The Power of Musical Storytelling in Amar Singh Chamkila — by Urvashi Janiani

[dropcap]H[/dropcap]aving grown up watching Hindi movies with musical numbers, it is disheartening at times to watch new-age directors not put their might behind a robust music album. Maybe the predominant perception is that movies don't need to be punctuated with vapid songs, or at least that 'intellectual' cinema doesn't choose that path.

In an era where filmmakers are drifting away from using too many lip-sync songs in their work, Imtiaz Ali shows us that incorporating songs within movies is an art form that is singular about our cinema. And, when done right, it does not take anything away from a film but instead adds to its impact.

The announcements of Emmy 2025 nominations for both Diljit Dosanjh and the film Amar Singh Chamkila validate just that. Amidst global recognition and Emmy Awards buzz, I recommend you re-watch the film and really listen to the music to understand its role in taking the film to its glory.

In addition to Diljit Dosanjh and Parineeti Chopra singing Chamkila and Amarjot’s songs live while filming, which itself is a praise-worthy feat, the film comprises six original compositions. Each song advances the screenplay without taking you out of the story or feeling like a filler or a promotional track. And that is the beauty of this album, which I can confidently say will act as a benchmark for the use of music as a storytelling device in the future.

Amar Singh Chamkila starts with a bang, quite literally. Within the first couple of minutes, we witness Chamkila and Amarjot being fatally shot. And then…

Ae Ganda Sa Banda Hai, Social Darinda Hai.

Hey, he’s a devil, a social evil.

We jump right into "Baaja", a song seamlessly intertwining Chamkila’s provocative lyrics with Punjab’s political landscape. The song itself becomes a metaphor for how interconnected art and society have been throughout history. It introduces us to the protagonist by outlining his entire life story, leaving us to gradually pull back the curtain on his complicated life and tragic death.

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Music video for "Baaja" from Amar Singh Chamkila, 2024

You’ll get hooked on "Baaja" for the beats and the composition but stay for the rich lyricism. The colloquial way Irshad Kamil uses to describe Chamkila is purposefully catchy and crude in equal measure. Summarizing the singer’s public perception from the get-go, Kamil writes, “Chamkila, Sexila, Tharkila / Woh Ganda Banda”.

In what can be described as a flourishing Imtiaz Ali trope (Heer Toh Badi Sad Hai – Tamasha), the song has been given a musical theatre treatment with actors not just lip-syncing the song but staring right into the camera and narrating the legend and lore of Chamkila. Mohit Chauhan appears in the song, also delivering Chamkila’s original song lyrics with a natural Punjabi twang. The rare cameo is a welcome surprise and serves as a nod to the celebrated collaboration of Imtiaz Ali, Irshad Kamil, A.R. Rahman, and Chauhan himself.

Then we come to “Tu Kya Jaane", which is a sweet declaration of love from Amarjot. Throughout the movie, she is portrayed as a passive but passionate partner to Chamkila in art and life. Yet, we rarely get to see her verbalize her thoughts or take charge of a conversation. This is the only song from her point of view, making us witness Amarjot’s goofy and girlish side, who is thoroughly smitten with and in awe of Chamkila.

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Music video for "Tu Kya Jaane" from Amar Singh Chamkila, 2024

Tan Ka Taaj Bhi, Man Ka Raj Bhi, Apna Aaj Bhi / Tujhpe Dena Hai Vaar.

My body’s kingdom, my heart’s reign, my present being / I want to submit to you.

“Tu Kya Jaane" is a beautiful melody in the voice of Yashika Sikka that evokes all the butterflies of falling in love. The song has a surreal, dreamlike quality that has been replicated through a soft glow in the visuals as well. While the rest of the story is more focused on Chamkila and Amarjot’s rising musical success, this song underscores the blossoming romance.

Moving on to "Ishq Mitaaye”, set against the backdrop of 1984’s insurgency in Punjab. The song echoes the sentiments and spirit of Punjab through an artist.

Aag Se Khel Ke Nikhra Lish Lish/ Chamka Main Jeeve Dhunak Dhun Meri.

I emerge from fire bright and shining / My spirit will shine through.

It is certainly a tricky montage to pull off. On one hand, we see Punjab burning in a fire ignited by militancy and anti-Sikh riots, and at the same time, Chamkila is rising through the ashes and performing his best music. No voice is more apt than Mohit Chauhan’s to represent power, resilience, and fire in the words “Main Hun Punjab”, transforming this song into an anthem of hope and resistance.

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Music video for "Ishq Mitaye" from Amar Singh Chamkila, 2024

In no way does the use of music here rely on levity to get through a sensitive subject. The tension in the atmosphere is not dispelled through music; it is channeled through it. Imtiaz Ali has tastefully and boldly portrayed the most intense sequence in the film. During this song, Chamkila realizes his larger purpose as an entertainer, that of amusing the masses in tense times. A role he may not have imagined or strived for but is bestowed him upon due to his immense popularity, pushing him further into the spotlight. Here, Punjab and Chamkila act as metaphors for each other, both of whose fates are wrought with exuberance and violence.

