Akshaye Khanna’s much-discussed walk in Dhurandhar’s Fa9la by Flipperachi has been playing on loop across social media — measured, brooding, almost hypnotic. The moment lingers not just because of the actor’s stillness, but because of the sound that carries it forward. Beneath the frame, a shehnai breathes powerfully. It’s easy to miss, but once heard, it stays with you.
That shehnai belongs to Pt Lokesh Anand, one of India’s foremost contemporary exponents of the instrument and a rare torchbearer of the Mewati gharana’s wind tradition. “That piece is really special to me. It is actually a proper bandish in Raga Jaunpuri. I played a hook line from that bandish, and the music director developed it further in his own stylised way. The shehnai you hear in the dance sequence — that is me blowing air. I knew from day one that this song was my work,” he begins, his voice filled with gratitude for the song’s love.
He has spent decades expanding the shehnai tunes — from concert halls to cinema and with OTT productions such as Mimi, Mira: Royal Detective, Little Things, the South Indian blockbuster track Chuttamalle from Devara Part 1, and it landmarks the cultural stages; while remaining rooted in raga, discipline and emotional depth.
At the heart of his musical philosophy is his guru, Pt Jasraj. Accepted by the maestro to train in vocal music alongside the shehnai, he describes it as pure grace. He expresses, “Guruji always spoke of music as sadhana. His devotion, discipline and spiritual approach continue to guide me. That philosophy has only deepened over decades of performance.” That lineage takes on particular resonance as he performed at the Ustad Ghulam Ali Khan Music & Dance Festival.
For him, the invitation carried profound emotional weight. “Ustad Ghulam Ali Khan is a legend. His name cannot be taken lightly by any artistes. To perform at a festival dedicated to him feels like a blessing,” he shares.
Performing in Hyderabad, adds another layer of meaning, he says: “The Hyderabad audience is extremely cultured and mannered. My guru Pt Jasraj ji was often called ‘Son of Hyderabad’. The city has a layered relationship with classical music, as the awareness here is extraordinary.”
What stays with him most is the audience’s tehzeeb. He adds, “They know how to listen — when to clap, remain silent, when to rise in appreciation.”
With over three decades in the recording line, he speaks of cinema and classical music as two distinct but equally disciplined worlds. “Classical music demands immense riyaz,” he explains, adding, “Until shehnai settles, it doesn’t cooperate. Even shifting from one raga to another requires a complete change in blowing technique and hand placements. Recording, on the other hand, works within a different framework. If the mood is set, we play.”
Working with composers like AR Rahman and Anirudh Ravichander, he says, has altered how he listens to sound itself. He warmly shares, “They create very unique sound worlds. Their music carries Indian classical roots, Western sensibilities, and elements of light music. They are geniuses. Working with them has been a wonderful experience.”
As one of the few musicians carrying forward the Mewati gharana’s wind tradition, Anand admits the weight of responsibility is constant. “Being a student of a vocal guru and playing an instrument, expectations are always high. Well-informed audiences listen very carefully. I have to choose what I present with great care. The pressure is real, and it requires constantly proving oneself,” he says.
Recognition, he insists, is never the destination. Honours such as the Ustad Bismillah Khan Award (2024), Shehnai Ratna (2010) and Sangeet Ratna (2005) are received with humility. “Awards are blessings from gurus and parents. They are not something to take pride in, but something to accept with gratitude,” he shares.
Looking ahead, his calendar is full — performances across cities, alongside continuing work in films.