How long does one hold old CDs and cassettes, which are not in use? As memories were rekindled in one of Tamil cinema’s best films this year, C Premkumar’s Meiyazhagan, a question arises about a generation’s taste in music even as they navigate recurring identity crises.
The year 2024 was all about ‘fitting in’ amidst rapid advancements in AI and sound design, while simultaneously embracing the charm of simpler, nostalgic tunes. Some of these songs tug at our heartstrings, offering a ‘call to home’, while others strike a chord despite being dismissed by the ever-critical voices of social media.
The year also saw debutants such as Sai Abhyankkar, Paal Dabba and Asal Kolaar soaring to magnanimous heights. It belongs to Sai Abhyankkar as Tamil cinema took in his independent singles Katchi Sera and Aasa Kooda as their own, thus paving him a concrete way into the industry with opportunities in the LCU’s new film Benz and Suriya 45.
The rise of singer-songwriter Paal Dabba was also witnessed as he churned out off-beat numbers like Makkamishi from Jayam Ravi’s Brother and made heads turn with the chartbuster Kaathu Mela.
The year had a lacklustre start, even as Railin Oligal, Ayalaa Ayalaa from 2023 kept listeners grooving to the beats. The lukewarm response to Aishwarya Rajinikanth’s Lal Salaam meant underwhelming reception to AR Rahman songs like Ae Pulla and Jalali. But soon enough, Sean Roldan’s soulful tunes in Lover for Thaensudare and Usura Uruvi reverberated among youth, yearning for love and dealing with a broken heart.
He continued to hit sixers until the end of 2024 with Chillanjirukkiye and Aasa Orave from Lubber Pandhu, mending relationships one song at a time. Harish Kalyan has had yet another fantastic year, tasting the cricket film’s success as well as garnering millions of views for the Beer Song from the yet-to-be-released film Diesel.
When the audience were vibing to the Tamil version of Kurchi Madathapetti (Mahesh Babu’s Guntur Kaaram) as a long dry spell continued for Kollywood for the first half of the year, Hiphop Aadhi created a euphoric number Acho Acho Achacho in line with the comedy of errors and thrills that Aranmanai 4 gave viewers.
Taking the momentum forward were Yuvan Shankar Raja’s Vintage Love and Jimikky’s Ghazal from Elan’s Star, which maintained the metre alongside his own 2006 composition Oru Naalil from Pudhupettai that was reused in the film.
The best ones are usually reserved for the end, and ardent followers of Tamil music had to wait out the drought. While Nithilan Saminathan-Vijay Sethupathi’s Maharaja ran to packed theatres for weeks, Thaaye Thaaye in Sid Sriram’s vocals instantly resonated with parents with its emotional lyrics written by Vairamuthu.
Kamal Haasan’s Indian 2 further broke the spell, commercially speaking—from the soothing melody of Neelorpam to the anthemic Come Back Indian to the electrifying Kadharalz, sung and composed by Anirudh to suit Indian thatha’s entry into a new era. Despite the film’s unfavourable reviews, the songs had their own audience.
AR Rahman’s small yet significant portion in Adangatha Asuran had the entirety of Tamil Nadu singing, Usure nee dhaane... in a melody that would stand the test of time.
Further, Santhosh Narayanan and Shweta Mohan’s Water Packet became an anthem among the masses, especially plus-sized women, while the soulful Oh Raaya stood as a song that one would clutch tightly in times of distress. The composer also surprised us by going all out by singing one of this year’s catchiest tracks, Yennai Izhukkuthadi from Kadhalikka Neramillai, with Dhee.
The year was also noteworthy as Halitha Shameem’s Minmini hit theatres after a long wait, marking Khatija Rahman’s composing debut. Although Iru Perum Nadhigal and Minmini Nee were received well, they failed to become hits. Conversely, GV Prakash delivered back-to-back chartbusters with Pa Ranjith-Vikram’s Thangalaan and Rajkumar Periasamy’s Amaran.
While audiences grooved to the electrifying beats of Minikki Minikki, the soulful melodies from Sivakarthikeyan’s blockbuster struck a deep chord with Tamil fans.
Sai Pallavi’s iconic introduction music became a favourite ringtone, while tracks like Hey Minnale, Uyirey, and Vennilavu Saaral beautifully captured the essence of longing, and became ballads for hearts in waiting. It is this love that also made Dheema Dheema from Vignesh Shivan’s film Love Insurance Kompany (LIK), sung by Anirudh, an open letter that people could write to their partners.
This year’s biggest hits came from Vijay’s The Greatest of All Time and Rajinikanth’s Vettaiyan. The groovy dance number Matta featuring Vijay and Trisha from GOAT, took listeners back to Appadi Podu from Ghilli. Meanwhile, Hunter Vantaar gave a glimpse of Vettaiyan’s character and his gunslinging skills, and Manasilayo was cherished unanimously.
Earlier this year, there was a renewed interest in listening to Kanmani Anbodu from Gunaa, as Chidambaram’s Manjummel Boys gave a new meaning to the evergreen classic.
In the latter half, Ilaiyaraaja’s Nee Pottu Vacha from Ponmana Selvan found itself blaring on the loudspeakers once again with a hat-tip from Lubber Pandhu makers to the late actor-politician Vijayakanth.
The 80s song’s homage in the cricket drama slithered into streaming apps of Gen-Z listeners as not just as a catchy tune, but also as a stellar example of hero-elevation music. Besides, audiences embraced Tamil versions of Chuttamalle (Paththavaikkum) and Daavudi from Devara: Part 1.
There were a few tearjerkers too. Poraen Naa Poraen and Yaaro Ivan Yaaro (Meiyazhagan) in Kamal Haasan’s voice and Govind Vasantha’s music depicted the pain of losing a home and a crucial memory associated with it. We also had a Kalyana Samayal Saadham style ode to food from Thanjavur and the other delta regions through Delta Kalyanam.
2024 was a year where listeners expanded their hands to hold contemporary beats that grew closer while embracing familiar tunes that soothe the soul, melodies that hit like a rock and beats that can be made into any hit song. After all, a little wave of nostalgia has never gone out of style. It is this wave of reminiscence that leads us to newer pastures, especially as we stride into the second quarter of the 21st century.