Playback singing in India was once a celebrated art. In the 1990s and 2000s, audiences fell in love with songs largely because of the voices behind them. Distinctive playback singers, Sonu Nigam, Alka Yagnik, Udit Narayan, Kavita Krishnamurti, Sadhana Sargam, Kumar Sanu, and their contemporaries, became legends in their own right. Their voices were instantly recognizable and carried emotions that defined an era of Hindi cinema. Fast forward to the mid-2010s and beyond, and the music landscape has shifted dramatically. The rise of remix culture, influencer-driven promotion, auto-tuned vocals, and digital production tools has changed the priorities of Bollywood music.
This deep dive explores the decline in prominence of those iconic singers with golden voices and contrasts the golden era of playback singing with the post-2015 music trends dominated by streaming platforms, social media virality, and video-centric song releases. We will examine how these changes have impacted vocal performance, originality in music, and the overall audience experience.
The Golden Era of Distinctive Voices (1990s–2000s)
The 1990s and early 2000s are often called the golden era of Bollywood playback singing, and for good reason. In this period, melody was king, and voices ruled hearts. Music was created with strong vocals, poetic lyrics, and soulful tunes at its core. Composers like Nadeem-Shravan, Jatin-Lalit, Anu Malik, A.R. Rahman, and others crafted songs that became timeless. Equally important were the playback singers who lent their voices to these songs; they became superstars through their singing prowess alone.
In that era, each playback singer had a distinctive voice and style:
- Kumar Sanu’s nasal yet melodious voice and effortless charm in romantic ballads earned him the title “Melody King” of the 90s. He and Alka Yagnik formed a duo that dominated film soundtracks with numerous duets, like those in Dilwale Dulhania Le Jayenge and Kuch Kuch Hota Hai. Alka Yagnik’s silky, emotive voice became the default for almost every leading Bollywood actress on screen.
- Udit Narayan brought a youthful, optimistic tone to songs; his voice in hits like Papa Kehte Hain or Pehla Nasha conveyed innocence and joy.
- Sonu Nigam, who rose to prominence in the late 90s and flourished in the 2000s, was celebrated for his versatility and technical brilliance. He could render a soft romantic aria like Kal Ho Naa Ho and also power through high-energy numbers, all with equal finesse.
- On the female front, aside from Alka, there was Kavita Krishnamurti, whose classically trained voice graced both romantic songs and complex classical-based numbers (e.g., Hawa Hawai and the songs of Devdas). Sadhana Sargam too was a 90s mainstay, known for her smooth, expressive singing, especially in collaborations with A.R. Rahman (she sang Hindi versions of many of his Tamil hits) and for countless devotional songs.
- Sunidhi Chauhan and Shreya Ghoshal arrived at the tail end of this golden era (early 2000s), inheriting the mantle from the 90s legends. Sunidhi’s powerful, husky vocals were the go-to for dance tracks and peppy numbers, while Shreya’s ethereal, pitch-perfect voice reintroduced the sweetness of the Lata Mangeshkar era with a modern touch.
What made this era special was that vocal quality and emotional expression were the heart of a song’s appeal. Composers tailored songs to a singer’s strengths, and listeners often identified songs by the singer as much as by the actors or composers. Each playback singer had a signature; if a song featured Udit Narayan’s voice, you expected a certain earnest warmth; if it was Sonu Nigam, you anticipated technical brilliance and soul. The “voices behind the stars” became stars themselves, and fans bought cassettes and CDs not just for the movie or the on-screen stars, but because they featured vocals by their favorite singers. Awards for Best Playback Singer were highly coveted and often went to those who genuinely delivered exceptional vocal performances that year.
During this era, technology in music production was present but not overpowering. The recordings happened in studios with the singer’s raw voice carrying the song. Auto-tune either did not exist or was used sparingly, so singers needed to hit every note accurately. The result was that playback singers honed their craft rigorously. A live performance by these singers sounded just as great as the studio version, sometimes even better. Indeed, many 90s-2000s legends like Sonu Nigam, Shreya Ghoshal, and Kavita Krishnamurti have proved their mettle in live concerts, singing complex songs without the safety net of technology.
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Memorable melodies and longevity: The songs from the 90s and early 2000s continue to enjoy longevity. From romantic ballads to soulful ghazals and fun dance numbers, these tracks are still played at weddings, on long drives, and on retro radio shows. They evoke nostalgia for those who grew up with them, and even younger generations often discover these songs via YouTube or reels and fall in love with their charm. The emotional resonance of classics like “Tujhe Dekha To Yeh Jana Sanam” or “Tadap Tadap Ke” is timeless; these songs can still give listeners goosebumps decades later. This enduring appeal speaks to the quality of composition and the sincerity of the vocals from that era.
