Classical. Contemporary. Crossover. Chennai’s music scene is dynamic — one that shifts, grows, and redefines itself with every passing season. From the nostalgia-laden symphonies of Ilaiyaraaja to the grandeur of AR Rahman’s orchestrations, Anirudh’s viral beats, the city thrums with a rhythm. Here, the sacred chants during the December music season shares stage with Margazhiyil Makkalisai’s defiant drums, where parai artistes reclaim narratives and rap queens rewrite them. And now, etching a new verse into this sage, global icon Ed Sheeran graced Chennai, strumming his guitar with his chart-topping hits, and created a viral version of the famous Urvashi Urvashi. CE explores how Chennai’s music scene is harmonising tradition and transformation, from temple courtyards to neon-lit arenas.
A slow, steady resurgence
Rooted in Carnatic tradition, Chennai’s concert culture has witnessed a gradual metamorphosis. “While classical music reigns supreme, alternative genres have clawed for space,” notes music journalist Raghavan MJ. “Independent acts now carve inroads, particularly among youth craving sounds beyond films and ragams.” Yet large-scale global concerts remain rare — unlike Mumbai, which hosted icons from Michael Jackson to Coldplay.
Even within Carnatic circles, change stirs. “UNESCO recognition was earned through our heritage, but today’s three-hour kutcheris prioritise technical prowess over the soul,” says Carnatic vocalist Girija Hariharan. Once marathon four-hour performances, concerts have now shrunk to 90 minutes with artistes cramming endless raga elaborations into five songs. “Audiences leave dissatisfied. The art often risks becoming a display, not an experience,” she adds.
Even as the classical roots run deep, Chennai’s independent music scene is reshaping its narrative. Sriram TK of the rock band Skrat offers a candid perspective: “Corporate-backed mega-events aren’t overshadowing regional acts — many feature local artistes as openers. But Bollywood dominates these lineups because audiences crave familiarity.”
He highlights structural challenges: bureaucratic red tape, limited exposure for independent musicians, and the public’s preference for Bollywood-driven “pop”. Festivals like Lollapalooza, Zero Festival and Covelong support indie music, but standalone gigs headlined by big pop acts contribute little to the independent scene.
Experiences from the ground
The surge in concerts is palpable. Pooja PS, an avid concert-goer, shares, “Concerts in Chennai have gone from sporadic to monthly affairs. Venues like YMCA Grounds and Jawaharlal Nehru Stadium are now synonymous with big events, though we need a dedicated stadium that can withstand any climate.”
Event organiser Cardin Roby outlines logistical hurdles. He says, “Convincing global artistes to perform here isn’t easy. Infrastructure is still developing, and obtaining liquor licenses remains a challenge. Today’s youth favour electronic and commercial music, but there’s growing interest in indie acts.”
Reflecting on Ed Sheeran’s recent concert, Cardin notes the positive crowd energy and AR Rahman’s surprise appearance but acknowledges the venue’s limitations.
Roadblocks to growth
Raghavan highlights key obstacles: the dominance of film music, traditional concert atmospheres, and infrastructural limitations. “Chennai lacks venues with high-quality acoustics and crowd management facilities. Open stadiums in cities like Ahmedabad are better suited for massive concerts.”
Ticketing mismanagement and black-market exploitation further complicate matters. “The lack of secure resale platforms discourages genuine music lovers,” he says. Girija adds that Carnatic musicians face financial struggles. “People expect free performances, but this is our livelihood. Our work deserves respect and fair payment,” she asserts.
While these flaws can be worked out when organising future concerts, Shreya Nagarajan Singh, founder of SNS Arts Development Consultancy, sees Chennai as an untapped market. “Ed Sheeran’s visit shows artistes are willing to explore beyond Mumbai and Bangalore. The gig economy here has evolved, with Tamil music directors hosting multiple concerts annually.”
She believes challenges like crowd control and execution can be overcome with planning. Post-pandemic, Chennai’s gig economy has surged, fueled by a younger audience and streaming platforms diversifying tastes. “With the right sponsorship and infrastructure, Chennai is poised for growth in international concerts,” she adds.
The future
Despite challenges, optimism abounds. Raghavan notes the transformative role of social media and streaming platforms. “Artistes now have direct access to Indian audiences, influencing tour locations. As digital engagement grows, more international acts might consider Chennai.”
Government initiatives, like hosting the Formula E race and global chess tournaments, signal a willingness to elevate Chennai’s profile. Raghavan adds, “With an increasing non-Tamil-speaking population, diverse genres are gaining acceptance. Independent artistes like Anuv Jain are drawing large crowds — a promising sign.”
Girija suggests modernising Carnatic concerts while preserving authenticity. “Visual aids, like LED screens displaying temple imagery, can enhance engagement. Dance’s visual appeal could inspire similar innovations in music.”
As independent voices rise and international acts take notice, the future of Chennai’s concert culture looks brighter indeed.