universe unravels familial layers existing between the rival groups, led by Madhav (Arshad Warsi), and Gopal (Ajay Devgn). With clever nostalgic comebacks, knee-slapping comedy, riveting puns, and a notable plot twist, the film acts as a desi palate cleanser for all the Hallmark movie mush you must have consumed earlier. And lastly, what better way to welcome the festive cheer than to have Kareena Kapoor’s iconic “Bhenchik marone posli chusio” dialogue echoing in the background?

Delhi Belly (2011)

Gather your roommates, this is going to be a lore-laden watch. Delhi Belly is one of those films that got its flowers much after its initial run. One can even say it aged like fine wine, Christmas style. Shedding away his iconic chocolate boy demeanor, Imran Khan’s Tashi joins Kunal Roy Kapur’s Nitin and Vir Das’ Arup for a raunchy adventure of misfits navigating mundanity and money problems that is sure to shock and awe. Unbeknownst to them, a package switcheroo turns their world upside down, landing them in the most unsuspectingly comical scenarios. 

Lady Bird (2017)

For those who want to enjoy an A24-esque, somber Christmas, Lady Bird is right up your alley. Chronicling the complexities of mother-daughter relationships along with the audaciousness of adolescence, the film is equal parts heartwarming and gut-wrenching; kind of like the male version of the underrated classic, Udaan. Couple it with a cup of hot cocoa, a tissue box, and a cozy blanket, and you’re set to have a thought-daughter-coded Christmas.

Happy New Year (2015)

Barring its repetitive projectile vomit jokes, Happy New Year, at its very core, expands on a nail-biting heist with patriotic undercurrents. A Farah Khan brain-rot relic, the 2015 film is apt for when you want to keep your “cinephile” hat aside, and truly soak in the joy of watching something with your mind switched off. Add some spice to those recurrent movie picks by opting for this wild card, and your night is sure to turn into a riot. True to its title and celebratory spirit, it fits neatly into the Christmas-to-New-Year limbo, when excess, spectacle, and chaos just feel a little more acceptable.

Midsommar (2019)

Yes, Ari Aster fans, quit hollering now. Crank up the holiday madness to the extremes with Midsommar, a trippy daylight folk horror feature that is most certainly going to rob you of sleep. Bonus points if you’re watching it all alone, bunked up in your apartment. A masterful combination of oddities, the film doesn’t rely on the supernatural, but on the sickening extent to which human vulnerability can be manipulated. Starring Florence Pugh, Will Poulter, Jack Reynor, and more, Midsommar is not one to be digested in a single sitting; you’re bound to be rewinding, replaying, and pausing at easter eggs and background scenes, each an equally important cog that drives the story forward.

Sister Midnight (2024)

Fellow misandrists, rise up. Starring Radhika Apte, Chaya Kadam, Ashok Pathak, and more, the film, which is London-based filmmaker Karan Kandhari’s directorial debut, revolves around the most haunting premise of all: arranged marriage. A Small-town misfit, Uma miserably tries to squeeze into the domestic outlines of the “perfect” housewife. Every day is a test, right from her good-for-nothing husband’s retorts to the neighbors who are equally invested in her topsy-turvy marriage. Comically sardonic, Sister Midnight emulates Fleabag levels of supporting feminine wrongs, making it a watch that is bound to marinate cerebrally, even after the house party ends. The soundtrack also contains sonic surprises, with Paul Banks, a member of the band ‘Interpol,’ doubling as a composer. Why pick this for Christmas? Because amid a season obsessed with domestic bliss, family ideals, and forced togetherness, Sister Midnight presents a subversive counter-programme.

The post RSI Recommends: The Ultimate Offbeat Christmas Movie Watchlist appeared first on Rolling Stone India.

It’s been a big year for anime, especially when it comes to films, with both Demon Slayer: Infinity Castle Arc and Chainsaw Man: Reze Arc looking larger than life on the big screen. But there’s also been a plethora of shows that released this year, and narrowing it down to a definitive list is as difficult as becoming a Pro Hero. Choices are subjective, and it’shard to categorize anime when each series is unique with its own strengths and weaknesses. For the sake of elimination, last year’s rankers like Dandadan, Ranma1/2 and Black Butler that were renewed this season will be excluded from this list. Without further ado in order of release date, here are some of the best animes that aired this year.  

