National Award-winning singer Vaikom Vijayalakshmi has a voice steeped in classical rigour, but she approaches life with a child-like exuberance. She moves effortlessly from music to mimicry, breaking into laughter, songs and the occasional ‘meow’. In an interaction that often left the TNIE team cracking up, Vijayalakshmi opens up about her childhood, musical evolution, relationship with legends, the Gayatri Veena, personal life, and her love for Poppins
You recently received the National Award. How did you first hear the news?
V K Subhash, the documentary filmmaker, was the first person to call me. He had made a documentary about me, ‘Salute’. He called and said, “Congratulations.” I thanked him and asked, “What is it for?” He told me about the National Award. I was elated.
Did you feel the song could win an award when you first sang it?
Yes, there was a small hope. Music director Dhibu [Ninan Thomas] chettan, [lyricist] Manu Manjith chettan and [director] Jithin Lal sir also felt the same way. Right after I finished singing, they told me, “We smell an award.”
How much time did you take to learn the song?
A day. Recording took about an hour. My songs don’t usually require many takes.
How important are the lyrics in the award-winning song?
There is folk music, motivation and pathos in it. And when the ‘uyarnnu vaa’ part comes, there is a special feel to it. I think it was used in reels showing disaster relief work. Many people have sung it too. I feel very happy, especially when children sing it. That is perhaps the biggest award.
We have heard that you began singing before you could properly speak. Tell us about those early days.
My parents say I started singing when I was one and a half. I used to sing songs from ‘Sindhu Bhairavi’. My birthday is on Vijayadashami, which is how I got the name. My father had electronic work in Chennai, so we lived there until I was five.
My parents say neighbours used to gather around to hear me sing. When we came to Vaikom, I began learning music by listening to cassettes of Dasettan (K J Yesudas), M S [Subbulakshmi] Amma, Balamuralikrishna sir, Chembai Swamikal and other great musicians. Before turning six, I made my debut performance at Udayanapuram Chathankudi Devi Temple by offering Gurudakshina to Dasettan.
A family friend, who is a journalist, arranged it. Dasettan had initially said he would set aside just 10 minutes, but ended up spending about two hours. We sang kritis, beginning with ‘Thaaye Yashoda’. He eventually made me sit on his lap as we sang together. It was a wonderful experience. He accepted my Gurudakshina. If I have become what I am today, it is because of that blessing. He is my maanasa guru, even now.
Who nurtured your interest in music?
My parents. My father trained me. When I was around four-and-a-half, there was a music class in Vaikom. He would wake me up at 3am, during Brahma Muhurtham, and make me do sadhakam. Both my parents sing. My father’s mother, Sarojini Amma, also used to sing. She named me Vijayalakshmi.
The radio was dear to you, right?
Yes. I learnt a lot of songs through the radio. Even now, I listen to the radio and participate in programmes.
Did you start doing concerts at that age?
Yes. It has been nearly 40 years now.
Did you feel nervous at any point?
I don’t feel nervous before going on stage. I see it as an opportunity to perform and experiment. I always sing a variety of compositions. I don’t sing the same things that everyone else sings. I am a person of “variety” in everything (laughs).
Did you ever dream of singing in films?
I loved complicated songs such as ‘Sangeethame…’ and wished to sing classical-type songs. I also liked ‘Parthasarathim Bhavaye’ and P Leela Amma’s ‘Shri Shiva Suta…’ from ‘Ente Sooryaputhrikku’. Its raga is the rare Rukmambari.
‘Kaatte Kaatte’ was your first film song. How did it happen?
[Music director] M Jayachandran sir once heard me singing Muthuswami Dikshitar’s ‘Anandamritakarshini’. He felt my rendering resembled that of MS Amma’s. He suggested my name to Kamal sir, who was looking for a voice that would suit the period film. When Jayachandran sir called me, I went “Ayyo!” He still recalls that ‘Ayyo!’ (laughs).
What was the first recording like?
