Band of likely brothers: Composing catchy performances built upon traditional notes
It’s a spellbinding evening at Kamani Auditorium. Tal Fry Percussion’s six-part show seamlessly merges tradition with innovation, each act a masterclass in sound and movement. From the intricate cycles of Jati Mala to the primal elegance of Dilana, the ensemble explores the depths of Carnatic rhythm. A bold nine-beat interplay follows, leading to two soul-stirring Abhangs, where classical roots meet contemporary edge.
The climax, Shatkanuta, has Bharatanatyam virtuoso Manaswani Ramachandran transform rhythm into visual poetry. For the group, performing at Parampara Festival 2024 is a moment of personal and professional significance. “This festival has been a touchstone for all of us,” says tabla player of the ensemble, Saptak Sharma.
Tal Fry originated in 2019 as a gathering of friends brought together by a shared love of percussion. What began as casual conversations and jam sessions soon evolved into something meaningful. “As freelance musicians and friends from Delhi University, we’ve known each other for over 10 years.
Our bond has always been rooted in friendship, but it wasn’t until the lockdown that we seriously considered starting something together. Plans kept getting delayed due to repeated shutdowns, but at the start of 2024, we finally solidified our decision. This culminated in our debut concert on June 7 this year,” says Manohar Balatchandirane, mridangam artist in the ensemble.
Like many other young musical groups, Tal Fry is deeply inspired by a collective admiration for Carnatic and Hindustani percussion. “Ustad Zakir Hussain, Shri Karigudi Manisha, Pandit Suresh Talwalkar, and Sangeetha Kalanidhi Amar Paramsevaraman have profoundly influenced us,” says Balatchandirane.
Though theirs is not a novel combination—a fusion of tabla, mridangam, khanjira, ghatam, and other percussive instruments—the diversity of rhythm and its execution sets them apart. Sharma says, “We perform padhant—the recitation of renowned compositions from both Hindustani and Carnatic music—while layering it over a theka (a foundational rhythmic groove). This interplay of melody and recitation adds an element of excitement and intrigue.”
Today, competition is making musicians innovative, to be heard. Tal Fry is the same. It makes a deliberate visual statement in performances. “Our use of lighting is not about spectacle but about enhancing the rhythmic aesthetic of the performance,” Sharma says. He feels dynamic lighting accentuates the interaction between instruments and players, creating a sense of both order and spontaneity, though it is not exactly clear how. They have included dance in their shows and hope they can visually manifest the rhythm through shudra and ritam. Integrating movement with sound to interest the audience has now become common with young bands.
Comprising seven friends, all in their early 30s, Tal Fry’s music strikes a delicate balance between tradition and experimentation. “We’ve created a space to explore new ideas that don’t break from tradition, but build on it,” says Sharma. Hence, the ensemble incorporates semi-classical abhangs, traditional Marathi compositions, alongside pure classical pieces, enriched with vibrant folk rhythms introduced through instruments like the dholak and tabla.
“We place no boundaries on the influences we embrace, constantly exploring diverse styles. Currently, we are delving into Punjabi folk elements and the captivating rhythms of Tani folk traditions,” says Balatchandirane. The popularity of Punjabi music among new singers and bands is a theme much plundered.
Their next performance is at the Jaigarh Festival in Jaipur on December 29. To stand apart from other bands that follow fusion themes, Tal Fry needs to have more fat to fry than just being another indie band with good intentions.