A musical ode to Vithhal devotees with Maha's abhang tradition

Time of India

27-06-2025

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Pune: Music often joins hands with devotion. And when it does, it erases divides of language, musical genre, background and religion, says Carnatic vocalist Ranjani. She is talking about abhang, a form of devotional poetry and singing in the Marathi tradition by Maharashtra's saint-poets, especially associated with the warkari sect and the worship of Lord Vitthal of Pandharpur.
Ranjani adds, "Musicians from south India cherish and celebrate their love of abhangs, and so do rasikas."
Timed in the afterglow of the warkari season, as Pune catches its breath after the rhythmic thunder of dindis and the saffron surge of devotion moved on toward Pandharpur, Bolava Vitthal concert returns for its 20th edition on June 28.
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To be held at Balgandharva Rangmandir, JM Road, this musical pilgrimage will offer the city a soul-stirring continuation of what the Palkhi left behind: faith, worship, and the sound of saints echoing through time.
"This isn't just a performance," says Shashi Vyas, founder of Pancham Nishad Creatives. "The idea was born with Ganasaraswati Kishori Amonkar as a shared act of devotion. Over two decades, it grew from a small stage event into a movement of sacred sound while keeping its roots in musical and spiritual purity."
This year's concert will feature Aarya Ambekar, for whomit's a personal journey through nostalgia. "I still remember the excitement of getting dressed in a white Nauwari saree with a typical varkari style gandh.
We'd make thermocol Palkhis at home and carry them to school. Those small rituals as a child unknowingly sowed the seeds of a lifelong emotional connection with this tradition. So when I perform devotional music today, especially abhangs, it feels like I'm not just singing; I'm reliving those moments," said Ambekar.
Siddhartha Belmannu and the Carnatic vocal duo Ranjani–Gayatri will also be performing in the concert.They are known not just for their virtuosity, but for how they channel the emotion behind abhangs.
Accompanying them will be Prasad Padhye (tabla), Sukhad Munde (pakhawaj), Aditya Oke (harmonium), Shadaj Godkhindi (bansuri), and Suryakant Surve (additional rhythms).
"Our childhood and growing up years in Mumbai gave us an early exposure to Marathi and abhangs, and it felt very intuitive to sing abhangs—both in terms of lyrics and musicality. The journey sensitised us to robust and melodious voice throw, the beautiful sounds and accent of Marathi, the spiritual message of the great saints, and the simple, raw yet profound renderings of songs by devotees," said Ranjani, adding, "Though the abhang originates in Maharashtra, this musical form captured the imagination of musicians and music lovers across boundaries—both throughout India and globally.
The heady combination of powerful poetry or Santvani that is rendered with vigour, devotion, and universally appealing musicality erases all divides."
Gayatri said, "Our style of abhang singing in concerts celebrates both Hindustani and Carnatic approaches. Music, no matter how aesthetically beautiful and melodious, touches the heart only when melody fuses with bhakti bhav, and this synergy of devotion and musical expression happens effortlessly during the time of Aashad.
Singing here is not a task; it's a blessing."
Siddhartha Belmannu, trained in the Kirana and Gwalior gharanas, finds deep resonance with the abhang tradition. "While one style keeps emotion at the forefront, the other explores technical expertise. Blending the two while maintaining the delicate balance is what makes my Guru Vinayak Torvi Ji's music special, and as his disciple, I try to carry the legacy with my music," said Belmannu.