Nineteen films in seven years. This might seem like an unusually low number for a music director who has hardly missed a beat. But Justin Varghese, like his music, seems to prefer longevity.
Right from his memorable debut in Njandukalude Nattil Oridavela to his latest soundtrack in Painkili, Justin has focused on delivering music that elevates storytelling without ever diluting the film’s core emotions.
With tracks like Jaathikka thottam, Olluleru and the recent Thetti, the Angamaly native has established himself as an ace at churning out viral hits. Another highlight of Justin’s impressive discography is his versatility in handling a wide array of genres.
This year alone, his credits include a rousing war film (Sky Force), a gritty social drama (Ponman), a boxing-based actioner (Daveed), and a quirky rom-com (Painkili).
TNIE catches up with the reclusive two-time Kerala State award-winning ('Joji' & 'Chaaver') music director to discuss his journey so far. Excerpts from an interaction:
You made your debut as a music director with Njandukalude Nattil Oridavela and later gained acclaim for Thanneer Mathan Dinangal. Could you tell us about those early days in the industry?
I began my journey as a music producer under [music director] Bijibal sir, and eventually got a break with Njandukalude Nattil Oridavela. After that, for nearly two years, nothing truly interesting came along. During that interim period, I continued working with Bijibal sir. Then Thanneer Mathan Dinangal happened. I had known (director/actor) Althaf Salim from earlier times. He asked me to do the music for his film. Thanneer... gave me more space to explore and express myself.
The song Nanavere thannittum from Njandukalude… was beautiful. Looking back, do you feel the track helped you establish your identity as a composer?
Well, it’s a song that resonated only with a niche audience. Althaf liked it when I first shared it with him, but a close friend of mine didn’t — even after I made him listen three times! It didn’t get the kind of reach the team had hoped for. However, now I have even been asked to create something similar for an upcoming film.
Your next film Odum Kuthira marks a reunion with Althaf. What has it been like to work with him again after all these years?
We haven’t started the work yet. Collaborating with Althaf is always easy because of the rapport we share. He’s calm and grounded, which makes the creative process peaceful. While his previous films have leaned towards feel-good stories, Odum Kuthira is louder, and the music will reflect that shift, in sound and lyrics.
Your score for Dileesh Pothan’s Joji, which was inspired by Macbeth, had become a talking point at that time. Could you recall the creative process for crafting that soundscape?
Dileesh Pothan specifically asked for a western orchestral sound for Joji. I took that as a cue to research and explore the genre. That influence runs across the background score and the main theme song. All the orchestral instrumentation was performed by musicians from Bulgaria. The aim was to maintain that tone consistently throughout the film.
Another talking point was your work in Chaaver. The music complemented the film’s intensity well…
I had worked with Tinu Pappachan earlier in Ajagajantharam, so we already had a good working rhythm. For Chaaver, we wanted something that felt entirely different. Since the film references Theyyam, I incorporated its elements into the score. Our goal was to induce a sense of fear, or unease. Even the film’s title contains ‘chaavu’ (death), so I stayed true to that theme. Every track in the OST ends with ‘of death’ — Siren of Death, Shadow of Death, and so on — to underscore that dark, haunting tone.
As you mentioned Ajagajantharam, the track Ollulleru from the film recently crossed 200 million streams…
It’s because the track is rooted in folk music. Ollulleru is actually a folk song in ‘Thekkan Tulu’, and we treated it in a way that preserved that authenticity. Folk songs organically connect with listeners. They have the energy and familiarity of the land itself. Kalabhavan Mani is a prime example. His folk songs continue to resonate deeply with people.
Your track Thetti from Painkili has gone viral. Did you expect it? What are your thoughts on the trend of reel-ready music?
Honestly, it was unexpected. Thetti was my favourite track from the film, but it initially went unnoticed. Other songs like Heart attack and Baby baby were initially getting more views on YouTube. I was, in fact, upset that Thetti wasn’t getting the attention I felt it deserved. Then it suddenly went viral, thanks to Instagram reels.
In Thetti’s case, we had come up with the idea of using mathematical terms in Malayalam to represent how ‘all calculations’ of the protagonist had gone wrong. Vinayak [Sasikumar] did a great job with the lyrics. We presented the vocals [Neeraj Remesh] like chanting slokas. It was an experiment — one that thankfully paid off.