The golden era was defined by original songs crafted for storytelling, with singers pouring their hearts into the performances. Playback singing was truly an art; an unseen singer could make the audience feel the on-screen actor’s joy or heartbreak purely through voice. It created a magical illusion wherein actors and singers together breathed life into a character. Those legendary voices became an inseparable part of the identity of Bollywood at that time.
Legends on the Sidelines: Where Are They Now?
Many of the iconic playback singers of the 90s and 2000s have seen a decline in their presence in Bollywood film music in recent years. This decline is not due to any loss of talent; most of these singers still sing wonderfully, but rather due to shifting trends and industry changes. Let’s look at what happened with some of these legends and where they are now:
Sonu Nigam – Once the reigning male voice of Bollywood (often called the “modern Rafi” by fans for his range and versatility), Sonu Nigam has significantly reduced singing for Hindi films by the late 2010s. In interviews, Sonu has hinted at disillusionment with the “music mafia” and politics in the industry. He has spoken up about how certain music label monopolies and film camps favor specific singers or newcomers, leaving established singers with less work if they don’t play by the rules. Sonu Nigam, in recent years, has focused on independent projects and live performances.
He has released non-film songs, spiritual music, and performs worldwide on tour, still drawing huge crowds of nostalgics. His voice remains as strong as ever, but he is choosier about playback assignments. Fans occasionally get treated to a Bollywood song by Sonu (for example, he sang in films like Padman (2018) and a few others), but it’s rare. Instead, he has become a mentor figure, appearing as a judge on reality shows and supporting new talent. Despite not singing many film songs now, Sonu’s legacy is intact; he’s widely respected as one of the best voices India has produced, and even today, if he releases a single, his loyal fan base eagerly listens.
Alka Yagnik – The queen of playback singing in the 90s and early 2000s, Alka has an astonishing repertoire of hits. As the film’s music dynamics changed, Alka gradually stepped back from playback singing. By the mid-2010s, we heard fewer songs by her, barring a beautiful exception like “Agar Tum Saath Ho” from Tamasha (2015), where her voice made everyone remember what was missing in modern songs. Alka Yagnik has also been a prominent reality show judge (on shows like Sa Re Ga Ma Pa and Indian Idol), where she nurtures aspiring singers. Recently, Alka faced some health challenges, She revealed a hearing loss issue in 2023, which concerned fans.
This may also have affected her ability to take on new playback work. Despite not singing new film songs often, Alka’s old songs are massively popular even today. Incredibly, she was reported to be the most-streamed artist on YouTube globally in 2022 with over 15 billion streams (thanks to her vast catalog of songs that people still listen to online). That fact alone shows that her voice continues to enchant listeners around the world, even if it’s via songs recorded years ago.
Udit Narayan – Udit was the cheerful voice behind countless heroes in the 90s and early 2000s. After the 2010s, Udit’s presence in new films diminished greatly. One reason is the change of guard; newer actors and composers started preferring newer voices to match a different style. Udit’s son, Aditya Narayan, also entered the music scene (and television hosting), so Udit shifted focus to stage performances and special appearances. He occasionally gets featured for nostalgia, for example, he sang a cameo line in a remix of his own 90s hit for a modern movie, or appears in tribute concerts. Like his peers, Udit has appeared on reality TV as a guest or judge, often singing his classics and reminding everyone of the golden voice he still possesses. In short, Udit Narayan now enjoys the role of a respected veteran: he may not be singing playback daily, but he performs live, receives lifetime achievement honors, and remains a beloved figure.
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Kavita Krishnamurti – A powerhouse vocalist of the 90s, Kavita semi-retired from Bollywood playback after the mid-2000s. She married renowned violinist Dr. L. Subramaniam and began to focus more on classical fusion projects and concerts. Bollywood film music also moved towards younger voices, and Kavita’s style, rooted in classical nuance, was not something the remixes and item songs of the 2010s called for. She still sings selectively, often at classical music festivals or special album collaborations. Kavita’s contribution to the golden era is often remembered in retrospective shows; she’s invited to sing her evergreen songs on stage but rarely features in contemporary film albums. Thus, she’s continuing the art of singing, just not in the mainstream film arena.
Sadhana Sargam – Another 90s stalwart, Sadhana’s Bollywood assignments dwindled as well in the 2010s. However, she has had a prolific career in other languages. Sadhana Sargam’s voice has been loved in Marathi, Tamil, and other regional film industries, where she continues to sing many songs. In Hindi, after the era of A.R. Rahman dubbing his South compositions into Hindi (for which she was a frequent voice), fewer opportunities came. She, too, has turned to spiritual music and regional concerts. So while we don’t hear her in new Bollywood blockbusters, Sadhana remains active in music beyond the Hindi film world.
