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The Hindu
an hour ago
- Entertainment
- The Hindu
Singer-songwriter Abdon Mech's inspiring journey from Nagaland to Budapest
Nagaland-based singer-songwriter Abdon Mech's journey makes you believe that dreams come true, but not devoid of struggles. When Abdon started out as a musician two years ago, he felt drawn to cities such as Mumbai and New Delhi. But over time, he became a part of the growing movement of North East artistes to build their fanbase right from their hometowns. His decision finally paid off, and the singer was recently in Budapest, as part of the Artisjus Songbook Camp 2025, held in May, which also saw a total of 30 artistes from across the world. . Abdon's participation was championed and sponsored by the Indian Performing Right Society (IPRS), along with the Task Force for Music and Arts (TaFMA)-Government of Nagaland. Abdon says, 'I just realised the importance of what my culture and identity mean to me and how important it is to bloom where you are planted.' He is now driven by the goal to represent and accelerate growth among artistes in Nagaland. The Naga representation started right from his time in Budapest as part of the week he spent in Hungary, where Abdon even sported a traditional Sumi Naga jacket. It has been a five-year-long journey for the singer, who launched his debut single 'Again' in 2020, scored a hit with 'Taking My Heart' in 2022 and recently put together a do-it-yourself open-air concert in March on his home ground, in Dimapur, with thousands in attendance. He credits TaFMA and IPRS for the boost along the way, where at first (like many artistes), he was not sure of what the copyright society did. He lauds IPRS for reaching out to Nagaland artistes and encouraging them to become members. 'For them, coming all the way to the North East and providingaccessibility and inclusivity to someone from this side, shows that they are passionate about the scene as a whole, and not just one part of the country,' he says. Abdon also believes the idea that 'a lack of accessibility' to the North East has changed over the years with more talents taking center stage. 'Over the last few years, the growth has been incredible as far as original music is concerned.' Where cover bands were more likely to draw crowds before, now original music is staunchly supported, right down to artistes printing merchandise and bringing in the sales. 'I think artistes alone cannot take the credit. It also needs to be given to consumers.' At the camp in Budapest, Abdon was exposed to the global music space and 'how different cultures make music differently'. He adds in terms of learnings, 'I appreciate electronic dance music more because there were many of these artistes and producers who were incredible dance music artistes. Just being with them and seeing how they have so much soul into what people classify as soulless music was something I took away.' Put in groups of three to four artistes each day, with a daily task to produce a new song, Abdon was interacting with producers, songwriters and singers. While the singer says he has never worked within that kind of framework and structure to bring out a song in a day, it led to creating several songs with collaborators from the U.S., Hungary and elsewhere. They officially created three songs during their song camp hours, but Abdon shares: 'Everyone was so inspired that after the day was over we would have these unofficial sessions, collaborate and make music till two or three in the morning.' We can expect more compositions coming out later this year as a result of the camp, along with his solo work — bolstered by the creative energy of Budapest.
