Singer Nikhita Gandhi’s latest songs Baby Bring It On from the recently released Madgaon Express and Mast Malang Jhoom from the upcoming actioner Bade Miyan Chote Miyan have set the music charts buzzing. The Kolkata girl talks about the two hits, her album with Badshah and all things music.

Leke Prabhu Ka Naam (Tiger 3), Mast Malang Jhoom (Bade Miyan Chote Miyan), and now Baby Bring It On (Madgaon Express) — you’re on a roll with chartbusters. Which one did you have the most fun singing?

Nikhita Gandhi: I think I have spent the most amount of time on Leke Prabhu Ka Naam because I’ve been a part of the song right from its inception. At first, the lyrics were different. Also, working with Pritam-da on his songs has always been close to my heart. But I must say that Mast Malang Jhoom and Baby Bring It On were both very important for me because they were my first collaborations with the composers. Mast Malang Jhoom with Vishal Mishra and Baby Bring It On with Ajay-Atul have been very big milestones and super important for me in my career.

Did you listen to the original Marathi song by Ajay-Atul from the film Jaundya Na Balasaheb? What did you think of it?

Nikhita Gandhi: I did listen to the original song, the Marathi version of Baby Bring It On. I mean of course I knew that we’re doing a remake of that song and I wanted to hear the original as well before recording it. There was no female voice in the original, which intrigued me more. It was interesting to have this variation and it was a very different song from most of the songs in my repertoire.

The tunes of the original have pretty much been retained. How did you make it new for yourself?

Nikhita Gandhi: I think the way I approach singing, especially remixing, is to not influence myself by the original. That was the case in Dil Kya Kare also, the line that we did in O Sajna in Badshah’s song. Whenever it comes to a reinterpretation of an existing song, I try to just be completely myself and not listen to the original before singing it because I want to have a completely fresh perspective on the song.

What is your upcoming album Ek Tha Raja with Badshah all about?

Nikhita Gandhi: I didn’t know that O Sajna was a part of an album at first. We just recorded the song like we recorded Jugnu and Bad Boy Bad Girl in the past. Then I met Badshah at a studio where he told me that Divine is on the track as well and it’s going to be part of a big album and that’s when I got to know the entire concept behind the song. I’m thrilled to be a part of this album, which I believe is a major milestone for Badshah. Moreover, I’m super excited about collaborating with Divine and BBoy as I adore them both.

Which is your favourite decade in terms of Hindi film music?

Nikhita Gandhi: I grew up listening to LPs that my grandparents had, which ranged from various generations and decades. They had a really good collection of old jazz albums from the ’50s and ’60s, like Frank Sinatra. Even genre-wise I’ve been listening to all kinds of music from jazz to ghazal, so it’s very hard for me to pick a specific decade. I am a ’90s kid, so the ’90s era would always be special to me, like people who grew up in the ’80s would relate to music of the ’80s the most.

What about yesteryear music that you wish today’s music had?

Nikhita Gandhi: I don’t like to compare generations, decades and movements when it comes to music because I think every generation has its iconic music and it is very unfair to compare because the scape changes, the listenership changes, and the way we consume music changes. I think we should just love, cherish and respect each generation for what it is.

What is your take on the quality of lyrics in today’s songs?

Nikhita Gandhi: I honestly think the lyrical aspect of music, both film and non-film, is quite interesting. Again, it’s a broad spectrum. We have some amazing lyricists like Amitabh-da (Bhattacharya) with whom I’ve worked a lot. And of course legends like Irshad Kamilji, Javed Akhtarji, Kumaar Paji, and so many others who’ve offered incredible music.

Also, there’s a wave of emerging talent, like two of my friends Sid and Shlok, along with other singer-songwriters who are carving their paths in the industry. I really love the creativity and the writing style of the writers of now.

Remixes can be instant hits but a soulful melody will have a longer shelf life. What is your take on this?

Nikhita Gandhi: If the intent behind remixes and the core concept of remixing are genuine, and if the essence of why we’re creating a remix, such as celebrating a song and introducing it to a new generation while preserving its essence, is maintained, then remakes can be truly brilliant. They have the potential to propel the music forward, ensuring its longevity across generations, which is something I admire about remixes when executed thoughtfully.

Additionally, I concur that a fresh melody undoubtedly holds significance, although determining its longevity can be challenging given the ever-changing landscape of music. The shelf life of a song is a complex and subjective matter, often defying prediction.

What kind of songs have you been making lately and when do you plan to release them?

Nikhita Gandhi: I have a lot of music in store and a lot of songs that I’ve written which are in the pipeline. I did an EP in 2022 and a single last year and I’ve been sort of waiting for the right moment to release my music because I do a lot of collaborations and films as well and I want to do justice to all of them.

If you could change one thing about the music industry, what would it be?

Nikhita Gandhi: I believe the only thing I would change is the lack of structure in the music industry. There are no rules. The relentlessness is fine, to be honest, because musicians are by nature rule breakers and disruptors. But I do feel that a little more structure in terms of work ethic is something that would be a welcome change in the music industry.