Kumar Sanu – The 90s king of melody had an unparalleled run, but by the 2010s, he was heard mostly in nostalgic callbacks. Kumar Sanu’s distinct style wasn’t what the new club-remix oriented Bollywood was looking for. He made headlines in the late 2010s by lending his voice to remakes of his own hits. For example, he re-sang a few lines for a remix version of “Aankh Marey” (originally his 90s song) in the film Simmba (2018), which delighted fans who recognized his familiar tone. Sanu has also collaborated on indie projects and tribute albums. Off the mic, he has been involved in mentoring (his son Jaan tried his hand in music reality shows) and even dabbled in politics briefly.
But music remains his first love, he often performs in retro concerts in India and abroad, where an audience of 30- and 40-somethings sings along to every word of his 90s hits. He has openly commented on the current state of Bollywood music (more on that later), lamenting the shift away from melody. Today, Kumar Sanu might not sing for every film, but he hasn’t truly faded; he’s treated as an honored guest at music shows, and any time he does sing something new, it’s treated as a nostalgic event.
Other Legends – The trend extends to many others of that era. Abhijeet Bhattacharya, who was a leading voice for Shah Rukh Khan in the 90s, virtually vanished from playback singing by the late 2000s, focusing on live shows (and occasionally stirring controversy on social media). Suresh Wadkar, Hariharan, and others moved towards devotional or non-film music as Bollywood offers dried up. Meanwhile, singers like Shreya Ghoshal and Sunidhi Chauhan, who started in the early 2000s, managed to straddle eras for a while; they continued to get songs into the 2010s.
Shreya, in particular, has remained a top singer for melodious tracks and continues to earn awards (she is perhaps the only 2000s-era voice still heard very frequently in films, apart from the new crop). But even Shreya faced a slight dip in presence during the peak of the remix/EDM trend when fewer pure melody songs were being made. Sunidhi saw fewer songs as the taste tilted to auto-tuned high-pitched vocals by younger singers in certain dance numbers, though she, too, sings selectively and has been a reality show judge.
The legends of playback singing are still around and active in music, but most are no longer at the center of Bollywood playback. They have shifted to live performances, independent music, judging talent shows, or working in parallel music industries. Their relative absence from new Bollywood films is often felt as a loss by those who remember the golden era. Listeners often ask, “Why don’t we hear voices like Sonu or Alka in movies anymore?” The answers lie not in the singers themselves, but in how Bollywood’s music-making has changed.
To better understand why these voices have been sidelined, we need to look at the major shifts in the music industry post-2015, from the remix craze to the social media boom and the advent of digital vocal processing. These forces redefined what kind of songs are made and promoted, and consequently, who ends up singing them.
From Melody to Remix: The Rise of Recycled Hits
One of the most noticeable trends in late 2010s Bollywood is the remix culture, old hit songs being remade or “recreated” in new films and albums. Instead of composing entirely new melodies, many music producers started leaning on nostalgic appeal by taking a classic 80s, 90s, or 2000s song and giving it a modern twist (usually adding EDM beats, some rap segments, and faster tempos).
This remix trend exploded around 2015 and has continued strongly. Every year, multiple film soundtracks feature at least one remake of a bygone hit. For example, iconic 90s songs like “Dilbar Dilbar”, “Aankh Marey”, “Tumhe Apna Banane Ki”, “Cheez Badi Hai Mast”, and even 2000s hits like “Dus Bahane” or “Dil Chori” have been remixed and re-released. These remixes typically feature new singers (often the current popular voices or fast-rising newcomers) instead of the original singers, and lyrics may be partially changed to include rap or Punjabi catchphrases.
Impact on legendary singers: When an old classic is remixed, it’s rare that the original singer is called back to sing it. Usually, a trendy singer of the moment is chosen. This means legends like Udit or Alka, who sang the original, are bypassed for the remake; in essence, they are replaced in their own song. This can be bittersweet: on one hand, it introduces their classic melody to a new generation; on the other, the distinct charm their voice gave the song is lost. A remix often relies more on production than vocal soul, so the unique vocal texture of a Kumar Sanu or a Kavita Krishnamurti is not preserved. (Occasionally, as mentioned, a Kumar Sanu might cameo a line in a remix, but it’s more of an easter egg than the main draw.)
Why so many remixes? From the industry side, remixes are seen as a safe bet. The tune is already proven and familiar, so there’s a built-in nostalgia factor. Filmmakers assume that an audience will perk up hearing an old favorite in a new movie, and younger listeners might enjoy a “modernized” beat without the song feeling completely unfamiliar. However, this creative shortcut has drawn criticism from many quarters.
