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Mahesh Kale, the acclaimed Hindustani classical vocalist, reflects on his journey of blending tradition with innovation, performing globally, and teaching music to students worldwide.
Mahesh Kale discusses his mission to globalize Indian classical music, the challenges of teaching worldwide, and how blending tradition with innovation has shaped his musical journey.
Renowned for his transformative impact on Hindustani classical and devotional music, San Francisco-based vocalist Mahesh Kale has firmly established himself as one of the most influential figures in Indian classical music today. A National Award-winning artist, Kale recently wrapped up his highly acclaimed Abhangwari concert tour across India, followed by a triumphant return to the stage in Australia after a seven-year break. With stops in Perth, Sydney, Adelaide, Brisbane, and Melbourne, Kale mesmerized audiences with his rich blend of classical, semi-classical, devotional, and film songs, along with his own captivating compositions.
Trained under the legendary Pandit Jitendra Abhisheki, Kale’s mastery of Indian music spans across Natya Sangeet, bhajans, and abhangs, earning him international acclaim for his ability to merge tradition with contemporary appeal. Beyond his powerful performances, Kale’s commitment to preserving and spreading the beauty of Indian classical music is evident in his Mahesh Kale School of Music in San Francisco, which educates students from over 15 countries, making his influence truly global.
In an exclusive interview with News18 Showsha, Mahesh Kale reflected on his journey post-pandemic, the challenges of reconnecting with live audiences, and his mission to modernize and globalize Indian classical music. He also delved into his philosophy on teaching, composing, and the delicate balance between preserving tradition while embracing innovation on the world stage.
Here are the excerpts:
Q: Your recent Abhangwari concert tour after a seven-year break was widely acclaimed and well-received. How was the experience of reconnecting with your global audience post-pandemic, and what stood out to you during the tour?
Mahesh Kale: Reconnecting with the audience after the pandemic was a beautiful experience. The hiatus had created a shared sense of longing, as all of us went through similar struggles worldwide. The feeling was mutual—I was eager to sing again, and the audience was just as eager to listen. The Abhangwari program is particularly dear to my heart because I grew up singing abhangs, which are a vital part of Maharashtrian culture. It was moving to see such a warm reception for a traditional Maharashtrian art form, even in places like the Bay Area, South India (Hyderabad, Chennai, and Bangalore), and of course, Maharashtra itself.
At the heart of it, bhakti (devotion) is universal. Regardless of one’s belief system, there is a common thread that connects us to our source of faith when these devotional songs are sung. This aspect of worship, which transcends cultural boundaries, is what made the tour so special for me.
Q: You have composed several bandishes and abhangs yourself. How do you approach composing within the framework of Hindustani classical music while ensuring it remains relevant and accessible to modern listeners?
Mahesh Kale: Composing music for me is not merely a deliberate exercise in design; it’s a way of living. My training in the Indian classical music tradition is ongoing, and I continue to learn every day, regardless of where I am. At the same time, I make it a point to immerse myself in the present. For instance, if I’m traveling in a foreign country like Indonesia, I make sure to experience the local culture, markets, and daily life. It’s about understanding the rhythm of life in different places.
This blend of ongoing training in traditional music and experiencing modern life allows my compositions to emerge naturally. I adapt to the tastes and sensibilities of different audiences while staying true to my roots. For example, during a recent workshop in Santa Cruz, California, we were surrounded by the beauty of nature. The setting inspired a composition in Vrindavani Sarang that felt traditional but was influenced by the Sierra trees around us. This is how I incorporate my surroundings into my music—by being present and open to inspiration.
Q: Your concerts feature a wide range of genres, from classical to semi-classical, devotional, and even Hindi film songs. How do you strike a balance between traditional Hindustani classical music and more popular forms?
Mahesh Kale: At my core, I am a classical musician, but I also enjoy performing semi-classical forms. When I sing film songs, I often use them as a bridge to connect people with classical music. For instance, if I perform a composition in Khamaj, I might include a line from “O Rangrez” to draw parallels. This helps the audience see the commonality across genres and realize that classical music is not far removed from what they already enjoy.
It’s like our relationship with food—Indian cuisine is our comfort food, but we also indulge in Chinese or Italian dishes from time to time. Similarly, Indian classical music is my soul food, and I occasionally explore lighter genres to create a diverse musical experience for my audience.
Q: With the Mahesh Kale School of Music, you aim to promote and preserve Indian classical music worldwide. What challenges do you face in teaching classical music in a global setting, and how do you tailor your methods for international students?