I had food poisoning, followed by a cough. I went directly from the hospital for the recording. I was worried whether I would ruin the song. He gave me confidence and said, “Let it be ruined. I will handle it.” He even did some mimicry to pep me up, mimicking the way I spoke. It was so much fun. That one song transformed my entire life.
Jayachandran recently spoke emotionally about you, saying you were like his own daughter...
We have such a soulful bond. I even call him “Poochakutta” sometimes (laughs). I have a daughter-like liberty with him.
How do you learn the lyrics?
Usually, it takes a day. If it is lengthy and complex, I ask for up to two weeks. I listen repeatedly, morning and night. I need to sit alone, close the doors and concentrate deeply. I also pay close attention to the literary meaning. That’s important. I learnt Venkateswara Suprabhatam and Lalita Sahasranamam like that. My versions are there on YouTube.
How do you visualise ragas?
I see them as divine things. Saraswati raga, as the veena of Saraswati Devi. Each raga has emotions. I connect with them. I like exploring rare ragas. I especially love thillanas and Lalgudi Jayaraman sir’s music. My favourites include Kanakangi, Mukhari, Shahana, Hindolam, Madhyamavati, Sindhubhairavi and Vasanthi. I recently found one – Sumukham.
How does your voice get such emotional energy and depth?
Practice and the training I received from my parents. I used to sing openly and got used to singing that way. Clarity of words is important too. That was non-negotiable in the old days. Dasettan taught me not to put too much pressure on my voice or strain for high notes. Hold it back and sing with restraint.
Do you still wake up at Brahma Muhurtham to practise?
(Laughs.) No, not anymore. With all the programmes and recordings, these days, my “Brahma Muhurtham” is by 8am!
How do you care for your voice?
I make sure I get enough rest. At concerts, I don’t speak much. If I keep talking, my voice gets strained. I don’t eat ice cream and am careful with spicy food.
Any secret indulgences?
Poppins! (Laughs.) And the good-old naaranga mittayi.
Do you feel stereotyped?
No, all of it is music. One should accept whatever comes. I have been doing some fast numbers too.
Have you tried rap?
I enjoy rap. I have tried singing some — like ‘Manathe Parakkunna Kaakka’ by Sudheer Paravoor (laughs). Vedan’s songs are also good. Then, I have sung in Tamil, Bengali, Sanskrit and Tulu. A new one has come up in Garhwali too. They sent the lyrics in a voice message, explaining them carefully. These days, I have been getting death-related songs in Tamil. I don’t know why… I keep wondering why there are so many songs on the subject.
Could you tell us about your unique instrument — Gayatri Veena?
When I was 15, a cousin named Vinod brought a toy veena with a single string from Chennai. By moving a kitchen spoon across the string, I started playing the sapthaswaras, kritis and film songs. The electric veena I play today was made by my father. I taught myself. Goddess Saraswati Devi herself is my guru. Later, I offered Gurudakshina to violin maestro Kunnakkudi Vaidyanathan Bhagavatar. He named it ‘Gayatri Veena’. I received a doctorate for the instrument in 2017 and later achieved a world record by playing 69 songs continuously for six hours.
Anyone else who plays it?
I don’t think so. Some people have approached me to learn it, but I don’t know how to teach it. Unlike a normal veena, there are no swarasthanas or frets. I play it by taking the notes from my mind. However, my wish is that the instrument sustains. It shouldn’t end with just me.
Do you play any other instruments?
I play the mridangam, tabla, keyboard and others. I have a rhythm pad too. I listen and try to play. Dasettan gave me a violin and Jayaramettan gave me a veena. I also have a small instrument called a kazoo. I carry it everywhere.
We have heard that you imitate singers and actors.
Yes. As a child, I listened to the radio and imitated Janaki Amma, Vani [Jayaram] Amma and P Leela Amma. I can imitate MS Amma’s style almost accurately. Then Chithra chechi and Sujatha chechi… they are kind and friendly. I mimic actors too — Salim Kumar, Innocent, Adoor Bhavani, Umar, Suraj Venjaramoodu and N N Pillai (displays a few samples).