Veteran artists have been vocal in their disapproval of indiscriminate remixes. Legendary singer Asha Bhosle (who belongs to an even earlier generation but is relevant as a guardian of musical heritage) recently condemned the trend, saying that if today’s music directors had genuine creativity, they wouldn’t be constantly repainting old melodies. Asha, whose own classics have been remixed – like “Jhumka Gira Re” turned into a 2023 remix “What Jhumka”, expressed that modern composers and singers relying on these rehashes indicate a lack of innovation in the industry. In her view, repeatedly recycling beloved classics is no substitute for the originality that her generation and the ’90s generation of musicians brought to the table.
Similarly, famed lyricist Javed Akhtar has questioned why people remix old songs, which are part of our cultural heritage, rather than creating new songs of equal quality. Many composers from the 90s/2000s era (who are still around) have also shown discomfort. For instance, A.R. Rahman has subtly objected to remixes of his hits (when “Masakali 2.0”, a remix of his 2009 song, came out, he encouraged listeners to enjoy the purity of the original instead).
From the perspective of listeners who cherish the originals, these remixes often “destroy the charm” of the old song. The nuances of the original singers’ performances are often lost under heavy beats and auto-tune. While some remixes do click with the younger crowd and become chartbusters, many fail to impress true music lovers and are criticized as soulless or purely commercial.
Effect on music quality: The dominance of remixes in film albums meant fewer fresh opportunities for lyricists and composers, and by extension, for singers to shine with new, unforgettable songs. In the 90s, a movie might have 6-7 original tracks with different moods, giving multiple singers a chance to deliver something unique. By the late 2010s, a movie might have 2 original songs and 2 remixed old songs. The original songs might be item numbers or situational tracks, often given to whoever is trending at the moment, rather than the “best” singer for the job. This environment is less friendly to the golden-era singers who were used to crafting original melodies from scratch. It’s demotivating for veterans (and even for creative young artists) to see that novelty is taking a backseat to familiarity.
Remix culture signaled a shift: why hire a legendary singer for their unique voice on a complex new melody when you can pull in quick attention with a familiar old tune sung by a currently famous voice? It’s a volume-over-value strategy. While remixes can be fun occasionally, the over-reliance on them contributed to making the role of a high-caliber playback singer less critical. The art of playback singing, interpreting a new song and adding one’s signature to it, was somewhat undercut when the songs themselves weren’t original to begin with.
Influencers and Streaming: A New Formula for Musical Hits
Another major shift post-2015 is the way music is marketed and consumed. The advent of streaming platforms (like Spotify, Apple Music, Gaana, JioSaavn) and video platforms (YouTube, and previously TikTok and now Instagram Reels in India) has completely changed the success metric for songs. No longer is success measured only by album sales or radio play; it’s measured in views, likes, shares, and playlist rankings. In this digital ecosystem, catchy visuals and meme-worthy hooks can often trump soulful singing when it comes to grabbing eyeballs.
Influencer-led promotion: Today, a song’s popularity might have more to do with how well it can trend on social media than how it sounds in isolation. Record labels and film producers actively court social media influencers to boost songs. It’s now common for a music label to spend a big chunk of their marketing budget hiring TikTok/Instagram influencers, YouTubers, and even TV celebrities to feature the song in short dance or lip-sync videos. The idea is to spark a viral trend, maybe a dance challenge or a hashtag, which then exponentially increases the song’s reach. For example, if a popular Instagram dancer creates a hook-step to a new song and it catches on, millions will use that song clip in their own videos, making the tune instantly recognizable. This often translates to more streams and YouTube views, which in turn can push the song up the charts.
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Bollywood music composer Shekhar Ravjiani (of Vishal-Shekhar) noted that labels now actually demand a 15-second extremely catchy segment in a song, something that can be used in Reels. This is essentially designing music for the algorithm. If that 15-second “hook” goes viral, the entire song’s chances of success shoot up. In practice, this means song structures have changed: many songs now jump quickly into a chorus or have a punchy musical drop early on, to cater to short attention spans. Contrast this with older songs, which often had slow builds, long preludes, or gradual melodies that might take time to grow on the listener.
To ride the social media wave, even big Bollywood stars participate in promoting songs on these platforms. It’s not unusual to see an A-list actor posting a rehearsal video doing the signature step of their film’s new song on Instagram, basically encouraging fans to imitate it. Additionally, reality show stars, minor celebrities, and internet personalities are roped in to keep featuring the song. The marketing budgets that once might have been used for multiple composer collaborations or nurturing an artist are now partly diverted to paying influencers and creating viral content.