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Business Standard
4 days ago
- Entertainment
- Business Standard
Why India's music industry continues to fail its non-featured artists
Every hit song has a hidden side. Behind the shimmering vocals, viral melodies and expertly produced beats are dozens of hands that brought it to life, the violinist who added an aching swell, the flautist whose solo became the song's signature, the percussionist whose rhythm tied it all together. They are the session musicians, background singers, and studio instrumentalists who fill out the sound of India's biggest hits. But their names rarely show up on screen. Their royalties never arrive. And their contribution, no matter how iconic, vanishes once the track is mastered. India's music industry has never been louder. Streaming platforms have turned chart-toppers into overnight sensations, regional voices into global exports, and bedroom producers into brand names. The Indian Performing Right Society (IPRS) disbursed over ₹600 crore in royalties in 2024–25 alone, much of it driven by digital plays. But behind this digital boom lies a stubborn analogue problem: non-featured artists — session musicians, backing vocalists, instrumentalists — remain locked out of the royalty system that their work fuels. Streaming booms, but session musicians stay unpaid The shift from cassettes to clicks has transformed India's music economy. The Indian Performing Right Society (IPRS) now reports that nearly 70 per cent of its royalty collections come from streaming. Independent and regional artists are flourishing; some earn over ₹50 lakh annually. Yet, as lyricist, screenwriter, and National Award-winning songwriter Varun Grover — known for films like Masaan, Dum Laga Ke Haisha, and Gangs of Wasseypur and the Netflix series Sacred Games — puts it, 'Session musicians deserve way more than what they are getting…' These non-featured artists typically work on a one-time session basis. They show up, perform, and leave. Their names rarely appear on streaming metadata. Their contracts, if they exist at all, often cede all future rights. Their artistry, stitched into the DNA of a song, is monetised endlessly by others. Contracts that deny credit and kill royalties Independent composer Joell Mukherji — who has collaborated with Amit Trivedi and Pritam, composed over 150 ad films, and created the viral song Credit De Do Yaar — confirms the problem runs deep. 'The concept of royalty distribution is still in a very nascent stage in India… Even FM stations do the same,' he says. Veteran violinist Jeetendra Javda, whose bow has swept across decades of Bollywood… echoes this, pointing to a complete lack of paperwork. 'The typical work which we do here does not have any discussed contract… It is like the hours we work for them or the instrument we like…' 'We don't even have proper documentation of who played what,' adds Madhav Ajgaonkar (Maddy), a seasoned music composer… 'Forget money. Even the credits are missing.' Legal recognition, but no real remuneration India's Copyright (Amendment) Act, 2012 was heralded as a landmark reform… But the law's benefits have largely bypassed non-featured performers. Though performers are recognised in theory, few session musicians are registered with collective management organisations, and fewer still negotiate royalty-bearing contracts. Varun Grover recalls being coerced into contracts where labels disguised royalties as advance fees… 'They would say, 'Here's ₹10 lakh for your song… ₹9 lakh is advance royalty for 50 years.' They'd even add wild clauses about 'perpetuity across all galaxies'…' Work-for-hire model ensures no claim over hits The systemic inequality stems from the deep-rooted practice of work-for-hire agreements under Section 17 of the Copyright Act… Javda admits most of his work is based on 'mutual understanding' — a handshake deal, with no formal contract, no enforceability. Maddy underlines this rot… 'Even in the 1960s and 70s, we don't know who played what. Musicians were just tools… RD Burman may be the only one who gave his session artists visibility.' European rights model offers lessons, not miracles Across Europe, non-featured performers enjoy legal mandates for equitable remuneration… Collective societies in Germany, France, and Spain facilitate this distribution. But implementation isn't seamless. 'Unless you're formally registered and actively claiming rights, even European systems tilt towards power players,' says Grover. The difference? In Europe, there are enforceable mechanisms. In India, it's mostly goodwill, inertia, or luck. Signs of progress: credits, not cash (yet) Some changes, however small, are underway. Javda notes a five-year trend of composers crediting musicians more consistently… Grover himself released the soundtrack of his film All India Rank on his own YouTube channel, carefully crediting every instrumentalist. But credit alone doesn't pay bills. Maddy points to a deeper injustice… 'They don't even know what investing means.' Reform starts with contracts, associations and credit Industry insiders agree that reform must begin with enforceable contracts and awareness… 'Even when contracts exist, they aren't notarised,' says Maddy. 'Anyone can deny they signed it…' The Indian Singers Rights Association (ISRA) and IPRS have set precedents for featured artists. A similar push is needed for session musicians. 'Start with credit,' Maddy says. 'Then fight for the money.' As Javda puts it, 'In 1992, none of us even dreamed of royalties. In 2025, at least we're talking. Maybe in ten more years, we'll be counted.' India's digital music boom must finally count every voice For now, the soundtrack of India's digital music boom carries with it an echo — of violins played in silence, flutes forgotten in metadata, and lives that sang so others could shine