Mahesh Kale: The biggest difference between how I learned in a traditional gurukul setting and how I teach now is in the expectations. When I was studying under my Guruji, Pandit Jitendra Abhisheki, the focus was on pursuing music as a serious passion. Many of my current students, however, are rediscovering a love for music that they couldn’t pursue while growing up due to academic or career commitments. Some are full-time musicians, and I am thrilled to see that, but the majority approach music as a cherished hobby.
My goal is to harness the energy and enthusiasm I feel while traveling and performing and bring it into my teaching. For instance, I recently held a student recital at my house to mark my mother’s Punyatithi. Seeing around 70-80 students occupying different spaces in my home, each group rehearsing various compositions, filled me with immense joy. Teaching these “musical kids,” who range from young children to individuals over 60, feels like helping someone take their first steps or ride a bike. The excitement is mutual and infectious.
Q: You have given lectures and demonstrations at prestigious institutions like Stanford and Harvard. How is Indian classical music received by younger global audiences?
Mahesh Kale: It is received quite well. Indian classical music is deeply relevant because it is fundamentally aligned with the core aspects of human life. While we live in a world structured around work and responsibilities, the basics—food, shelter, and clothing—remain universal necessities. Classical music operates similarly; its framework, consisting of raga and tala, provides structure, but within that structure, there is infinite room for creativity.
To make this concept relatable to students who may have never encountered Indian classical music, I use analogies. For instance, I explain the idea of creating infinite possibilities within finite boundaries by drawing a circle and inscribing triangles with varying points. This often leaves students amazed, as they realize the depth and flexibility of classical music. It’s a great way to spark curiosity and instill respect for the art.
Q: Your mother, Smt. Minal Kale, played a significant role in your early training. How did her guidance shape your musical foundation?
Mahesh Kale: My mother was my first teacher, and I owe much of my musical inclination to her. I often say that a mother’s heartbeat is the first sound a child hears, and that rhythm stays with you for life. My mother’s love for music was evident even as she balanced her duties as a homemaker. She would always find time to sing and practice, setting an example for me.
Long before the concept of gamification became popular, my mother used it to teach me music. She would turn musical exercises into games, challenging me to identify the raga of a tune or sing a bandish in a different tala. At that time, I didn’t even understand the terms like raga or tala; for me, it was all a fun challenge. This approach instilled in me a natural sense of spontaneity and creativity, or upaj, which remains central to my music today.
Q: You have been influenced by both the Agra and Jaipur gharanas, yet you don’t adhere strictly to any one style. How do you balance these traditional influences with a modern approach to Indian classical music?
Mahesh Kale: My Guruji once gave an enlightening explanation about gharanas to a group of students. He described them as styles that developed in different regions under the patronage of local kings, each with its unique characteristics. In the past, geographical limitations led to the growth of distinct styles. Today, however, technology has given us access to every style at the click of a button. Why not take advantage of this and incorporate elements from various gharanas to create something beautiful?
I believe in respecting the discipline that each gharana brings, but I also feel that there is too much beauty in the world to limit oneself to one tradition. My approach is to make classical music reflect the current times while staying true to its roots. If I’m living in the 21st century, my music should represent that era while embodying the centuries-old tradition of Indian classical music.
Q: You excel in both live performances and playback singing. How do these experiences differ for you, both creatively and emotionally?
Mahesh Kale: Live performances and playback singing are worlds apart. A live concert is like a cricket match—you step onto the field with a score of zero, and external conditions like weather and audience energy affect the outcome. Each concert is unique; in Indonesia, I dealt with heat and humidity, while in New Zealand, it was quite cold. You have to adapt and improvise based on the environment.
In contrast, playback singing is akin to painting a fine artwork. You can work on it bit by bit, taking breaks and making adjustments until you’re satisfied. Only when the piece is complete do you present it to the world. In live music, spontaneity plays a key role, whereas recorded music allows for meticulous craftsmanship.
Q: Katyar Kaljat Ghusli has been an integral part of your career. What was the most rewarding aspect of being involved in this iconic musical, and how did it impact your artistic journey?
Mahesh Kale: Katyar Kaljat Ghusli holds a special place in my life, not just because of its widespread success but also because it allowed me to honor my Guruji, Pandit Jitendra Abhisheki, who composed the original songs for the musical. Singing pieces like ‘Surat Piya Ki,’ ‘Aruna Kirani,’ and others was my way of paying homage to the musical legacy he created. It was an extraordinary experience to represent the essence of Indian classical music while also bringing in contemporary musical elements, thanks to Shankar-Ehsaan-Loy’s contributions.
The most rewarding aspect was blending the old and the new seamlessly. While my Guruji’s compositions represented the timeless beauty of classical music, Shankar-Ehsaan-Loy’s music added a modern layer, making it accessible to a broader audience. Winning the National Award for a song composed by Shankarji, which was steeped in classical traditions, validated the power of Indian classical music on a national platform. It proved that this ancient art form can resonate with today’s listeners when presented thoughtfully.