The video-centric approach: Along with influencer promotion, the video of the song has gained unprecedented importance. On YouTube, the most consumed format of music is the official music video. This means the visual presentation, the set, cinematography, choreography, and the presence of stars can often overshadow the actual singing. In many cases, songs become hits because the video is lavish or features a famous actor/dancer, rather than the song being extraordinary in audio terms. For example, an average-sounding song can still rack up hundreds of millions of views if it has a flashy video or an actress in a stunning item number performance. The focus in production shifts to making the video go viral, sometimes more than perfecting the audio track.
This has impacted playback singers in a few ways:
- In the past, playback singers were heard, not seen (except at live concerts). Now, we see a trend of singers themselves featuring in music videos for non-film songs, effectively becoming performers. Singers with a strong social media presence or a marketable image are sometimes given preference. For instance, some young singers who are also Instagram influencers release single tracks with themselves in the video, leveraging their follower base. Meanwhile, pure playback singers who don’t have that social presence might not get those opportunities. The line between singer and performer has blurred. While that’s great for singers who want the limelight, it means the industry might sometimes favor a “package” (mediocre singer + good looks/Instagram following) over a truly outstanding but camera-shy vocalist.
- Song selection by producers now considers “Will this track trend on TikTok/reels?” as a factor. A soulful ghazal or a complex classical-based song is less likely to trend in 15-second clips, so there’s less commercial incentive to include such songs in movies. On the other hand, a quirky upbeat track or one with a simple, repetitive hook (think “Lollipop Lagelu” kind of catchiness or a hook like “Coca Cola Tu” which literally repeats a product name) can more easily become an earworm that people use in videos. Thus, filmmakers lean towards those. Unfortunately, the legendary singers of yesteryear, who shine in nuanced genres like ghazals, semi-classical, or long narrative songs, find fewer songs being composed that suit their forte.
- Streaming algorithms and playlists also now influence which songs get heard. Many listeners discover music through curated playlists (like “Top Bollywood Hits” on Spotify) or the YouTube algorithm’s suggestions. These algorithms often favor what’s already popular or getting a lot of clicks. This can create a feedback loop; a song trending due to a challenge will be pushed more by algorithms, making it even more popular. Meanwhile, a beautifully sung song that doesn’t immediately catch fire online might never reach a wide audience because it’s buried. In the golden era, even if a song took time to gain popularity, the audience eventually found it through word of mouth or film longevity. Now, if it doesn’t spike quickly, it’s deemed a flop and forgotten. This high-pressure environment doesn’t allow slow-burn classics to emerge, and again, that tends to sideline songs that rely on depth over instant hooks.
It’s noteworthy that data and algorithms have taken a front seat. Music labels track streaming metrics in real time. They can see which type of songs are skipped versus played fully, at what point in a song listeners drop off, etc. This data-driven approach can stifle creativity: if data says “audiences skip slow intro”, labels might tell all composers to avoid slow intros entirely. If data says “XYZ demographic likes remixes”, they’ll churn out more. It’s business-minded, but arguably less art-minded.
For the legends of playback singing, this is a new world. These artists built their careers in an era where the only metric was how many cassettes/CDs sold and how often the song was requested on the radio or played on TV. That success was heavily dependent on the intrinsic quality of the song and voice, because listeners had to like the song enough to spend money on an album or keep tuning in. Now, success might come from going viral due to a dance move, not necessarily the singing.
Some of the veteran singers have tried to adapt: they release singles on YouTube, collaborate with younger artists, and maintain Facebook/Instagram pages to stay connected with fans. But it’s hard to compete with a generation of artists who are essentially digital natives and self-promoters from day one. The result is that the visibility of legends in the current mainstream is low, not because they lack skill, but because the rules of the game have changed. The audience’s attention is fragmented across thousands of songs and internet trends, and the industry is chasing the next quick viral hit rather than cultivating the next legendary voice.
Auto-Tune and Digital Production: Changing the Vocal Game
Perhaps the most controversial change in modern music production is the heavy use of auto-tune and digital processing on vocals. Auto-tune, a software tool originally meant to correct pitch inaccuracies, has become almost ubiquitous in studios worldwide, including Bollywood. Its use ranges from subtle (just ensuring a singer’s slightly off-key notes are corrected) to obvious (the robotic, electronic voice effect heard in many pop and EDM songs). In parallel, other tools like vocal samplers, pitch shifters, and layering techniques allow producers to create a vocal track that might be quite different from what the singer originally sang.
