In the glitzy, high-stakes ecosystem of the Indian entertainment industry, the red carpet is often crowded. But if you look closely at who is actually holding the microphone, you might notice a glaring discrepancy. While actors, influencers, and even the latest viral internet stars are routinely ushered to the center stage, the architects of our auditory landscape—the composers, lyricists, and singers—are frequently relegated to the wings.
This persistent marginalization is the catalyst behind a heated conversation currently unfolding online. Following the news that the music for Dhurandhar: The Revenge (also referred to as Dhurandhar 2) has been submitted for consideration across nine categories at the 2027 Grammy Awards, a wave of backlash hit social media. Critics were quick to lambast these musicians, accusing them of “chasing Western validation.” Enter Sona Mohapatra, a voice as powerful in her advocacy as she is in her vocal range, who isn’t just defending these artists—she’s pointing out a broken system that leaves them no other choice.
The Reality of the “Side-Lined” Artist
Sona Mohapatra’s recent video address cuts through the noise of empty patriotism. She starts by extending a genuine hand of support to the current wave of Indian talent—from the progressive rock outfit Agam to vocalists like Hargun Kaur and Rashmeet Kaur—who are vying for Grammy recognition. Her blessing is simple: “May the world discover your music, celebrate it, and reward you.”
But the core of her message is a stinging indictment of the Indian music industry’s internal culture. Mohapatra asks the uncomfortable question: Why does a nation with a musical heritage as profound and ancient as ours feel compelled to seek validation from the West?
Her answer is bleak but grounded in industry experience. In the current Indian landscape, music is largely reduced to “background score” status—a utilitarian product designed to prop up the star power of actors or the marketing budget of a film. Even at high-profile music launches, where the soundtrack is often the primary driver of a project’s commercial success, the creators themselves are treated as afterthoughts. They are the “least important people in a room,” she claims, often standing on the periphery while social media influencers—people with no creative stake in the project—take the spotlight.
When Comedians Outrank Composers
Perhaps the most biting critique in Mohapatra’s video is her observation regarding film promotions. The singer, who has navigated the industry for years, highlights a “comedy of errors” where the core crew behind the music is systematically excluded from the promotional machinery.
“I have lived this,” she asserts. The absurdity of a system that prioritizes the reach of a comedian or a lifestyle influencer over the vision of the composer is not lost on her. When the industry itself fails to recognize the weight of its own talent, can we really blame those artists for looking toward the Recording Academy in Los Angeles for a sense of dignity? Mohapatra argues that for many Indian musicians, the Grammy submission process isn’t just about winning a trophy; it is a desperate search for the professional respect that is routinely denied to them on their own home turf.
The ‘Dhurandhar 2’ Global Ambition
The specific catalyst for this debate, Dhurandhar 2, is not playing small. Shashwat Sachdev’s work has been submitted in a staggering nine categories, signaling a serious intent to compete on the global stage. This isn’t a vanity project; it’s a strategic push that spans across diverse genres and designations.
The submissions cover a wide spectrum: from ‘Kanhaiyya’ being pitched for Best Global Music Performance to ‘Aari Aari’ vying for the Best Asian Pop Music Performance slot. The list continues into mainstream categories, with ‘Phir Se’ targeting the Best Song Written for Visual Media and ‘Vaari Jaavan’ entering the fray for Best Dance/Electronic Recording. By placing these tracks in varied buckets—ranging from Rap to Remixes—the makers are effectively saying that Indian music is not a monolith. It is experimental, it is diverse, and it is ready to stand toe-to-toe with the global elite.
Dreaming of a Domestic Shift
Mohapatra’s closing statement serves as a manifesto for the future of Indian music. While she encourages her peers to “shine, win, and make us proud” at the Grammys, her ultimate dream is far more localized and fundamental.
She envisions an India where the hierarchy of the arts is flattened—a country where classical, folk, independent, and film music are all granted a “credible, respected platform” that doesn’t require a foreign gold-plated statue to validate their worth. Her vision is one where the local music industry stops viewing its artists as disposable labor and starts treating them as the cultural pillars they are.
Until the internal award shows, producers, and marketing teams in Mumbai begin to celebrate their own composers as lead stakeholders rather than supporting cast members, the flight to the West will continue. Sona Mohapatra has laid the reality bare: the migration of Indian music toward the Grammys is not a symptom of an inferiority complex. It is a symptom of an industry that has forgotten how to honor its own creators. For the artists behind Dhurandhar: The Revenge, the flight to the Grammys is not just a career move—it is a survival strategy in a land that has yet to learn how to applaud them at home.
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