Reels are unpredictable, but I must say they have helped some of my songs get discovered. Even The Shadow of Death from Chaaver reached a broader — even international — audience, thanks to social media.
Several of your songs like Jathikathottam (Thanneer Mathan Dinangal), Ashubha managalakari (Super Sharanya), and Thetti and Vazhkai (Painkili) have quirky lyrics. How much do you involve in the writing process?
I always collaborate closely with the director and lyricist. We look at where the song fits into the script. If it’s a montage or a light moment without dialogue, that’s when we can experiment with humour and quirkiness. Not every genre allows such freedom, especially something serious like a thriller. It’s much easier to explore this in lighter genres with room for humour.
Ashubha managalakari was born when Suhail (Koya), the lyricist, was writing about a character whose actions always backfire. He asked me about the opposite of ‘shubha mangalakari’, and we built on that. For Painkili, there were discussions about making a similar track, but I opted to go another way, and that’s how Baby baby — based on the character Sheeba Baby — came to life.
Tracks like The Shadow of Death (Chaaver) and Braidaathi (Ponman) show an offbeat side of your music. How do you approach experimental pieces?
I alway try to create music that stands apart from the mainstream. Braidaathi isn’t much experimental musically, but the title word itself, written by Suhail, was unique. That’s what gave the song its identity.
For The Shadow of Death, we used only one live instrument — a violin. Everything else was programmed using samples. Experimental work is where I feel most at home creatively. The space allows me to explore new textures and moods.
I have realised that though experimental songs may not always be widely heard, they are the ones I feel most excited about. There are no rules — you create what feels right. In contrast, when I try to make something ‘mainstream’, there is always the risk of sounding like something that already exists, or complaints that the melody lacks depth.
Kerala music directors making a mark in Bollywood is still relatively rare. How did you break into that space?
Many people have asked me how in the world I reached there. The answer is simple: via Instagram. Joji was the turning point. Amar Kaushik, the director of Stree, messaged me on Instagram after hearing the score and asked for my number. I had watched Stree just two weeks before that, and loved it. Then suddenly I get a message from its director! I didn’t even reply immediately; I responded after two days. We still laugh about how random it was.
I have received more offers from Bollywood, but due to my commitments in Malayalam, I couldn’t take them up at the time. So far, I have done three films with Maddock Films, and my next project is also with them.
With successful Bollywood scores like Stree 2, Munjya, and Sky Force, how do you balance your south Indian musical roots with the demands of a pan-Indian audience?
Even when I worked on Joji, the music wasn’t rooted in our traditional sound. I listen to music from all over the world. It’s not just a means of enjoyment, but also a form of study.
I don’t separate my approach based on language. I focus on the genre and the style the director envisions. Sometimes directors don’t have a clear idea initially, so I suggest ideas. And I don’t think about making my music pan-Indian only when working on Bollywood projects; I have the same mindset for Malayalam soundtracks as well.
You recently won the Pinkvilla award for best background score for Stree 2. Do you think the recognition will boost your prospects?
I don’t let awards affect how I compose. What truly influences me is the reception of my music by the audience. Sometimes, songs I expect to be popular go unnoticed, which makes me reflect: was it a mistake on my part, or was the marketing lacking? On the other hand, songs I make in a jiffy might become hits.
I avoid repeating myself by sticking to one genre. I like exploring new genres, even if directors ask for music similar to those produced by some artists I haven’t even heard of. It’s inspiring when directors introduce me to new music; that drives me more than awards. Ultimately, it’s the reach, audience feedback, and opinions of fellow musicians that influence me. There’s always a balance because musicians and audiences might respond differently.
There’s a lot of emphasis on the importance of background scores in storytelling today. This is something you have excelled at…
You can only create a great background score for a good film. When a film comes to me without any background score, it’s raw, and I can often predict its fate after the first watch. For instance, when I saw Stree 2 without scores, I was sure it would be a hit. The emotional and comic scenes were well-crafted.