Time of India
7 days ago
- Business
- Time of India
‘Every creator must feel seen, heard and fairly rewarded'
The Indian Performing Right Society (IPRS) announced a historic royalty distribution of ₹600 crore, a landmark achievement for music creators across India. This significant development signifies a turning point for composers, lyricists, and music publishers, providing long-awaited recognition and compensation for their invaluable contributions to the Indian music industry. IPRS Chairman Javed Akhtar emphasized the importance of this milestone. In a significant development for the Indian music industry, the Indian Performing Right Society (IPRS) has declared a record-breaking royalty distribution of Rs 600 crore — heralding a game-changing moment for composers, lyricists and music publishers in India. Lyricist and IPRS Chairman Javed Akhtar and others spoke to us, and described this achievement as 'not just a number,' as it represents long-overdue recognition for the work of Indian music creators.' 'It signifies a turning point for our Industry' Javed Akhtar stressed the broader significance, 'This milestone reflects our collective progress and reinforces the importance of fair compensation in sustaining creative excellence.' He called creators, 'the backbone of every cultural narrative' and underscored IPRS's commitment to empowering artists by 'strengthening access to IP awareness, simplifying digital enrolment and licensing, creating opportunities for cultural exchange and collaboration, and ensuring accurate metadata. ' 'We're working to ensure Indian music receives its rightful place and revenue globally' With IPRS now the fourth largest rights society by revenue in the Asia-Pacific, Javed highlighted ongoing efforts to enhance India's global footprint. 'We are deepening international collaborations, adopting global best practices, and working to ensure Indian music receives its rightful place and revenue globally. The world is listening to India, and we're making sure our creators benefit from it. Our focus is on stronger licensing frameworks, timely and transparent royalty distribution, expanding outreach, and constant advocacy. ' 'We are tackling artist challenges through outreach and technology' Lyricist-screen writer Mayur Puri echoed these priorities, detailing the hurdles many artists face, including, 'lack of awareness about their rights, delayed royalty payments, the complexity of music documentation, and a persistent issue of missing credits.' He explained, 'Incomplete or incorrect metadata leads to creators not being properly credited or paid.' To address this, IPRS is intensifying localized outreach, simplifying registration through digital tools, and running continuous education programs. Mayur emphasized, 'Our focus is on widening our reach, especially in regional and digital-first spaces; strengthening our licensing network; and enhancing transparency and tech integration to ensure artists are paid fairly, faster, and with full visibility. At the heart of it all, it's about putting creators first.' 'AI must not dilute the value of human creativity' On the challenges posed by artificial intelligence, they shared a unified stance, 'AI must not dilute the value of human creativity,' Javed declared. 'IPRS is actively engaging in discussions around regulation to ensure creators' rights are protected and that any content derived from their work is fairly acknowledged and compensated.' Rakesh Nigam, CEO-IPRS, added, 'We are closely working with international organizations such as CISAC and WIPO to engage in ongoing dialogues around AI and copyright. We participate in forums focused on metadata standardization, cross-border licensing, and developing best practices to ensure fair compensation in the age of AI and automation.' Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Indian Express
01-05-2025
- Entertainment
- Indian Express
Javed Akhtar admits his family urges him to ignore trolls, but he believes they deserve the same treatment: ‘Sometimes you've to come down…'
