CHENNAI: Come December, Chennai sheds its usual guise of traffic chaos and sultry weather, donning a festive, almost spiritual air. This is Margazhi season — a month devoted to music, devotion, and the delicate art of kolams. In the early hours, the city awakens to a symphony of devotional hymns, the clink of brass utensils, and the rhythmic sweep of women creating intricate kolams outside their homes. For Chennaiites, Margazhi is far more than just another month; it is an immersive cultural experience blending the sacred and the artistic.
At the heart of it all lies the renowned Margazhi Music Season — a celebration of Carnatic music concerts and Bharatanatyam performances. “Margazhi is the soul of Chennai,” says Anusha Krishnamoorthy, a Carnatic music enthusiast. “It’s when the city comes alive with art and devotion.”
When Margazhi was purely analogue
For many long-time residents of Chennai, the Margazhi of years gone by is a source of cherished nostalgia. Attending kutcheris (concerts) once meant physically visiting cultural venues to secure tickets. These transactions were far more than a matter of buying entry — they were social rituals, often accompanied by conversations over hot bajjis and filter coffee at the sabha canteen.
“The queues were long, but the thrill of securing a seat for a legendary performance was incomparable,” reminisces Rangan P, a septuagenarian who has attended kutcheris since the 1960s. “People dressed in their silk saris and veshtis. It was about more than just music; it was a gathering of the community.”
Packed halls, the faint hum of tanpura strings as the performance began, and the palpable connection between artists and their audience created an experience like no other. Venues were limited, making it nearly impossible to attend every concert on one’s list. Yet, that very challenge heightened the excitement.
A digital turn
For a city deeply steeped in tradition, Chennai has shown remarkable resilience and adaptability in its Margazhi celebrations. The pandemic brought seismic changes, with safety concerns disrupting the rhythm of live concerts. Sabhas embraced innovation, hosting drive-in kutcheris and recording performances exclusively for virtual audiences.
“It was surreal, attending a concert from my car with a thermos of coffee,” recalls Nagaraj Naidu, a city-based architect. “But it kept the spirit of Margazhi alive.”
Even today, long after pandemic restrictions have eased, some of these changes remain. While most concerts have returned to live settings, the process of securing a ticket has been revolutionised. Gone are the snaking queues outside sabhas or frantic calls for last-minute passes. Today, booking is as easy as logging onto platforms like BookMyShow or the sabha’s website.
“It’s so convenient now,” says Revathi Vishakan, an ardent Carnatic music lover. “In the past, you had to be physically in Chennai to truly experience Margazhi. Now, you can book tickets from anywhere and plan your visit around your chosen concerts.”
For those unable to travel, platforms like YouTube and sabha websites offer a treasure trove of recorded performances. “I watch a lot of kutcheris online,” says Abishek Pillai, a software engineer based in Bengaluru. “The video quality is fantastic, and while it’s not the same as being there, it’s much better than missing out entirely.”
The changing face of Margazhi performers
Once dominated by stalwarts such as MS Subbulakshmi and Semmangudi Srinivasa Iyer, today’s Margazhi stage also showcases a younger, more experimental cohort of performers. Musicians like Sandeep Narayan and Rithvik Raja are merging tradition with modernity, introducing global influences while remaining rooted in Carnatic music.
“I love how younger artists are so fearless,” says Sneha Manohar, a Bharatanatyam dancer. “They’re innovating in ways that make classical art forms feel relevant to today’s audiences.”
Fusion performances, collaborations with jazz musicians, and the incorporation of technology into live concerts are becoming increasingly common. While many welcome this evolution, some traditionalists worry it could dilute the purity of Carnatic music.
The advent of digital platforms has pushed sabhas to rethink their revenue models, with a growing reliance on sponsorships and donations. At the same time, this accessibility has democratised Margazhi, enabling a more diverse audience to engage with its offerings.
“The greatest challenge lies in balancing authenticity with modernity. How do we keep Margazhi relevant to younger generations while preserving its traditional essence?,” observes Krithika Praveen.
Despite these changes, the heart of Margazhi remains intact. Families still bond over kutcheris and temple visits. Grandparents delight in introducing grandchildren to the magic of live performances, and sabha canteens still serve the city’s best vadais.
“What I cherish most about Margazhi is its resilience,” says Mohit R, a long-time concertgoer. “No matter how the format evolves, the festival’s spirit — its devotion and togetherness really endures.”
As Margazhi continues to adapt to the digital age, its future brims with potential. Will hybrid formats dominate? Will live concerts regain their primacy? One thing remains certain: Chennai’s love affair with Margazhi is eternal.
Whether you’re seated in a sabha or streaming from across the globe, Margazhi invites you to lose yourself in its timeless melody. As Anusha puts it, “Margazhi isn’t just a season — it’s an emotion.”