In the golden era, singers had to really nail their performances live in the studio. If they sang off-key, they did multiple takes until it was right. There was no “we’ll fix it in the mix” mentality. This meant the songs carried the natural dynamics of the singer’s voice, the little trembles, the powerful sustains, the emotive pitch drops, all raw and real. When Kumar Sanu or Sadhana Sargam sang a high note, you heard the full timbre of their voice reaching that note. When Udit Narayan smiled through a line, you could hear the smile in his voice. That human touch is what gives older songs an enduring appeal; they feel sung by a human with genuine feeling, not by a machine.
Now, consider many songs of the late 2010s and today: uniformly processed vocals have become the norm. Many tracks, especially dance numbers and electro-pop style songs, use auto-tune as a stylistic effect (the way T-Pain or Cher’s “Believe” did in the West). In Bollywood, a wave of DJs turned composers, and some pop singers have embraced that style. Even when not used as an overt effect, almost every commercial song goes through pitch correction. This has some far-reaching implications:
- Lower bar for singing talent: A person who is perhaps a decent singer but not great can sound impressive after digital tuning. It’s been said in industry circles that nowadays, if an actor or influencer “wants to sing” a song themselves, technology can make it passable. We’ve seen actors like Salman Khan, Alia Bhatt, and others sing songs in their films (with lots of studio help), something that was rare in earlier decades when you really needed a playback singer to do justice to the tune. Some music producers might favor working with a star (singing in their own voice) or a younger singer who looks good on screen, thinking, “We can correct the voice anyway.” This inevitably reduces opportunities for the truly skilled playback singers. Why hire a Sonu Nigam for a big fee to sing flawlessly when the trend is to maybe have the lead actor or a cheaper new singer carry the tune, aided by software?
- Loss of unique vocal texture: Auto-tune, when overused, tends to iron out the distinct qualities of a voice. It can make different singers sound somewhat similar because everyone is perfectly in tune, and the voice is often compressed to have a certain polished tone. In the 90s, you could tell apart a Kumar Sanu song from a Udit Narayan song within seconds. Today, casual listeners sometimes can’t tell which new singer is singing a given song, partly because the voices are mixed to blend with the electronic music rather than stand out. The “character” in a voice, those tiny imperfections or variations, is what often makes a singer unique. Over-processed vocals lose that character, making the very concept of a distinctive playback voice harder to sustain.
- Dependence on technology for live performance: Many of the legendary singers made their name through live shows where they delivered powerful performances without any pitch correction. With newer singers who rely heavily on studio magic, performing live can expose limitations. There have been instances where audiences noticed a stark difference between a singer’s live vocals versus the polished track. Some even use backing tracks or lip-sync in live shows (an accusation even reality singing shows have faced, using auto-tune on contestants’ voices). This can erode the audience’s confidence in singers. It also means the wow factor of a naturally great vocalist is diminished in public perception. In earlier times, people marveled at singers hitting difficult notes perfectly. Now, many assume “oh, they must have used auto-tune” when they hear a high note in a recording, which undercuts the appreciation for genuine talent.
- Creative vocal techniques: On the positive side, digital tools have allowed some creative experimentation, vocal layering, harmonizers, and effects can create soundscapes that were not possible before. Some modern songs do play with vocal texture in interesting ways (whispers, chorus effects, etc.). But these are often subtle background elements. The main criticism remains that the lead vocals in many tracks feel overly synthetic.
It’s worth noting that not everyone in the new generation leans on auto-tune heavily. Singers like Arijit Singh, arguably the biggest playback singer of the 2010s, are known for their soulful voice and live singing ability. Arijit has been quoted as saying that one of his idols, Sonu Nigam, “can never go out of tune.” That statement highlights the respect for actual skill. Arijit’s own songs, while produced with modern techniques, still carry a raw emotion, and he often records multiple takes until he’s satisfied with the natural delivery. Similarly, Shreya Ghoshal continues to maintain high vocal standards in her songs. So, excellence in singing still exists; it’s just that the overall industry doesn’t demand or rely on it as exclusively as before.
Veterans have voiced mixed feelings about technology. Some embrace it as evolution, after all, even in the old days, there were miked recordings and sound engineers. But many, like Sonu Nigam, have subtly disapproved of singers becoming too dependent on pitch correction. In a rather telling (and somewhat humorous) anecdote, a modern pop singer, Tony Kakkar, had once quipped something to the effect that singers like Sonu Nigam and Shaan should “use auto-tune and not sing from the heart so much,” implying that raw singing was outdated. He faced backlash for it, and later showed respect to Sonu, but the incident underscores a generational divide: heartfelt, unfiltered singing vs. tech-assisted slick vocals.
