By: Entertainment Bureau New Delhi Chronicle
For over two decades, the name A.R. Rahman wasn’t just a credit on a film poster; it was a promise of a cultural event. From the revolution of Roja in 1992 to the psychedelic rock of Rockstar in 2011, Rahman didn’t just compose music—he “sonic-mapped” our emotions. However, as we move through 2026, a stark reality has emerged: the Mozart of Madras is increasingly becoming a ghost in the very industry he once redefined.
The decline in demand for Rahman in Bollywood isn’t a simple story of “talent fading.” It is a complex intersection of industry politics, a shift in musical consumption, and a fundamental change in the DNA of Indian filmmaking.
1. The “Corporate” Takeover: Decision-Making Without Creativity
In a recent, rare moment of candor with the BBC Asian Network, Rahman himself pulled back the curtain on why he has lost work over the last eight years. He pointed toward a significant “power shift” in the industry.
• The Rise of the Suit: Decisions that were once made by visionary directors (like Mani Ratnam or Ashutosh Gowariker) are now frequently made by music labels and corporate heads.
• The Multi-Composer Trap: Music companies today favor “multi-composer albums”—hiring five different people to create five potential “viral hits” rather than one artist to craft a cohesive emotional journey. Rahman, who works on a “soundtrack” philosophy, rarely fits into this fragmented model.
• The “Chinese Whispers”: Rahman alluded to a culture of gatekeeping where projects meant for him are diverted behind his back, sometimes even hinting at subtle, indirect communal biases that influence boardroom decisions.
2. The Instagrammable Song vs. The Soulful Album
The way India consumes music has fundamentally changed. We have moved from the era of the Walkman to the era of the Reel.
• The Hook Culture: Modern Bollywood music often prioritizes a “hook” that can go viral on social media.
• Atmosphere vs. Instant Gratification: Rahman’s music is famously “slow-burn”—it requires multiple listens to fully appreciate the layers of the arrangement. In an age of 15-second attention spans, the industry is pivoting toward high-energy, formulaic tracks by composers like Tanishk Bagchi or Pritam, who specialize in instant “earworms” and remakes.
3. The Consistency Crisis: Recent “Duds” and Self-Withdrawal
While systemic issues exist, critics also point toward Rahman’s recent output. Since 2015’s Tamasha, his Bollywood discography has been inconsistent.
• Forgettable Scores: Films like Heropanti 2 and Lekh failed to leave a mark. Even his passion project 99 Songs lacked the mass appeal of his earlier work.
• The “South” Pivot: Rahman has increasingly focused on massive South Indian spectacles (Ponniyin Selvan) and global collaborations (like his recent work with Hans Zimmer for Ramayan). This perceived “self-withdrawal” from Mumbai has led some producers to assume he is either too expensive or too busy for standard Bollywood projects.
4. A Legacy Interrupted?
The industry’s current trend toward “disposable music” may have sidelined Rahman, but it hasn’t erased him. While younger composers like Anirudh Ravichander are capturing the youth with high-octane “mass” beats, Rahman remains the gold standard for cinematic depth.
As he ventures into 2026 with projects like Ramayan, the question isn’t whether Rahman has lost his touch, but whether Bollywood has lost its ear for genius in the pursuit of algorithms.