It was Jayachandran sir who first made me do mimicry on stage. I am also a great fan of Sudheer Paravoor, who writes parody songs. Then there is V D Rajappan, Nadirsha… (Sings a parody: ‘Pooradom nakshatrathil…’)
How have actors reacted to your mimicry?
Salim Kumar chettan once said, “You remember everything!” (Imitates.) I once mimicked Vijayaraghavan sir’s cry from the climax scene of ‘Christian Brothers’. I wanted to hear him perform it, but he laughed and said he didn’t remember how he had done it. So I did it.
The intonation had attracted me so much that I had listened to that portion multiple times (imitates the sound). After hearing me, he said, “Oh! You remember well.” When I met Nedumudi Venu sir, I mimicked him. He replied that he would retaliate by singing like me!
You have worked with top music directors. Any memorable experiences?
All were great — motivating and loving. Keeravani sir did not even make corrections. Iman sir has a good sense of humour. Dasettan and Jayachandran sir never miss a chance to match my humour. Now, when we talk, they say “meow”.
So you are a cat-lover…
Yes, but I am a bit afraid of them. I like their mews (makes a ‘meow’ sound). I love goats too. I used to drink goat milk because people said it was good for the throat and voice.
How did this “meow” begin?
Inspired by my neighbour’s cat (laughs). I would playfully say meow when happy or excited, or just to lighten the mood. It started with my parents. I took it everywhere. It’s like a code.
How was your association with S P Balasubrahmanyam?
I met him for the first time in Kollam in 2015. Later, in Kottayam, he told me he had listened to me playing the Gayatri Veena. He also called me after my engagement got called off. He consoled me and said, “May God guide you.” Receiving blessings from Dakshinamoorthy Swamikal and SPB sir were unforgettable experiences.
What about duets?
I really wish I could sing with Dasettan or M G Sreekumar chettan. I have sung with Madhu Balakrishnan chettan, but I want to sing with him again — and with Najim Arshad and other younger singers.
I have told Dasettan and MG chettan. MG chettan said, “Let God provide the opportunity for that.”
You have also wanted to sing with A R Rahman and Vidyasagar. Which of their songs do you love?
‘Karimizhi kuruviye kandeela…’ Isn’t that beautiful? The whole song is one complaint after another! Once, a police officer known to my family visited our house.
I told him I had a complaint. He wondered what it was. I said: “Karimizhi kuruvi has gone missing (laughs)!” And then there is Rahman sir’s ‘En Veetu Thottathil Poovellaam Kettuppa…’ What a piece of work, right? But that song has a bit of an old tune underneath it, doesn’t it? Oh no, would it be a problem if I say this? Doesn’t the tune remind one of ‘Ayyappa hare, Ayyappa pahimam’ (laughs)?
What about English songs?
I have listened to Boney M and Usha Uthup. I love Usha Uthup’s style. I have spoken to her. She has a completely different energy level. (Sings ‘Ente Keralam etra sundaram’.) I have not sung any English song. But I have tried singing rhymes in Carnatic style for fun. (Sings ‘Twinkle, twinkle little star’ in classical style.) Maybe I should listen to some Michael Jackson tracks before trying something like that.
Among your hits, which song do you identify most with?
‘Kaatte Kaatte’ is the first. Then… ‘Swapnasundhari’, ‘Anjanamani’ and the devotional song ‘Thenpazhani’. ‘Kaatte Kaatte’ and ‘Ottakkupadunna’ are my favourites. ‘Kaatte Kaatte’ has lyrics full of hope.
Which songs do audiences request most?