Ultimately, the surge of auto-tune and digital production means that the playing field of playback singing has been equalized, but not necessarily in a good way. It’s easier now for anyone to sing a song and have it corrected to sound acceptable. But it’s harder for truly great singers to shine unmistakably above the rest, because the nuances that set them apart might be digitally smoothed out or undervalued. The “lost art” in this context is the ability to convey deep emotion and individuality through voice alone, something that legends did brilliantly, and which technology can sometimes mask.
Impact on Audience Experience and Musical Originality
How have these changes, the fading out of legendary voices, the remix/remake deluge, the influencer-driven marketing, and the auto-tune dominance affected the overall audience experience and the originality of music? Let’s unpack this:
1. Audience Listening Experience:
For an older listener who grew up in the 90s or 2000s, there is often a sense of disappointment with many of today’s Bollywood songs. The complaint usually sounds like: “Songs today don’t make us feel the way old songs did.” This isn’t just nostalgia; there are concrete reasons behind it. The emotional depth that a well-written song, composed with melody and sung by a skilled singer, can bring is hard to replicate by a song that’s designed for quick consumption.
Listeners observe that many recent hits are catchy but shallow, great for dancing or humming for a few weeks, but they don’t necessarily leave a lasting impression on the heart. For example, a hook like “Lagdi Lahore Di Aa” (from a remix) or “Coca Cola tu” might be fun at parties, but compare it to a soulful line from the past like “Ab tere bin jee lenge hum”, the latter carries story and feeling that stays with you. That “soul” is what many feel is missing in a lot of post-2015 music. Songs often prioritize a cool beat drop or a repetitive English phrase to get trending; as a result, the lyrics can be simplistic or generic. This leaves some listeners unsatisfied when they seek meaning or poetry in music.
On the other hand, a section of the younger audience enjoys the new trends. Their music consumption is largely via short videos and charts, so for them, a song that’s trending is a good song by virtue of its popularity. They might find older ’90s songs too slow or dated in sound. So, the audience experience is also split by generational tastes to some extent. Yet, interestingly, even many young listeners are discovering that the old songs have a certain magic. Retro playlists on streaming platforms and the use of 90s songs in social media videos have actually created new fans for the golden era of music. When they compare, they often realize the richness of vocals and lyrics in those songs versus some of the repetitive stuff today.
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What about live concerts and shows? Audiences flock to concerts of the legends (whenever Sonu Nigam or Shreya Ghoshal, or Udit Narayan perform live, they usually sell out venues). The experience of hearing those songs live with the singer hitting every note, that’s an experience people are willing to pay for, which suggests that authentic vocal talent still has a huge appeal. Conversely, for some of the newer digital-age pop singers, while they might have huge online streams, they may not be able to draw large live audiences because they haven’t built that real connection through voice with listeners. Many fans consume the song as part of a trend, not necessarily as a fan of the singer themselves. This indicates that the bond between singers and listeners has loosened. Earlier, fans followed singers; now they often follow songs or trends.
2. Originality in Music:
The shift toward remixes and formula-driven songs has definitely raised concerns about originality. The sheer volume of remakes in recent years made many ask: Has Bollywood run out of new tunes? The reliance on past hits for new success can create creative stagnation. If every other song is a remake, where is the space for the next “Mera Dil Bhi Kitna Pagal Hai” or “Kal Ho Naa Ho” to be born? Moreover, when original songs are being made, if they all have to fit a narrow template (must have EDM drop, must have simple lyrics, must have hook repeat), there’s a risk of monotony.
Music composers might feel pressured to play it safe. A byproduct of this is fewer risks on unique voices or styles. For example, in the 90s, a composer might create a haunting classically-based melody and think of a voice like Hariharan or Kavita Krishnamurti to elevate it, even if it’s niche. Today, that might be deemed “too slow, not massy enough.” So those songs don’t get made. And those artists aren’t engaged. Originality suffers both at the composition level and at the performance level.
There’s also the issue of reduced storytelling through songs. Bollywood songs traditionally carried forward the narrative of the film, a love song, a separation song, an inspirational song, etc., each with unique lyrics and mood. In recent times, filmmakers often treat songs as mere montages or backgrounds for music videos to insert in promos. Thus, songs might not be as integral to storytelling, which means lyricists are instructed to write something catchy and non-specific rather than deep and story-centric. Without strong lyrics and context, singers have less to interpret and express. A singer like Sadhana Sargam could brilliantly express the pathos of a situation when the song “Aaoge Jab Tum O Saajna” has meaning. But give even a great singer a shallow party track, and there’s only so much they can do to make it soulful.