As someone who often schools faceless people on social media for their communal and hateful remarks, veteran screenwriter-poet Javed Akhtar says trolls should know they can also be subjected to the same treatment when the need arises. Whether it's supporting Indian cricketer Mohd Shami during the recent 'roza' row, getting back at trolls who targeted him for praising Virat Kohli or condemning the Pahalgam terror attack in strong words, the lyricist is known for openly voicing his opinions on X. Asked whether his family asks him to steer clear of social media trolls, Akhtar told PTI, 'Yes, absolutely. Even my friends say 'let it be. Why do you want to get into it? You are above all these things'. Forgive me for my immodesty, I mostly feel above these but sometimes you have to come down and tell them that, 'No, you can't take this liberty, and if you will, I'll pay you back in the same coins.' The 80-year-old writer, who also serves as the chairperson of the Indian Performing Right Society, was speaking on the sidelines of the 'IP and Music: Feel the beat of IP' conference organised by FICCI on Tuesday here. Akhtar, who took over the IPRS in 2017, said the copyright body needs government support so that artists receive their fair share of public performance royalty. 'If there are few lakh people who are not paying us public performance royalty, we can't have a few lakh cases in courts, it is not possible. It is only the government which can put pressure by making some kind of a rule or a sub-rule to make it mandatory to pay. 'Whenever I have contacted any political party or ministry, they have been extremely sympathetic about the cause. They have respect for Indian artists, they have often gone out of the way to help us. I have no such problems. What we have to do now is to go again and tell them what is wrong. You have made a fantastic law, but it is not working on the ground,' he said. 'Sholay' and 'Deewar', which he co-wrote with Salim Khan, are celebrating their 50th release anniversary. Asked what was the reason behind the enduring relevance of these films, the writer said it's impossible to predict how a movie is going to connect with people while writing it. 'K uch achhe kaam hote hain jo reh jaate hain public memory mein. And the films you're talking about they have somehow … Why, I don't know. If I knew, I would've done it again and again. They have become a part of the Indian psyche, culture, and common language. 'Dialogues of a 50-year-old film are being referenced in stand-up comedy, other films, and even in political speeches till today. How and why has it happened? I mean, what is charisma? There is no definition of charisma. It happens and then you try to reason it out, find some rationale or logic in it. But I think it is beyond it,' he added.
Time of India
01-05-2025
- Entertainment
- Time of India
Javed Akhtar says trolls should know their limits: 'You can't take liberty'
As someone who often schools faceless people on social media for their communal and hateful remarks, veteran screenwriter-poet says trolls should know they can also be subjected to the same treatment when the need arises. Tired of too many ads? go ad free now Whether it's supporting Indian cricketer Mohd Shami during the recent 'roza' row, getting back at trolls who targeted him for praising or condemning the in strong words, the lyricist is known for openly voicing his opinions on X. Asked whether his family asks him to steer clear of social media trolls , Akhtar told PTI: "Yes, absolutely. Even my friends say 'let it be. Why do you want to get into it? You are above all these things'. Forgive me for my immodesty, I mostly feel above these (trolls) but sometimes you have to come down and tell them that, 'No, you can't take this liberty, and if you will, I'll pay you back in the same coins." The 80-year-old writer, who also serves as the chairperson of the Indian Performing Right Society (IPRS), was speaking on the sidelines of the "IP and Music: Feel the beat of IP" conference organised by FICCI on Tuesday here. Akhtar, who took over the IPRS in 2017, said the copyright body needs government support so that artists receive their fair share of public performance royalty. "If there are few lakh people who are not paying us public performance royalty, we can't have a few lakh cases in courts, it is not possible. It is only the government which can put pressure by making some kind of a rule or a sub-rule to make it mandatory to pay. "Whenever I have contacted any political party or ministry, they have been extremely sympathetic about the cause. Tired of too many ads? go ad free now They have respect for Indian artists, they have often gone out of the way to help us. I have no such problems. What we have to do now is to go again (to the authorities) and tell them what is wrong. You have made a fantastic law, but it is not working on the ground," he said. "Sholay" and "Deewar", which he co-wrote with , are celebrating their 50th release anniversary. Asked what was the reason behind the enduring relevance of these films, the writer said it's impossible to predict how a movie is going to connect with people while writing it. "Kuch achhe kaam hote hain jo reh jaate hain public memory mein (there are a few good works that remain etched in public memory). And the films you're talking about they have somehow (have stayed in public memory)... Why, I don't know. If I knew, I would've done it again and again. They have become a part of the Indian psyche, culture, and common language. "Dialogues of a 50-year-old film are being referenced in stand-up comedy, other films, and even in political speeches till today. How and why has it happened? I mean, what is charisma? There is no definition of charisma. It happens and then you try to reason it out, find some rationale or logic in it. But I think it is beyond it," he added. 'We Are Pleasing Pak Army...' Says Javed Akhtar On Banning Pak Artists In India | Pahalgam Attack