The Apothecary Diaries Season 2 

Studio: OLM, TOHO animation STUDIO 
Sometimes second seasons are better than the first, as is the case with this anime. Maomao was leading an idyllic life as an apothecary’s daughter until she was thrust into the Imperial Palace as a maid. Her plans of staying incognito are thrown out the window because the Imperial Palace is a hotbed of intrigues and conspiracies (as most courts are). Armed with her extensive knowledge of medicine, Maomao unravels the thread of mysteries, unmasking one culprit at a time. Perfect for those who love playing detective and can’t get enough of historical fiction.  

Uma Musume: Cinderella Gray 

Studio: CygamesPictures 

Racehorse lovers and equestrians, this one is for you. If you’ve been noticing a flood of horses or horse- related posts on the internet, thanks to the western localizsation of Uma Musume, then put on your blinkers and turn to the spin-off series focusing on Cinderella Gray. Uma Musume literally translates to horse girls and Cinderella Gray is the anthropomorphic anime-girl variant of real-life racehorse Oguri Gray (RIP). Can this country girl… er… horse girl make it to the big league? Real life horse Oguri Gray was nicknamed the ‘Idol Horse’ and his anime counterpart strives to make her moniker count. Uma-amazing, neigh-sayers will be left in the dust. 

Takopi’s Original Sin 

Studio: Enishiya 

Some anime exist to emotionally destroy you, and this is one of those so keep the tissues handy. Take E.T., make it a dark, psychological thriller, turn up the sadness and strip away any and all hope, and then you get Takopi’s Original Sin. Takopi, a cute little alien resembling an octopus has a dream:– to spread happiness across the universe. On Earth, he is rescued by Shizuka, a sad little girl who lives a miserable life. Takopi’s bid to make her happy only ends up making things worse. The more Takopi tries, the deeper the hole he digs for Shizuka. Good intentions don’t always yield good results. This is a tearjerker with a trigger warning.     

Milky☆Subway: The Galactic Limited Express 

Studio: Yōhei Kameyama 

This series of 3-minute shorts have all been produced, written and directed by one person —–Yōhei Kameyama. After being arrested for recklessly driving in space, Chiharu, a superhuman and Makina, a cyborg, have been sentenced to community service. Along with four other convicts, they have been tasked to clean the interplanetary train, Milky☆Subway. But when it suddenly activates, the violation of space traffic laws is the last thing on anyone’s mind. How do you begin to stop a runaway space train? Remember, drive responsibly, even in space, going at warp speed is only limited to the Starship Enterprise. 

The Summer Hikaru Died 

Studio:  CygamesPictures 

Yoshiki’s best friend Hikaru went missing for a week up in the mountains and returned. This would ideally be good news, if Yoshiki hadn’t chanced upon Hikaru’s corpse while searching for him. The new Hikaru isn’t the same nor does he seem human. But, he is determined to stick around and strike down anyone who gets in his way. Grief is a painful thing; loss is heartbreaking and letting go is out of the question for Yoshiki. Meanwhile stranger things than dead coming back to life is brewing in the town. It, looks like Hikaru isn’t the only monster that’s come down from the mountain. This eldritch rural horror is a slow- burn terror that perfectly encapsulates the suffocatingly eerie nature of small towns, death and the heavy price you pay for not being able to say goodbye.   

Gachiakuta 

Studio: Bones Film 

This year’s stand out shounen. In a world where things are carelessly discarded for the smallest reasons, Rudo gently salvages what’s left and makes them good as new. When he’s framed for the murder of his adoptive father, he’s thrown into the Pit, the dark cavernous opening that swallows up all the garbage. Contracting tetanus is the least of Rudo’s worries in the Pit, with its giant trash monsters and toxic air quality. He joins the Cleaners, a group that’s pushing back against the Trash Beasts in hopes of escaping the Pit and bringing his father’s killer to light.   

The Fragrant Flower Blooms with Dignity 

Studio: CloverWorks 

Chidori Public School has an infamous reputation for being a school for delinquents. Rintarou Tsumugi certainly looks the part with his bleached hair and pierced ears, but that can’t be further from the truth for this gentle giant. A chance encounter with the beautiful and delicate Kaoruko Waguri, who sees him for who he really is, sets the stage for this year’s standout romance anime. Too bad Kaoruko goes to the elite all-girls Kikyo Private Academy, whose students look down on the Chidori students. This is Romeo and Juliet without the bloodshed or unnecessary drama. With an equally strong, well fleshed-out supporting cast, this anime takes a good, long look at growing up, insecurities, fear and expectations. Don’t judge a book by its cover, you might actually like what’s written underneath.  