Next is “Naram Kaalja", which is a lyrical masterpiece, a hidden jewel in this album, and a personal favorite. There have been umpteen songs in our movies where a man is seen expressing lust for a woman, whereas she modestly refuses to partake in any mischief. But songs where women give explicit consent and imply sexual intent? I can count on my fingertips.

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Music video for "Naram Kaalja" from Amar Singh Chamkila, 2024

At the core of this song is the celebration of female desire. Irshad Kamil has written about women’s sensuality in a way that is raunchy, unapologetic, and stripped of shame. The song turns the concept of sexuality corrupting young women on its head by showing them enthusiastically enjoying the provocative music of Chamkila. It separates women from their holier-than-thou image and bares their proclivity for tongue-in-cheek ribaldry. Despite the naughty lyrics, the song has a liberating feel that comes from the fact that it is devoid of coyness and is so full of pride.

Tu Loot’ta Ye Sochke Main Naram Tu Mardaan Hai, Par Darasal Mere Liye Tu Aish Ka Samaan Hai.





You plunder my body, thinking I’m weak & you’re macho, but really / You’re just a means of pleasure to me.

The melodious and malleable voices of Alka Yagnik and Richa Sharma breathe life into this song. The marriage of their voices is pure satisfaction and begs to be heard more often. Add to that the sheer power of hundreds of women, young and old, singing, dancing, and teasing the camera is a treat to watch.

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"Bol Mohabbat" from Amar Singh Chamkila, 2024

Now, this is where the tone of the movie shifts. "Bol Mohabbat" is a cry for freedom. It appears in the story when Chamkila is being spread thin, trying to please everyone — the audience, the religious leaders, the supporters, and the detractors. All while trying to do what he knows best — make music. Rahman’s voice carries the anguish of an artist and of a person who is being tied down, threatened, and confined by expectations. When an artist’s voice is silenced, however controversial or contrarian it may be, what are they left with?

Bulleh Shah Odhiyan Oh Jaane, Mainu Apni Tod Nibhawan De

Mainu Rusda Mod Leyavan De, Mainu Dukhda Maar Mukawan De



Oh Bulleh Shah, what they do is up to them, Let me perform my duty fully

Let me reconcile with the upset ones, Let me finish this suffering

This pain is not alien to an Imtiaz Ali character, though. Jordan in Rockstar was as misunderstood and judged an artist as Chamkila. If Jordan conveyed his pain through the raging, thumping, guitar-smashing ‘Sadda Haq’, in Chamkila, we get the soft and melancholic "Mainu Vida Karo". Just look at these two lyrics from the songs:

Be-Saleeqa Main, Uss Gali Ka Main, Na Jismein Hayaa Na Jismein Sharam.

I am mannerless; I belong to that street where there is no modesty/shame.
(ROCKSTAR)



Tum Sabhi Saaf Sahi, Hun Mat Maila Main.

All of you are pure and righteous; I am the impure one.
(CHAMKILA)

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"Vida Karo" from Amar Singh Chamkila, 2024

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A Still from Rockstar

These two tracks feel like twin songs, carrying the same anger towards a puritanical and pretentious society. “Sadda Haq” has rebellion and power; it demands answers from the rule-setters, whereas “Mainu Vida Karo” is all about surrender. Jordan in Rockstar wants to fight the world because there is no peace within himself, but Chamkila is aware. The song has an air of defeat against the ways of society, where there is no room or respect for the non-conforming and the unconventional. A world that enjoys art about all things secretive, illicit, and taboo but has no stomach for the artist behind it.

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Caption: Parallels from Rockstar and Amar Singh Chamkila

In art, they say, “Show, don’t tell”, and in our cinema, we show a lot through our music. Just like Imtiaz Ali’s movies reveal their layers with every viewing, Irshad Kamil’s brilliant writing and A.R. Rahman’s timeless music gather more richness with every listening. So long as collaborations like these exist, the legacy of music in our movies will stay alive and thrive.

Even from a business point of view, music in India is marketed as aggressively as the movies because in no other country do people show up to theatres to watch just a song.

It’s not just a song, is it? These songs are woven into the very fabric of our society. We take life lessons from these songs. We dance to these songs and cry to them as well. If we’re on a bus/train journey, I bet there is a group playing Antakshari somewhere. You best believe that India is one of the biggest Instagram reel markets because we love to play pretend. We adore stepping into the aspirational shoes of characters. We love being the main character, even for a moment. And that respite from the real world everyone deserves.

Both Chamkila and Punjab’s vividly colored histories are at the heart of this film and its music. There are depth and purpose to each record in the album; that is where the Rahman-Kamil team shines. The songs aren’t merely emotional cues; they bring alive the plot points with energy and somberness in all the right places.

Chamkila’s journey isn’t squeaky clean, nor is Punjab’s. The vibrant hues of Punjab are brilliantly reflected in the film’s album. “Ishq Mitaaye” is a mustard yellow field, “Naram Kaalja” is multicolored like a “Phulkari”, “Tu Kya Jaane” is soft pink, “Baaja” is crimson red, “Bol Mohabbat” is faithful saffron, and “Mainu Vida Karo” is pristine white.