2025 has been a pivotal year for Ajaneesh Loknath. From the rustic charm of Rishab Shetty’s Kantara: Chapter 1 to the dark mass energy of The Devil, followed by the tense atmosphere of Sudeep’s upcoming Mark, he has shown his ability to balance melody, emotion, and star power. As The Devil releases on December 11, his work embodies a clear philosophy: music must support the story, enhance the atmosphere, and connect with the audience.
The Devil, directed by Prakash Veer, and produced by Shri Jaimatha Combines posed a unique challenge. With Darshan in a negative shade, Ajaneesh had to match a darker tone in both songs and the background score. “It is mass, but in a negative shade. We used deep voices for a darker essence. The track ‘Alohomora’ has a spell-like feel as one example. We chose singers to fit the melancholy and worked around with the background score. I wanted it to be appealing yet dark, which is the biggest challenge when working with stars like Darshan or Sudeep.”
For him, composing for stars goes beyond creating hits. “You have to craft a massive presence that fits the star’s aura. Their walk, style, and presence all matter, while the music also needs to be catchy and melodic. It’s a delicate balance.”
Though Ajaneesh has collaborated with Sudeep before, this was the first time he collaborated with Darshan. “Timing is key. Music alone isn’t enough. It must elevate the movie, match expectations, and connect with the audience.”
Debuting with hits like Rangitaranga and Kirik Party brought wider recognition. His works in Tamil and Telugu cinema, and projects like Bell Bottom and Vikrant Rona, expanded his reach. “Directors like Rakshit Shetty, Anup Bhandari, and Rishab Shetty supported me. I learned that mass is more than a hit, it’s vibe, reach, and aura.”
Even as he excels in mass music, Ajaneesh values intimate compositions. Films like Dia, Bell Bottom, Ishtakamya, and Guru Sishyaru continue to bring joy. “Tracks like ‘Belagedu’ from Kirik Party or songs from Kantara and Dia remain popular. Music travels farther than the film; it keeps coming back socially and digitally.”
Looking ahead to the Landlord in 2026, he explains, ‘Music is not just about sound; it’s a character, a narrative tool, and an emotional guide. Compositions must reflect the protagonists’ complexity, set the scene’s mood, and stay with listeners long after the film leaves theatres.”