My Hero Academia Final Season 

Studio: Bones Film 

In its heyday, My Hero Academia was the biggest name in modern shounen. Over the years, though, it has lost its shine due to a multitude of reasons:– the fandom space, the character arcs, the rushed battle sequences, and the rising popularity of other shounen anime. Nevertheless, the series persevered and finally culminates in this eighth and final season. Ending on an incredible high after nine long years, you can’t deny there was a reason this was so popular. Whether or not you’re still a fan, this finale is something you can’t miss, almost like attending the funeral of somebody you once considered a close friend . Goodbye Izuku, you’ll always be a hero.  

Gintama – Mr. Ginpachi’s Zany Class 

Studio: Bandai Namco Pictures 

Gintama is one of those shows where context isn’t going to help you explain the ludicrous situations its colorful cast of characters get embroiled in. Often breaking the fourth wall by parodying everything from Stephen King to Star Wars, the term copyright doesn’t exist in Gintama’s vocabulary. Occasionally there were segments in a high school setting with the main character, Gintoki, as the homeroom teacher. Now, that segment has got its own spin-off series with the same humour that makes you double over with laughter until your ribs ache. Ginpachi sensei has his hands full, with students’ temperaments ranging from a mayonnaise addict, a stalker gorilla, a baby-faced sadist and worse. In this seat of learning, sanity is thrown out the window and rules are non-existent. Class is in session!  

Tatsuki Fujimoto 17-26 

Studio: P.A. Works, Zexcs, Lapin Track, Studio Kafka, 100studio, Studio Graph77 

Before Chainsaw Man or Fire Punch, Tatsuki Fujimoto wrote a series of one-shot manga that laid the foundations for his later works. This anthology of eclectic short stories gives you a glimpse into the strange and absurdist mind of a mangaka who’s managed to subvert the expectations of a shounen protagonist. With stories ranging from a vampire hiring an assassin to end his years of immortal suffering to a little girl who’s the harbinger of the apocalypse, a boy teaching a mermaid how to play the piano, and a humans disguised as chickens post an alien invasion. This is a wild ride from start to finish.       

The post The 10 Best Anime Shows of 2025  appeared first on Rolling Stone India.

If 2025 had a sound, it wouldn’t be tidy. It would be loud, emotional, slightly unhinged — and deeply online.

This was the year Bollywood music finally stopped pretending cinema was the centre of everything. Songs broke first on Reels, lived longer on playlists, and travelled further than their films ever did. A hook step could turn a track into a national obsession overnight. A raw vocal could outperform a superstar cast. Folk, pop, R&B, rap, heartbreak ballads and chaotic dance records all existed on the same algorithm — and competed on equal footing.

It wasn’t just Saiyaara that ruled the year. Party anthems like “Bijuria” and “Panwadi” owned weddings and clubs. Quiet late-night tracks like “Raat Bhar” and “Alvida” soundtracked our loneliest hours. Rap records like “Dhurandar” cut through with intent, while film songs from unlikely projects found second lives online.

These 25 songs defined 2025 not because of box office numbers or star power, but because they refused to leave our feeds, our headphones, and our heads.

25. “Sitare Zameen Par” – Sitare Zameen Par

A soft landing after an emotionally loud year. This song doesn’t demand attention or try to be a “moment.” It just sits with you. Gentle, hopeful, and calm, it felt like a reminder that not everything needs to hit hard to matter. Sometimes, peace is the point.

24. “Madman On The Run” – Dhoom Dhaam

A mid-tempo rock track that felt refreshingly out of place in a Bollywood soundtrack. Gritty, restless, and unconventional, it carried a rebellious edge that matched a story spiralling out of control. Bold for choosing mood over formula.

23. “Uyi Amma” – Azaad

This one thrives in chaos. Loud, rhythmic, and packed with street-celebration energy, “Uyi Amma” was never meant for solo listening. It works best when people, noise, and movement surround you. A surprise party favourite that knew exactly what it was doing.

22. “Panwadi” – Sunny Sanskari Ki Tulsi Kumari

Let’s not pretend otherwise — the hook step carried this song straight into viral territory. The folk touches and playful energy helped, but that dance move turned it into a cultural moment. Not deep, not subtle, but wildly effective at what it set out to do.

21. “Tumse Behtar” – Sunny Sanskari Ki Tulsi Kumari

A simple, heartfelt love song that doesn’t overcomplicate itself. It’s gratitude set to melody — warm, honest, and comforting. Not the kind of track that dominates charts, but one that sticks around because it feels sincere.

20. “Tu Hai Toh Main Hoon” – Sky Force

The emotional spine of an otherwise intense, action-driven film. Grand, orchestral, and uplifting without losing its vulnerability. It offers softness exactly where the story needs it most.