Q: Hindi and regional cinema occasionally incorporate Hindustani classical music. What are your thoughts on the role of film music in promoting this tradition, and what is your perspective on the current fusion trends blending classical music with other genres?
Mahesh Kale: The primary role of film music is to support the narrative and emotions of a story rather than promote a specific genre like Indian classical music. However, directors and composers who have a strong foundation in classical music often include it, which naturally helps in promoting the art form. Composers like Shankar-Ehsaan-Loy, Pritam, and Amit Trivedi, who have some training in classical music, integrate it beautifully into their scores. Even A.R. Rahman’s music for films like Roja features a classical undercurrent that elevates the cinematic experience.
As for fusion, I believe it has always been part of the musical landscape, even if we don’t always label it as such. When we blend two notes to create a melody, that’s fusion; when we combine a bandish with a tala, that’s also fusion. The key is the intention behind it. If the fusion is done with respect for both traditions and a clear purpose, it can create something truly magical. When I perform at events like Stanford Jazz, I often present Indian classical music alongside saxophones, drums, and guitars. The familiar sounds act as a gateway, encouraging people to appreciate the unique qualities of Indian music.
Q: You have collaborated with maestros like Zakir Hussain, George Brooks, and Trilok Gurtu. How do you approach these collaborations, and what have you learned from working with these legends?
Mahesh Kale: Collaborating with such maestros is a learning experience, not just musically but also in life. When you share the stage with someone like Zakirji, who has been on this journey for far longer and has performed worldwide, you realize that you’re there to observe and absorb as much as you can. Zakirji, for instance, has taught me numerous aspects of stagecraft—ranging from choosing the right microphone to ensuring respectful representation of Indian music, even during the pandemic when we had to perform online.
Similarly, Trilokji’s diverse experiences, having worked in the Western world before I was even born, have been a source of immense learning. We performed together recently in Bangalore, and the time we spent together traveling, eating, and playing music was as enlightening as the actual performance. I like to think of these collaborations as ongoing schooling; you learn from these great musicians and, in the process, discover new aspects of yourself.
Q: Social media has significantly increased your reach, especially among younger audiences. How do you use these platforms to foster a love for Hindustani classical music?
Mahesh Kale: Social media has been an excellent tool for interacting with people beyond geographical boundaries. I hold a master’s degree in technology, so I understand the importance of using these platforms effectively. I often share snippets from beautiful places where I feel inspired to sing. For example, if I’m in a picturesque location like Santa Cruz, I might record an impromptu session and upload it.
I also try to create interactive content. Sometimes I upload reels where I get people to repeat musical phrases, turning it into a kind of gamified lesson. This not only makes the content engaging but also offers a bit of musical education. The process itself is fulfilling because, while the final product is shared online, the real joy lies in spending time with the music.
Q: What’s next for you in terms of musical projects and new avenues you’d like to explore?
Mahesh Kale: There is a growing youth following for my music, and I want to ensure that my journey continues to engage them. I am currently experimenting with live music concepts. One such project is called “Infusion,” where I start a piece in a traditional style, and then the music morphs into a fusion on the fly, with different sounds gradually being added.
I’m also working on reinterpreting traditional bandishes in ways that don’t label them as classical compositions but rather as appealing songs. The idea is to present these compositions in a format that attracts people regardless of their familiarity with classical music. I look forward to experimenting with both live and recorded formats to explore new ways of presenting Indian classical music.
Q: For those interested in learning from you, how can they enroll in the Mahesh Kale School of Music?
Mahesh Kale: Enrolling is easy. Just Google “Mahesh Kale School of Music” or visit our website. I started the school during the pandemic when many of our known joys were inaccessible. Music, however, is something you can carry with you anywhere, and I wanted to offer my students a consistent source of joy. The school’s core mantra is “Anybody can sing.” If you come to my concerts, you’ll see that I make everyone sing, and they all hold the sur quite well.
The experience of singing isn’t about achieving perfection; it’s about enjoying the companionship of music and embracing the process. Whether in a concert setting or during a lesson, this philosophy forms the foundation of the Mahesh Kale School of Music.
Q: Can you share a bit about your upcoming performances and what audiences can expect?
Mahesh Kale: I’ll be performing in India during Diwali, with concerts scheduled in Kolkata, Dehradun, Baroda, Mumbai, Pune, Thane, and Nashik. I look forward to reconnecting with Indian audiences and sharing new musical experiences. For those who can make it, I’d love to see you there, and if you’re attending a concert for the first time, be prepared to sing along. It’s all about creating a collective musical journey.
