Ishaan Ghosh

Gen Z Indian classical artists could very well be a movement that’s here to stay thanks to the likes of tabla artist Ishaan Ghosh. It helps that Ghosh – the son of veteran tabla artist and proponent Pandit Nayan Ghosh – has lineage on his side, but he’s very much interested in breaking out of any and all compartments that may be associated with the instrument.  

Case in point, his recent single “Euphoria,” which pairs techno with tabla in a way that puts the latter at the center, making for the kind of electronic fusion that has rarely been heard. In an interview with Rolling Stone India, Ghosh talks about the making of “Euphoria,” influences and realizations, plus his projects for 2024.  

Rolling Stone India: What drew you to working with Nakul [Chugh, producer] and specifically a more techno kind of arrangement for “Euphoria”? 

Ishaan Ghosh: Layering the track with some techno arrangements was the first thought that ran across my mind right after recording a few patterns, by me and a tabla ensemble comprising some brilliant disciples of my father. It was more like we got into the studio, started recording and that’s when all the ideas started popping up. For me, this is basically how I work most often! I just wanted people to swing and groove to the track when they hear it eventually. However, at that point, the idea was still vague but the one thing I was sure about was to have the amazing Nakul Chugh work on this as he’d be one of the few ones who would understand my vision, just through the music. 

People would think it’s unorthodox for a tabla artist to be inspired by techno. What do you feel is the common ground that these rhythm-centered styles share? 

By this question, don’t you think one is categorizing the tabla into something that is ‘orthodox’? What is that ‘orthodox’? 

I feel these are merely compartments we construct in our own minds. And I want to let go of them! As an artist, I am inspired by literally every kind of music I come across. Let alone music, even the tempo that the seat belt alert in my car provides, gets me grooving! 

Rhythm itself is a common ground. If you break it down, it’s just a pulse. Hence, what can be more universal than rhythm?   

Today, we have access to all forms of music and if one is exposed to the right music at the right time in the right frame of mind, it subconsciously creeps into your thought process and eventually comes out in your creations. 

What’s an unlikely influence for you in terms of music styles that you would say comes into your songs? 

Majorly Indian classical. I know you may not find it unlikely, but what fascinates me are its innumerable facets and how the process of discovering them is an unending one. Every time you dive into it, you find a new avenue to explore.  

Almost as if our music inherently possesses the necessary elements for a wholesome experience of any kind. 

I think art and music making always comes with its share of discovery or even self-discovery within an artist’s mind from time to time. Was there anything you discovered about yourself recently that was a nice kind of realization?  

A big part of studying music and being a practicing musician is about the constant learning and un-learning that happens. It makes you realize how insignificant we are, as compared to the vastness of the art. That’s one. Secondly, music erases all distinctions that we as a society have created and so, no matter who you are or where you come from, if your music is meaningful, there is always space for you! Isn’t that so beautiful? 

Sometimes I go through phases when there are multiple such realizations all pouring in at once; and then there are times when I am merely enjoying the experience of music making and not thinking at all! 

We often hear about musicians who are brought into the artform because of their parents. Was there ever any resistance towards the tabla for you? Or did you always feel it was a natural fit? 

[Laughs] No way! Ask my parents, tabla was all I did and wanted as a kid. I was just in love with it, thanks to my father [Nayan Ghosh] and his aura as a performer. I don’t think that feeling of mine has changed a lot now either.  As I’ve said a number of times before, the tabla was my favorite toy and now it’s my friend, companion and a force that I worship!  

What is one thing that excites you about the future of music and one thing that worries you about the future of music?  

There’s so much that excites me! We have an incredible amount of supremely talented musicians in India and around the world. Just to watch musicians make magic and to know that those who are of our generation – the younger lot – will continue to do so for decades to come, itself is exciting. And to top it up, we all have access to literally every kind of music that exists on the planet. What can be better? All of these styles or musicians do influence our own musical thought process, directly or indirectly.  

Music is meant to help overcome worries so I’m not worried about anything but yeah, the one thing that I am and hope other musicians are particular about, is to value the contributions of so many great musicians before us. It is very important to realize that we are part of a heritage and so, [we] aren’t the first or last ones making music.  

As T.S. Eliot famously said – ‘Tradition; how the vitality of the past enriched the life of the present.’ 

We should all bear this in mind!  

What else is coming up in 2024? 

Lots of music, both releases and tours! Starting with a single in March, recorded live in concert at Amsterdam’s prestigious Muziekgebouw Concert Hall with my father Pandit Nayan Ghosh. 

Soon, you’ll also hear a special tabla-jazz trio along with German jazz virtuosos Max Clouth on guitar and Vroni Frisch on the bass. 

And of course, a couple of more tracks recorded with the same tabla ensemble as ‘Euphoria,’ but very different in spirit!