19. “Bhasad Macha” – Deva

This song is chaos by design. Loud, abrasive, and proudly messy, it throws structure out the window and dares you to keep up. The crowd loved it because it felt rebellious and unfiltered. You either got it instantly or wanted it turned off — and that divide was kind of the point.

18. “Jaane Tu” – Chhaava

A nostalgia-heavy listen that sneaks up on you. Warm, reflective, and slightly bittersweet, it feels like thinking about who you used to be — not with regret, but with quiet curiosity. A song for emotional time travel.

17. “Deewaniyat” – Ek Deewane Ki Deewaniyat

This is love pushed to obsession. Vocals that soar too high, emotions that spill over, drama turned all the way up. It’s not subtle and it doesn’t want to be. If you believe love should hurt a little, this one hit hard.

16. “Aavan Jaavan” – War 2

Pure movement. This song makes you want to go somewhere — anywhere. Road trips, open windows, late-night drives. It’s energetic without being exhausting, optimistic without being corny, and easy to return to when you need momentum.

15. “Tu Meri Main Tera Tu Meri” – Tu Meri Main Tera Tu Meri

A flirty, feel-good track soaked in new-relationship energy. Two voices bouncing off each other, playful and sweet. Nothing heavy, nothing complicated — just butterflies and smiles set to music.

14. “Ishq Mein” – Nadaaniyan

This one doesn’t reveal itself immediately. The melody builds slowly, the arrangement asks for patience, and the emotional payoff comes if you stay with it. Not everyone’s favourite on first listen, but rewarding if you let it grow.

13. “Dilbar Ki Aankho Ka” – Thamma

Smooth, jazzy, and quietly confident. There’s a classy restraint here that makes it perfect for late-night conversations and unspoken tension. It doesn’t chase attention — it sets a mood and lets you come to it.

12. “Raat Bhar” – De De Pyaar De 2

A textbook 2 am song. Breathless vocals, R&B undertones, and an intimacy that feels almost intrusive. This isn’t for parties — it’s for lying awake, thinking about someone you probably shouldn’t text.

11. “Zamaana Lage” – Metro In Dino…

A breakup song without theatrics. Quiet, stripped back, and devastating because of its restraint. If you’ve ever experienced a relationship ending without a big fight — just silence — this one hits uncomfortably close.

10. “Gafoor” – The Bads of Bollywood

The internet’s favourite soundtrack for moody edits and villain arcs. “Gafoor” escaped its film entirely and became a Reel-era phenomenon: catchy hook, slick production, and undeniable online presence.

9. “Tere Ishq Mein” – Tere Ishq Mein

Full-blown Bollywood romance, unapologetically dramatic. Loud music, heightened emotions, and main-character energy. Over the top? Absolutely. Effective? Also yes.

8. “Pardesiya” – Param Sundari

Sonu Nigam’s voice is the anchor here. Warm, familiar, and emotionally rich, he turns polished production into something deeply comforting. It’s the kind of song that feels nostalgic even on first listen.

7. “Qayde Se” – Metro In Dino…

An anthem for people who feel slightly out of step with the world. There’s anxious energy baked into the melody, and Arijit Singh captures that restlessness perfectly. The imperfections are the point — life doesn’t follow rules either.

6. “Bijuria” – Sunny Sanskari Ki Tulsi Kumari

The party song of the year, no contest. Loud, chaotic, hooky, and impossible to sit through without moving. It played everywhere — clubs, weddings, house parties — and never failed to restart the room.

5. “Rehna Kol” – Loveyapa

Modern, intimate, and quietly immersive. Anchored by a pulsing bassline but softened by gentle vocals, it creates a cocoon around the listener. A late-night city drive in song form.

4. “Dhurandar” – Dhurandar

An angry rap record that actually has something to say. Heavy beats, sharp lyrics, and zero interest in being polite. It’s intense, confrontational, and not built for passive listening — which is exactly why it mattered.

3. “Preet Re” – Dhadak 2

Pure joy at the right time. While the film carried emotional weight, this song arrived like sunlight. It became the celebration track people reached for when playlists needed relief from heartbreak.

2. “Barbaad” – Saiyaara

Anger, sadness, and emotional collapse rolled into one. Jubin Nautiyal’s vocals sound like screaming into a pillow, and that rawness is what makes it work. You don’t just hear this song — you feel wrecked by it.

