Chitralekha Sen On Taking Indian Folk Global: 'My Music Played At Tomorrowland, Coachella Is Next' | Exclusive
From temple courtyards in Rajasthan to global festival stages, Chitralekha Sen is redefining Indian folk music. In this exclusive interview with News18 Showsha, she opens up about breaking industry norms, blending traditional sounds with global genres like Afro-house and UK garage, and making space for...Read More
She grew up singing in temple courtyards lit by a single bulb. Today, her music plays at Tomorrowland, and Coachella is next. Chitralekha Sen isn’t just preserving folk music—she’s flipping the script on how it sounds, looks, and lives in the world. A rare voice in India’s independent music scene, she merges the earthiness of Rajasthani folk with the pulse of Afro-house, UK garage, and electronic production. From viral reels for “Banna Re" to the cultural soul of “Jio," Chitralekha is reshaping what it means to be a folk artist in 2025.
In this exclusive interview with News18 Showsha, she speaks candidly about breaking through the male-dominated circuits of traditional music, the creative freedom of independence versus the waiting game of playback, and why authenticity—not algorithms—will always set folk music apart in a world flirting with AI.
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She’s clear-eyed about the gaps in gender visibility, honest about the need to adapt for digital platforms, and uncompromising when it comes to cultural integrity. Whether she’s performing live at Tata IPL or collaborating globally through Instagram DMs, Chitralekha is steadily making sure folk music is not just remembered—but reimagined, revived, and recognized.
Her goal? For the name Chitralekha Sen to stand for Indian folk on every major stage in the world—from Jaipur to New York, and everywhere in between.
This is not just a revival. It’s a reclamation. And she’s just getting started.
Here are the excerpts:
KOLAB HER MUSIC CAMP aims to empower female music creators. What has been the most eye-opening or transformative experience for you during this initiative?
At first, I wasn’t sure how the camp would unfold, but once we stepped into the creative zone, it was incredible. Sharing ideas in the same space with talented female music creators was truly empowering. Everyone contributed their knowledge, making the experience deeply enriching. This kind of camp should happen more often—it’s not just about music but also about networking and collaboration. It was a great learning experience, and I realized that female artists bring a unique perspective to music creation.
Women in the Indian music industry often face challenges regarding visibility and creative control. What personal experiences have shaped your perspective on this, and how do you navigate these challenges?
After one of my songs was released, I thought visibility would come naturally—that I’d be everywhere. But that wasn’t the case. I received only a few interviews, and within a month, the buzz was gone. Male artists often receive more exposure than female artists, and I’ve seen this pattern persist. While things are changing, we still have a long way to go in ensuring equal opportunities for female artists.
Do you think the Indian music industry is truly evolving towards gender inclusivity, or do deep-rooted biases still exist?
The industry has improved over the years, but biases remain. I’ve been in this space for 13 years, and initially, female artists were only given opening performances, while male artists dominated the rest of the show. That was disheartening. Now, things are shifting, and female artists are receiving more support. However, there’s still work to be done to achieve true inclusivity.
Many folk traditions are male-dominated, both in storytelling and performance. How do you see your role in breaking that narrative and carving space for female voices in folk music?
Traditional folk music has long been a male-dominated space, but I believe in challenging that narrative by bringing a fresh perspective. By fusing folk with contemporary elements and collaborating on a global scale, I’m ensuring that female voices have an equal place in folk music.
Your song Banna Re introduced a new generation to Rajasthani folk with a contemporary twist. What inspired you to blend folk with modern production, and how do you balance authenticity with innovation?
People often told me that I only sang traditional folk, so I wanted to experiment. I reached out to DJ Shadow, and together, we created Banna Re in just three to four days. The response was overwhelming—within a month, we had 2 million reels using the track. While innovation is key, I always ensure that the essence of folk music remains intact. That’s why I continue to explore different genres like Afro beats and jazz while staying true to my folk roots.
Your recent collaboration Sitta with NOVAK introduced an Afro-House touch to Bajre Da Sitta. What inspired you to experiment with this genre, and how do you see Indian folk music evolving globally?