Songs from ‘Baahubali’, ‘Theri’, P Leela Amma’s ‘Ujjayiniyile gayika’ from ‘Kadalpalam’ and ‘Ambalakulangare…’ from ‘Odayil Ninnu’. But most people demand songs sung by S Janaki Amma. We had a rare emotional connection. We met at Sarvani Sangeetha Sabha, where I played ‘Suryakanthi’ on the Gayatri Veena. She wanted to adopt me. When I went to sing a song in ‘Baahubali’, I visited Janaki Amma’s house. We used to talk over the phone. She taught me the lyrics of ‘Singaravelane Deva’. I was shocked when I heard about her death. I was playing ‘Nagumomu Ganaleni…’ when someone informed me. Then I started playing ‘Swarna Mukile’ and faltered.
What do you like listening to?
Everything. Old songs on Akashvani, new songs, Kannada songs, SPB’s songs, Marathi bhajans. I have sung Abhangs at temples in Maharashtra. I am planning to sing Jnanappana. I love listening to Ashtapathy, Sopana Sangeetham, Kathakali Sangeetham. (Sings ‘Ajitha Hare’) I listen to spiritual talks too, like those by Udit Chaitanyaji. Spirituality interests me. I am intrigued by the unknown. I even tried a Ouija board during a visit to the US. Actor Anusree and some other artists tried it too. They said they communicated with the spirit of someone named Alex. There was no wind or rain. Alex said I would get my eyesight, but it would take some time. What he said about my marriage turned out to be correct. If the Ouija board is real, it would have been easy for the police to crack cases (laughs).
Are you fond of horror films?
I like ‘Kalliyankattu Neeli’ and ‘Lisa’.
What is Onam like at home?
This year there is a family gathering for the first time. Earlier, when my cousins came, we used to play kitchen games. Now they are all grown up, married and working. Only my parents are left to play with me (laughs).
What’s the secret behind this childlike exuberance?
That’s my trademark. It’s always been there.
You recently spoke about the importance of independence in marriages. Could you elaborate?
I decided to call off my engagement first and later marriage because there was a lack of independence. I was told, “You can’t do this and that. Eat this or that. You can’t pray.” There were disagreements even regarding my parents and performances. I felt stifled. Both did the same — masters of demotivation (laughs). In both cases, I opted out. Like Mammootty in ‘Thuruppu Gulan’, I said, “Sulan!” I know that whatever happens, I have music. It will never leave me.
What do you seek from a relationship?
We should be with people who stand by our heart, not people who try to keep us under their control. They should love music, comedy… they should completely accept us as we are. We don’t need people who put restrictions around us. We need people who hold us close. That’s important, no? Note the point (laughs)!
You have spoken about your disability and the difficulties it creates in everyday life as well…
Unless and until I get to touch something, I wouldn’t know what it is. If someone doesn’t tell me what is on a plate, I wouldn’t know. When people call me for photographs and tell me to look here or there, I wouldn’t know unless they guide my gaze. Such situations are stressful. There is also a tendency to tag a person with their disability. “Isn’t that the person who can’t see?” Why make disability a tag?
Are you seeking any treatment?
A genetics-based treatment has been proposed. Some tests have been done. If that works out, I might have to go to Australia for treatment. There is hope, but too early to rejoice. It’s not yet confirmed.
What are your upcoming projects?
I have many. ‘Ottanthullal’, starring Vijayaraghavan sir, is one among them. Then, I have sung a patriotic song dedicated to Narendra Modi. It’s called ‘Ayodhya Hridayam’. It’s composed by Alappuzha Ranganathan sir. He wrote the Malayalam lyrics and N Sasikumar the Hindi translation. (Sings a few lines)
And what do you want to do next?
I want to explore rare ragas. I want to create my own album and release my classical compositions. I want the Gayatri Veena to continue. I want to sing with the musicians I admire. And I want to keep experimenting. There are so many songs still waiting to be sung.
TNIE team: Kiran Prakash,Manoj Viswanathan, Anu Kuruvilla, S Neeraj Krishna, Gopika Varrier, Krishna P S, Supriya T P Sooraj (photos), Harikrishna B (video)