“I include multitudes,” wrote Walt Whitman within the ‘Music of Myself,’ and I couldn’t assist enthusiastic about the depths of what that meant on Sunday morning. Like me, tens of hundreds of Tamil music followers made their option to the Jawaharlal Nehru Stadium in Chennai with their hearts desperate to know the reply to only one query: “Which Ilaiyaraaja would we get to expertise right now?”
Certain, there is only one ‘Isaignani’ Ilaiyaraaja, the corporal being celebrated because the ‘King of music.’ But when the final 50 years of Tamil music have taught us one thing, it’s that Ilaiyaraaja accommodates multitudes. There’s an Ilaiyaraaja we take heed to after we miss being cradled by our mom; an Ilaiyaraaja is perennially ready to pacify a newly damaged coronary heart; there’s one for after we miss the scent of petrichor, one for late evening ruminations, and one for when the breeze hits us by means of the home windows of buses and trains; I, for one, have even met an Ilaiyaraaja who prolonged his arm into the darkness I used to be as soon as drowning in.
The Ilaiyaraaja we met on Sunday on the From Raaja With Love live performance was additionally somebody we had been all too aware of — besides it appeared like there have been one too many hindrances to what ought to have been an once-in-a-lifetime assembly. The occasion noticed fairly a number of mishaps, be it a backstage malfunction and in-ear monitor points that singers gave the impression to be visibly powering by means of. In relation to the tracklist, one even puzzled whether or not Raaja’s authorized battles (with Saregama and Echo) might need ended up limiting his choices; although that includes many widespread songs that followers like yours actually had been mesmerised by, those that had been keen to satisfy a ‘live performance Raaja’ who would steadiness widespread chirpy songs with chartbuster soothing melodies appeared disillusioned.
The administration of the present has additional snowballed into one other difficulty. Many attendees, particularly from the Gold ticket part, complained that organising a videography stage in the midst of the stadium was a poor name, because it obstructed a lot of their view of the stage. Most attendees who watched the occasion from additional again have complained in regards to the lack of audio system and LED displays, aside from the poor upkeep of the seats.
All that mentioned, a music lover prepared to energy by means of all these troubles was nonetheless in for a magical evening — in any case, it’s Raaja we’re speaking about. In a quintessential Raaja style, the maestro kick-started the live performance by imbuing an aura of divinity within the air. ‘Janani Janani’ carried the blessings of Devi (and Raaja) throughout the ocean of music pilgrims, and it continued when singers Anitha Karthikeyan and Srisha Vijayasekar took to the stage to croon ‘Amudhe Thamizhe’ from Koil Pura. In a basic Raaja live performance second, the efficiency turned fairly meta when he corrected Srisha, earlier than wanting in direction of the group and saying, “That is why I’m right here” — akin to the second within the Koil Pura tune when the music trainer corrects his pupil throughout her rendition.
When the following tune started, all these classical tones furthered into our hearts as a wave of techno sounds coursed by means of the bottom. The heavy bass of ‘Rajadhi Raja’ was met with applause, and when the second that I used to be ready for got here, neither Raaja nor the group disillusioned. “Eppavum naan Raaja,” sang the King, smiling and searching in direction of his topics, as they roared and surrendered to his magic, as they’d achieved for over 50 years.
The following tune, the composer mentioned on the microphone, was 40-50 years previous. “Pazhaya paatu,” he sniggered with a mixture of delight and sarcasm as Shweta Mohan started to play the titular tune from Annakilli, Raaja’s debut movie that turned 50 this 12 months. An aged man sitting a row behind me rejoiced that he had by no means heard this tune dwell, and Shweta pulled it off with ease and beauty. Particularly, her buzzing of the interlude earlier than the road that goes “Kanavoda sila naal” stood out.
“SPB Charan!” launched Raaja to a loud cheer; the group knew it needed to be a basic sung by Charan’s late legendary father and voice twin, SP Balasubrahmanyam. An electrical guitar solo prompted us all to erupt from our seats. Charan deserved all of the applause for the way he pulled off a tune as tough as ‘Madai Thiranthu.’ “Pudhu raagam padaippadhaale naanum iraivane,” went the lyrics, and regardless that Raaja disagreed with the sentiment, the cheers from his devotees proved in any other case.
The packed stadium felt a gust of chilly breeze for the primary time when Karthik sang ‘Megam Kottatum’. Those that have heard the tune from Enakkul Oruvan would perceive the uncanniness of that timing. Talking of SPB songs, Haricharan even recreated the late singer’s basic laughter throughout his efficiency of ‘Raakamma Kaiya Thattu’ with Anitha.
The live performance then noticed Madhu Balakrishnan’s rendition of ‘Pazhamudhircholai,’ Ananya Bhat’s ‘Oho Megam Vandhadho,’ and a powerful Vibhavari Apte Joshi singing ‘Anandha Raagam.’
It was then time for Yugendran, launched by Raaja as Malaysia Vasudevan, the late legendary singer and father of Yugendran. Singing ‘Aasai Nooru Vagai’ is rarely a simple feat, and but it appeared like Yugendran was over-stressing each phrase. Raaja famous how he was launched to Vasudevan again in 1968. “Jeyachandran and Vasudevan are tough to show,” joked the composer, including that Yugendran bought proper what even his father typically didn’t.
Raaja then, in a welcome shock, took over the vocals after a efficiency of ‘Meyaadha Maan’ and sang ‘Indha Maan’ and ‘Vaan Megangale.’
After Srisha’s ‘Oru Jeevan’ and Ananya Bhat’s ‘Kaattumalli’ performances — Ananya struggled with unhealthy in-ear suggestions — a sequence of speeches, movie promotions and bulletins adopted.
Later, when Gangai Amaran sang ‘Poojaiketha Poovidhu Nethu Dhana Poothadhu,’ Raaja famous the error within the observe’s pallavi lyrics, stating who would do pooja with flowers that bloomed the day prior to this. “However that’s what music does; music could make you overlook such errors,” he noticed. Shoba Chandrasekhar was launched to the stage by director Parthiban as “the mom of the ‘raaja’ ruling Tamil Nadu,” and Raaja spent fairly a while discussing Shoba’s theatre origins and the unlucky decline of theatre music.
After Shoba’s efficiency of ‘Kannan Oru Kai Kulanthai,’ Charan introduced the extra acquainted Raaja to the live performance. It was one thing actually bewitching to see the Full Moon shining vibrant within the sky as ‘Ilaya Nila’ serenaded the romantics within the crowd.
Madhu Balakrishnan’s ‘Raja Raja Chozhan’, Karthik’s ‘Vanithamani,’ and Shweta Mohan-Haricharan’s ‘Poo Maalai Oru Paavai’ adopted. Most will need to have felt a tug of their heartstrings when Vibhavari paid a heartfelt tribute to Asha Bhosle by singing ‘Shenbagame.’ Shweta then teamed up with Madhu for a stirring rendition of ‘Thendral Vandhu Ennai Thodum,’ after which Karthik joined Shweta to convey the magical SPB-Chitra tune ‘Kadhal Kavithaigal Padithidum’ to life.
The From Raaja With Love ended with a spectacular efficiency of ‘En Jodi Manja Kuruvi,’ the vitality ushering some to even get up and dance.
As I returned dwelling, I used to be nonetheless buzzing — if not the Raaja I noticed on Sunday, the Raaja I’ve for late-night metro rides continued to consolation me. This love is aware of no bounds.
Printed – June 01, 2026 08:30 pm IST
