Indian music composer and singer Tapas Relia is basking in the success of the gripping web series The Hunt: The Rajiv Gandhi Assassination Case, directed by acclaimed filmmaker Nagesh Kukunoor. The show has been grabbing attention for its sharp, nuanced storytelling, strong performances, and outstanding music. Relia says, “It feels wonderful to receive so much appreciation for the music of this series.”
Known for his work in films such as Goldfish, Hanuman, Dhanak, and City of Dreams, as well as numerous advertising campaigns for leading brands, Relia is celebrated for his versatility. His music blends Indian folk and classical elements with contemporary and Western styles to create evocative and heartwarming scores.
On the joys of working with Nagesh Kukunoor, Relia shares, “We have been working together for 15 years. There’s complete trust in each other’s work. I love the way he tells stories as nothing gets lost in translation, and one always feels inspired to push creative boundaries. Making music for his films and series has been both a great learning and a truly pleasant experience.”
Asked how composing for an OTT series differs from films, Relia says, “Primarily, it’s the same. But for me, it’s more interesting and fun to compose for OTT because the duration is longer. OTT is a more dynamic platform; it explores nuanced storylines, giving composers a broader canvas to play with.
“The reach is global too, and it feels good to have such a wide audience for one’s work. If the song is good, it really stays. In recent times, we’ve also seen title tracks of web series gaining a lot of traction. Having said that, Bollywood still has bigger budgets for song releases.”
Has the music-making process changed in films? Relia explains, “Earlier, directors would meet music composers and lyricists to create recordings tailored to specific situations. These days, producers just ask for your scratch tracks and choose from them. Interestingly, there’s something called ‘song pitching’ now—you could call it a casting agency for songs. Thanks to OTT, there’s a new demand for music. But big-ticket films still work in the old-fashioned way; they have the liberty and space to choose their music.”
Cost-cutting is another factor reshaping the industry. Relia observes, “To reduce costs, producers now approach multiple music composers. They’ll pay a hefty price for one song that becomes the film’s mainstay and then hire lesser-known composers for the rest. Many filmmakers also buy pre-composed songs at a lower price. But songs don’t necessarily translate into revenue, and filmmakers need to understand that. Having multiple music composers doesn’t guarantee box office success. In the end, it’s content that works.”
Relia, who calls himself “a nerd, a geek,” believes embracing technology is essential. “Technology has always been around even in the 1970s and 1980s. But in recent times, it has gained immense momentum, opening up incredible possibilities. It has compressed distance. Today, you can sit in your studio and collaborate with musicians from across the world, and I find that quite fascinating.”
Working across different mediums has shaped his growth as a composer. “I feel extremely fortunate to work across formats. I’ve done advertisements, films, OTT, and independent music. Now, I want to do live music. I’m essentially a studio musician, but I want to go live. There are even talks with a director for a musical.”
Relia, who won acclaim for his compositions in the Deepti Naval–Kalki Koechlin starrer Goldfish, describes it as “a unique experience. We used live instruments and ended up with five songs. Initially, the director Pushan Kripalini told me the story and said the film wouldn’t have any music—just one thumri. But eventually, we created five songs, and the process was deeply gratifying.”
What advice would he give young musicians? Relia says, “You have to be critical of your craft. When you’re creating music, you must surrender yourself completely to it and always keep learning. I left home and came to Mumbai at 17 to follow my passion for music. I never thought about making a certain amount of money. Making music was my only driving force then, and it remains the same now.”
Deepika Sahu has been a journalist for 29 years and she has worked with some of India’s leading media houses. Right now, she is independently engaged in content creation and curation. Twitter: @menondeepika | Instagram@moodydeepika | Facebook: Deepika Sahu
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