'Ghir-ghir baddal barsan de, Jad teer milan do raavan de, Ghir-ghir baddal barsange, Hun badle rukh hawavan de, Aayi, akkhan te aayi meri sardari’ — this line from Dhurandhar’s Aari Aari doesn’t just give you goosebumps, it announces a voice. It captures the storm, the scale, the sheer presence associated with Jaskirat Singh Rangi aka Hamza Ali Mazari (Ranveer Singh’s character); but more interestingly, it mirrors the journey of the man behind the mic, Sudhir Yaduvanshi. A journey built in fragments — uncertainty, anonymity, and a stubborn faith that if the voice has truth, it will travel.
“It’s been years of hard work that have led to this moment. When that effort pays off in this way, it feels like the best thing possible. It’s honestly a dream come true. Until the very end, I didn’t even know whether the song would release in my voice or what would happen. Like every other song, I just recorded it and thought, ‘Let’s see what happens, I hope for the best.’ But when I heard the final track for the first time, I couldn’t contain my happiness. I have sung so many songs in Bollywood and I now got the break. It’s a very special and joyful moment for me, an out-of-the-world feeling,” he begins.
Yet, there’s nothing ‘overnight’ about this moment. If anything, it’s delayed recognition catching up. “I once accidentally sang in school and later, I sang in college just for my own happiness, not for anyone else. I never imagined that I would become a professional singer or enter the music industry. When people started showing love to my voice, I fell in love with it too,” he admits.
The industry, as he describes it, is unpredictable — sometimes indifferent. But it only takes one moment to tilt things. “Two years ago, I met Shashwat Sachdev sir, and I sang the title track of Kill for him. Then I got a song ‘Na de dil pardesi nu tenu jauda paudunga’ in Dhurandhar with Hanumankind. It was a small portion, but I was extremely happy because it got noticed. People started noticing my voice. Now, in Dhurandhar: The Revenge, I not only got a big part but also people know me. I also had a great interaction with Ranveer sir at the music launch. We shared the stage, performed together, danced, and had a great time. Since then, things have started changing.”
If there’s a philosophy anchoring his rise, it comes from Shashwat. “He always says, ‘Let the music speak.’ (laughs) He tells me to stay true to myself; don’t change the way I sing or who I am. For Aari Aari too, he wanted it to be raw, folkish, and powerful. He wanted ‘Sudhir’ in the song,” the singer shares.
What changed this time was awareness, a sense that something big was unfolding. “Earlier, I didn’t know about my part, but this time I did have an idea. When Shashwat sir’s manager called me, I was asked to come to the studio. But this time, I was called to Aditya Dhar sir’s house. The entire team was there. That’s when I realised something big was happening. I mentally prepared myself, warmed up my vocals on the way, and reached there ready. Of course, there was nervousness, but that’s natural,” he recalls.
Strangely, despite the scale, his internal process remained simple. “I feel like I was born to sing title tracks. (laughs) Before this, I’ve sung title tracks for Kill, Dhurandhar, and many more. Maybe music directors see something in my voice, a powerful quality suited for title tracks, like Sukhwinder Singh sir,” he notes.
That ‘power’ isn’t manufactured, it’s lived. “My journey has been similar, starting from zero. I studied in a government school, faced hardships, ran around in the heat, and kept going. That struggle gave me strength and that power is now reflected in my voice,” he reflects.
There’s also a certain honesty in how he approaches his craft, no over-curation, no mystique. “The best part about a folk voice is that you don’t need very specific preparation, it needs to be raw. I focus on two main things: proper sleep and avoiding cold items. These help maintain my voice. Whenever I get time, I make sure to sleep — whether it’s in a car, plane, or airport,” he says laughing.
At this stage, ambition hasn’t hardened into selectiveness yet. “I just feel grateful for any work I get. I accept it with humility and give my best,” he adds.
There are, of course, dreams — clear, specific ones. “I’ve always wanted to work with Salim Merchant sir from Salim–Sulaiman. I did record a song for him once, but it didn’t make it. I would love to work with him again. I also wish to work with MM Keeravani sir — his compositions are incredible. And Anirudh Ravichander as well, his work is outstanding. A close friend of mine works with him regularly, especially on Rajinikanth sir’s films,” he concludes.