So, scoring it was just another step in making it great. With Joji, even if my score wasn’t there, the film would still succeed because the film itself was strong. Dileesh Pothan, in fact, told me that the film didn’t need my score to lift it. That kind of confidence from a director reflects the film’s strength. The music supports the film, but isn’t the sole reason for its success. If a film isn’t good, no matter how much effort I put into the score, the result won’t satisfy me or the director.
Some critics opine that contemporary film songs lack the longevity of classic melodies. What’s your take on that?
This argument is as old as time — every generation feels music from the previous era was better. Some say Gen Z’s music isn’t great. I might not enjoy every genre I work with, but songs are made for current trends and the audience’s tastes. When I started, people said the same about us. Composers before me heard similar criticisms. I believe many composers today — like Jakes Bejoy, Sushin Shyam, Vishnu Vijay — make brilliant music. The quality also depends on the films themselves. Independent tracks nowadays are also incredible.
See, some people criticised Lajjavathiye when it was released. It was written by Kaithapram, and you know what a great lyricist he is. It was composed by Jassie Gift, who has composed several melodies. Criticism will come and go. The cycle of critique will always exist.
You have shown that music can be both accessible and artistically daring. What’s your core musical philosophy? What anchors your sound?
I don’t have a fixed philosophy. When I see a new space that I haven’t explored yet, I try to work with that. When a film reaches me, I focus on its genre, story, key moments, and the mood it should evoke. I align my work with the film’s philosophy. For example, if the protagonist is a psycho killer or if the film is violent, I shape the music to match that tone. I never impose my own philosophy on a project. My music always serves the film’s narrative and atmosphere.
The director usually decides the mood. Sometimes, it’s a mutual discussion; other times, the director lets me choose. When given creative freedom, I like to explore, experiment. For example, I used phonk for Christopher, though initially, I was doubtful since phonk tracks can sound similar due to signature instruments like the cowbell. The crew was unsure at first, but I explained that it’s the nature of the genre. Not every film allows the genre I want to experiment with, so I present a few options to directors, who approve what fits best. Ultimately, it’s their call.
Which musicians have inspired you most over the years? Any all-time favourites whose works you keep going back to?
It is very difficult for me to name any artist in that context, because when I mention someone, I might have forgotten about some other artist who has influenced me greatly. That would make me feel bad. Every musician influences me. Even artists who aren’t very popular. You see, there are songs that people heavily criticise, but become hits. We might like the song, but might be too embarrassed to admit it, and agree with the mass opinion. We would then listen to those songs in private. Even in those songs, there is some kind of magic that the music director has hidden. I try to find that out when I listen to it.
The most amount of songs that I have cried listening to and loved listening to would probably be those by Vidyasagar, Ouseppachan, Johnson Master, S P Venkatesh, etc. I love so many songs of S P Venkatesh. Most of the hit tracks at one time were his.
But when I make music, it is not their songs that inspire me the most. I listen to a lot of songs, and it is a mix of all these that influence me when I make something new. I have worked the most with Bijibal. Sometimes when I make some new songs, it would sound similar to what he had given me to program for me long before. I would then tell him about it.
I try not to get inspired by my contemporaries. But I listen to and enjoy everyone’s songs. I would call or text them in appreciation. I think all the music directors in the industry right now have a great rapport. It's really nice. Sushin had called me the other day. He quipped “thetti” the moment I picked up the call! Similarly, I had texted Jakes when Thudarum was released. When Alappuzha Gymkhana was released, I contacted Vishnu. He had called me on learning that K S Chithra sang for my track in Ponman. There are so many instances like these.
At a global level, again, I have been inspired by so many artists. I don’t even remember the first phonk track I listened to. I have listened to hundreds of phonk tracks by various artists. I have been influenced by so many people. If you look at the playlist I am listening to right now, I might not even have the faintest idea of who these artists are. I follow many random artists because I like their work, and I think that is how you get exposed to new music, and that is how you get new ideas as well.
There was a Bhojpuri track that was recently a hit. I was inspired by it. I had incorporated elements of that in Haydole (Painkili). I did that song in 10 minutes. I sang some gibberish too (laughs). Basically, I am inspired by all things music. Not copying a piece of music just as it is. But drawing ideas. There is a base pattern that Ilayaraaja used for Thumbi vaa. It is still being discussed. It is an idea for generations. I aspire to create music like that. I am an average musician who is still exploring, trying to learn.