This was my first international collaboration, and I realized how much respect folk music receives on a global scale. I connected with NOVAK through Instagram DMs, and we decided to rework Bajre Da Sitta into Afro-House. The original song is slow and traditional, but we transformed it into something fresh, and the result was amazing. It showed me that music transcends language and culture, proving that folk music can find a place in the global soundscape.
In Engine Ki Seeti, you modernized a folk classic. What challenges come with reinterpreting traditional songs while respecting their cultural roots?
There were mixed reactions. Some questioned why I was redoing an already popular folk song, but I approached it from a fresh perspective. I also created a music video to present it differently. This track is special to me—I even gained weight for the role in the video! The challenge is always to honor the original while making it relevant to new audiences.
What’s one Rajasthani folk song that deeply resonates with you on a personal level, and why?
There’s a song called Jio that I used to sing in a temple as a child. Growing up in a village with limited electricity, we only had light on Sundays at the Shivji temple, and that’s where I would sing. The song is about searching for God, and it has always given me a deep sense of connection. I later recreated it with MAMBA using UK Garage influences, and once it was released, my career took off—I started getting back-to-back shows.
If you had to strip one of your most well-known songs down to its rawest acoustic form, which one would it be, and why?
Banna Re, without a doubt. The melody and lyrics stand strong even without production.
You’ve explored both playback singing and independent music. What freedoms does independent music allow you that playback does not?
With independent music, I have complete creative freedom. In playback, you’re often waiting months for a project to move forward, and that waiting period can be frustrating.
Independent music lets me create and release music on my own terms, without limitations.
Rajasthani folk music has historically been a medium for social storytelling. Have you ever used folk music to address contemporary social themes?
Folk music has always been about storytelling, but I believe it should remain positive and mindful. The beauty of Rajasthani folk is that it carries deep cultural messages while being respectful and uplifting.
You performed live at Tata IPL 2024, introducing folk music to a mainstream audience. How did that moment feel, and how do you adapt your performances for different audiences?
Performing at the IPL was an incredible experience, especially since it was in Jaipur, my home state. Initially, I wasn’t sure how the audience would react, but once I started singing, the energy was amazing. The organizers even asked me to perform a second time during a match break, and I sang Rajasthan Calling. It was a surreal moment to represent folk music on such a huge platform.
Folk music is often passed down orally. Have you discovered any lesser-known Rajasthani folk songs that you’d like to revive?
Yes! Growing up, I was fortunate to hear a wide range of folk songs from Rajasthan. There are many hidden gems that I would love to bring back to life.
How do you ensure that your modern reinterpretations remain respectful while appealing to a global audience?
I always approach collaborations with a deep respect for the original. For instance, when recreating Jio, a producer suggested holding a cigarette in the music video. I refused because it’s a devotional song, and I didn’t want to compromise its integrity. I ensure that any modernization still honours the cultural and emotional significance of the music.
What do you think needs to change for folk-based independent artists to get more mainstream recognition?
Folk music should be integrated into mainstream platforms. Right now, folk is often categorized separately, making it harder for artists to gain visibility. If we start seeing folk alongside pop and Bollywood in playlists, it will get the recognition it deserves.
With streaming platforms changing how people consume music, do you think folk music is gaining a new audience, or does digitalization pose challenges?
It’s a mix of both. While digital platforms expose folk music to a global audience, fully traditional folk may not go viral with Gen Z. We have to adapt slightly to engage modern listeners without losing authenticity.
In a world of AI-generated music, how do you think human emotion and traditional storytelling will hold their space?
AI is a threat, especially because it can replicate human voices. But AI lacks emotion, effort, and originality. Folk music is about human experience, which AI can never fully capture.
Fast-forward 20 years—what do you want the name “Chitralekha Sen" to mean in the world of music?
I want my name to be recognized globally. My songs have already played at Tomorrowland, and one will be featured at Coachella this year. I’m aiming for even bigger platforms—New York, London, Amsterdam, Sydney. I want Chitralekha Sen to be synonymous with folk music on the global stage.
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