CHENNAI: What’s the first thing you notice at a concert? The artist on stage, the setlist, or maybe the microphones? Probably not the last one, right? Yet, microphones have quietly (or rather, not-so-quietly) shaped our experience of live music for decades, amplifying sound but also, in some cases, diluting its natural essence. So, what happens when an entire music festival decides to toss them out?
Enter the MadRasana Carnatic Music Festival, now in its fourth edition, which has taken the bold step of going completely mic-less this year. Running from December 22 to 26, 2024, at the M.S. Subbulakshmi Auditorium in Taramani, this daring move aims to redefine how music is experienced in Chennai’s December season — a landscape long dominated by amplified performances.
At the heart of this decision is the auditorium itself, specifically designed to amplify natural sound without electronics. Sashi Kumar, chairman of Asian College of Journalism (ACJ), where the venue is located, explained, “The acoustics of the auditorium are designed to carry sound undistorted, uncoloured, and pure to every seat and every listener.”
The goal? To restore the soul of Carnatic music, often compromised by loudspeakers and artificially enhanced sound.
The impact of this was on full display during the evening performance on Monday. As the audience settled into silence, the stage stood illuminated, with instruments waiting in the spotlight. No mics, no amplifiers — just the promise of pure sound.
The performers entered, dressed in veshtis and kurtas. Leading with their voices were Malladi Suribabu, Malladi Sreeram Prasad, and Malladi Ravikumar, accompanied by Embar Kannan on the violin and KV Prasad on the mridangam.
What followed was nothing short of enchanting. Using instruments like the violin, mridangam, and veena alongside their voices, the group created a seamless interplay of melody and rhythm.
Every note travelled organically through the space, with compositions like Poornachandrika Raga, set to Rupaka Taalam, drawing the audience into a world untouched by electronic interference.
The performers themselves were swept up in the magic. At one point, a performer turned to the audience and quipped, “Enakku oru aasai irukku. Inga avanga paadum podhu, anga utkarnthu kekkalama?” (“I have a wish. When they’re singing here, can I sit with you and listen?”). The sentiment — half-joking, half-reverent — was met with laughter and applause, a shared moment of joy between artistes and rasikas.
This connection between performer and audience is precisely what the mic-less format is all about. “The chemistry is ineffable — felt rather than articulated,” Sashi Kumar shared. “Every musical syllable acquires an aura of naturalness, even the silences are crystal pure without electronic drag.”
While some performers were initially wary of the mic-less stage, the feedback has been overwhelmingly positive. Sashi Kumar noted that many have described the experience as “magical” and “surreal,” with some even saying it brought them closer to their craft. “They realise it’s not a strain but rather elevates them, inspiring both the artist and the audience in equal measure,” he said.
The MadRasana Festival isn’t just about nostalgia for tradition; it’s about reimagining what live music can be. Future plans include expanding the repertoire to include Sufi and Bhakti performances and even a Western classical symphony, all adhering to the mic-less philosophy.
For now, though, the focus is on celebrating this year’s achievement. The festival has proven that when music is stripped down to its essence, every note, beat, and pause becomes a masterpiece. So, the next time you find yourself at a concert, take a moment to consider the sound — and whether it truly carries its soul.
The concerts will be held at 10 am and 5 pm till December 26.