1. “Saiyaara” – Saiyaara

The heartbreak song of 2025. Faheem Abdullah and Tanishq Bagchi created something that crossed borders, topped charts, and lived on repeat for months. Whether you were in love, heartbroken, or somewhere in between, this song met you there. It didn’t just dominate the year — it defined it.ong of 2025. Faheem Abdullah and Tanishq Bagchi created something that crossed borders, topped charts, and lived on repeat for months. Whether you were in love, heartbroken, or somewhere in between, this song met you there. It didn’t just dominate the year — it defined it.

The post Top 25 Bollywood Songs of 2025, Ranked appeared first on Rolling Stone India.

Dec. 15, 2026, will mark one year since the passing of tabla legend Zakir Hussain, who took Indian classical music to global stages across more than half a century, performing with stalwarts across genres.

Maestro Forever: A Tribute to Zakir Hussain takes place on Dec. 14 and 15, 2025, at Mumbai’s National Centre for the Performing Arts (NCPA) to celebrate the legendary artist. The venue itself carries a deep significance because Hussain’s first appearance at the NCPA was alongside his father Ustad Allarakha, sitar legend Ravi Shankar, and mridangam exponent Palghat Raghu at the Centre’s foundation day in 1969.

Ahead of the performances, we look at the unmatched versatility of the Ustad and memorable collaborations with just some of the artists performing this weekend.  

With John McLaughlin

We all know the power of jazz fusion guitar legend John McLaughlin and Zakir Hussain in the seminal band Shakti, but the lifelong friends performed together even outside of the group. In 2010, Hussain joined McLaughlin’s band, The 4th Dimension, at the Abstract Logix New Universe Festival in Raleigh, North Carolina, and a spark was ignited on stage. It was a surprise performance. “The band played a stellar set of music, and right before the encore, Zakir Bhai got up on stage on a borrowed set of tablas and a makeshift seat out of speaker cases. What happened between Z Bhai and John ji is nothing short of musical magic. No rehearsals, nothing. Pure telepathy,” Abstract Logix founder Souvik Datta recalls in the description for the video.

With Louiz Banks

In 2019, Hussain and keys/piano veteran Louiz Banks teamed up with guitarist Sanjay Divecha, drummer Gino Banks and bassist Sheldon D’Silva to perform at the launch of the Indian Music Experience museum in Bengaluru. Across the nearly 100-minute performance, you can see Hussain thoroughly enjoying himself, arguably because he was in his favorite place — on stage with longtime friends and artists who understood each other deeply. If the improvisational prowess of Indo jazz-fusion was first visible through Shakti, then Hussain was carrying it forward with every performance.

With Ajoy Chakrabarty

Collaborators for decades on end, classical vocalist legend Ajoy Chakrabarty and Hussain’s chemistry was well captured in a series of recordings that can be heard in the former’s album Thumri and Dadra in 1990 and later in The Genius of Pandit Ajoy Chakrabarty, Vol. 3, released in 1999. “Sanvariya Chit Chor Re” is a sublime rendition that never relents on the vocal and percussive front, thanks to two legends completely in sync.

With Ranjit Barot and Taufiq Qureshi

At the launch of his brother and fellow Indian percussion great Taufiq Qureshi’s 2000 album Rhydhun, Hussain performed with drumming ace and producer Ranjit Barot, vocal powerhouse Shankar Mahadevan and more. While Hussain was also part of the studio recording of Rhydhun, he locked in with Barot and Qureshi for a percussive jam for the ages at the launch concert, becoming part of a stellar interplay of drums, tabla and percussion.

With Amjad Ali Khan

Growing to global fame and legendary status with their respective instruments, Hussain and sarod legend Amjad Ali Khan were often in each other’s orbit. In 1999, they joined performances for a jugalbandi in New Delhi, at a time when they perhaps both showcased agility and versatility that couldn’t be replicated. Part of the allure of a jugalbandi is when nothing can ever be recreated the same way, and both Ustads performed exactly like that – an airy, meditative performance that was also virtuoso.

With Shankar Mahadevan

In addition to being part of Remember Shakti and later, just Shakti who went on to win Grammys for their 2023 album This Moment, vocalist-composer Shankar Mahadevan and Hussain shared a few stages among them, and one of their most powerful performances in recent memories was the rendition of Marathi abhanga “Majhe Maher Pandhari” in an undated performance that was uploaded to YouTube in 2021. Hussain offers a knowing smile to Mahadevan as he begins the song, in what is a heartfelt moment of brotherhood that translates exceptionally as the 14-minute performance plays out.

Get tickets to Meastro Forever: A Tribute to Zakir Hussain at NCPA here.

The post Revisiting Zakir Hussain’s Iconic Collaborations appeared first on Rolling Stone India.