3. The Lost Connection:
When we talk about the “lost art” of playback singing, ultimately, it’s about the emotional connection that a singer’s voice creates between the character on screen and the audience. In the golden era, there were moments in films where the combination of an actor’s performance and a playback singer’s emotive voice could make viewers cry, laugh, or feel exhilarated. Those were moments of true cinematic magic, think of Mohabbatein’s “Humko Humi se Chura Lo” where Udit and Lata’s voice combined with Shah Rukh and Aishwarya’s screen presence, or Sonu Nigam’s voice closing Kal Ho Naa Ho with the title song as the narrative concludes, these touches elevated the film beyond visuals.
If songs become more of a music video disconnected from the narrative (as is often the case now, where a remix is added just for promotion or a party song is dropped in, whether or not the story needs it), the art of playback singing serving the story is diminished. The audience experience becomes more superficial; they might enjoy the song as a standalone, but it doesn’t necessarily make the film more powerful or memorable in the way it used to.
4. Audience Fatigue and Hope:
Interestingly, by the early 2020s, some listeners and even people in the industry started expressing fatigue with remixes and generic songs. There’s a growing call to bring back meaningful music. Independent music (non-film) has seen a surge, with artists exploring more original sounds outside the formula, and listeners are responding well to those when they discover them. The fact that older songs continue to trend in usage shows that audiences do crave that melody and quality. Movies that buck the trend and deliver soulful music (for example, a film that dares to have a ghazal or a pure romantic duet without EDM) often find those songs becoming hits in spite of the “rules”, proving that the audience still values good vocals and melody if given a chance.
For the legendary singers, this is somewhat heartening. It means their style isn’t “outdated” as some might claim; it’s classic, and classics can come back. Already we see music directors occasionally bringing veteran singers for special tracks to tap into that nostalgia and quality, like when the legendary Asha Bhosle herself was brought to sing a song in Mai (2013) or when S. P. Balasubrahmanyam (before his passing in 2020) sang the nostalgic title track of Chennai Express (2013) to invoke the feel of his 90s work. These instances were loved by audiences. There’s a lesson: balance is key. The future could blend the best of both worlds if handled well.
Echoes of the Golden Era in a Digital World
The art of playback singing in Bollywood hasn’t vanished, but it’s certainly transformed. The legends we admired have not exactly been replaced; rather, the ecosystem around them changed so drastically that it left them on the sidelines while a new game is being played. The 1990s–2000s gave us a treasure trove of musical gems, forged by the synergy of great composers, thoughtful lyrics, and incredible voices. Those songs still echo in our collective memory; they are the benchmarks of quality and feeling against which many listeners unconsciously measure new songs.
Post-2015, the industry’s priorities shifted to immediacy, visibility, and viral potential. Music became more about instant hits than everlasting melodies. On the positive side, this democratization and technological advancement opened doors for many new artists and forms. India’s music scene is more varied now, with independent pop, hip-hop, regional fusion, etc., all gaining space. The monopoly of film music has been challenged, which is a good thing in many ways. But in this churn, the classical playback singer, the specialist whose voice alone could carry a film’s music, has become a rarer breed.
However, there is a growing realization among creators and listeners alike that there needs to be a balance. Great music can certainly be packaged in modern ways without sacrificing its soul. We’re already seeing some corrections: newer songs that succeed often have a bit more heart, and remixes, while still present, face swift critique if done poorly. Legends like Sonu Nigam, Alka Yagnik, and others continue to command respect, and there are calls to work with them again for their expertise. Moreover, today’s top singers like Arijit Singh and Shreya Ghoshal, who have one foot in the old-school dedication to craft and one in the new world of fame, show that being true to the art of singing still wins millions of fans.
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Arijit’s dominance itself is proof that a singer with a golden voice can rule even in the streaming era; his songs are hits not just because of marketing, but because people genuinely connect to his voice. That should give the industry confidence that investing in quality vocals and original music is still a winning strategy in the long run.
In conclusion, the “lost art” of playback singing may be overshadowed right now, but it is not lost for good. The legends we miss are still out there, inspiring new artists and reminding everyone what authentic singing can achieve. As the dust settles on the frenzy of remixes and viral gimmicks, one can hope the focus will return to musical richness and vocal excellence. The challenge and opportunity ahead is to merge the best of both eras, let the distinctive voices and emotive performances of the past blend with the innovative production and distribution of the present.
If Bollywood can encourage originality while still embracing modern platforms, then the art of playback singing can find its resurgence. After all, technology and trends may change, but a beautiful voice touching a listener’s soul remains timeless. And as long as that truth holds, the legends of playback singing will never truly fade away; their songs will live on, and new legends can still emerge by learning from the past while embracing the future.