The title track launch of Yeh Prem Mol Liya brought together Ayushmann Khurrana, Sharvari, composer Himesh Reshammiya and filmmaker Sooraj Barjatya, but the event soon turned into a fascinating conversation about the changing landscape of Hindi film music. During the media interaction, Himesh was asked why it seems like fewer memorable songs are being created for movies these days and whether the “math” behind film music has changed. The composer offered a detailed and candid perspective on how the explosion of platforms, rising production calculations, social media and the sheer volume of music being released have changed the way songs are created and consumed.
Talking about the changing “math” of film music, Himesh said, “Well, regarding the math—from a producer's perspective—things used to be different. There weren't as many platforms back then. Regarding promotion and shooting expenses... well, at Raj Productions, the focus is always on the story, but I’m sure many other producers and directors wish music could make a comeback like it used to.” He added, “People in every household say the music isn't the same anymore; even the fans attending my concerts say that the magic the music used to have is missing now.”
According to Himesh, one of the biggest challenges today is the sheer amount of music competing for listeners' attention. He explained, “But the reality is that it can sometimes take over a year for a song to become a superhit because 300 songs are released daily across all languages and formats—the sheer volume of traffic is immense.” At the same time, he was quick to clarify that the current generation of composers should not be blamed for the situation, adding, “So, I would never say that new composers aren't doing good work; they are doing great work.”
Himesh believes the process has also become increasingly driven by the pressure for immediate approval. “However, sometimes the process is driven by the need for approval. In the past, the music was created collaboratively. The violin pieces and the mood you experienced here today reflect that sense of togetherness,” he said. According to him, the collaborative spirit that once shaped film songs is sometimes overshadowed today by calculations surrounding promotion, platforms and audience response.
The composer then spoke about the complicated economics involved in making songs for films, saying, “You see, the ‘math’ has become so complex for producers and directors—calculating how much to shoot for just two songs, limiting the scale of production units, and so on.” He contrasted today's approach with an earlier era when filmmakers were willing to release much longer songs. “We used to unveil the entire song—sometimes six-minute-long tracks that became blockbuster hits. Now, we aim for a three-minute song hoping it becomes a hit on Reels.”
However, Himesh does not believe that audiences automatically reject longer songs. Sharing an example from his own music, he said, “But when I look at the performance metrics of my songs—even the ones that are 6:30, 5, or 7 minutes long—I see them getting played on Reels just as much. We often assume the audience won't pick up on such long tracks, but when they find a good song, they’ll happily create a Reel using that 6 or 7-minute piece.”
That led Himesh to make one of his strongest observations about the current obsession with short-form content. “If you create a song solely with the intention of making it a ‘Reel song,’ it often lacks organic musicality,” he said. For the composer, a song should first work as a complete piece of music rather than being designed around a potential viral clip. He added, “In the past, the antara (verse) held as much weight as the mukhda (chorus/hook).”
Himesh pointed to the title track of Yeh Prem Mol Liya as an example of the importance of complete songwriting. Praising lyricist Kumar, who was also present at the event, he said, “Just listen to the verses in this film—the emotion in them, the lyrics... this song was penned by Kumar-ji, who is sitting right here with us. Look at the writing—every single word is brilliant. That’s how it used to be—a collaborative process. Today, the ‘math’ of it all has taken over.”
The composer also spoke about how the number of singers in the industry has changed dramatically. “Back then, there were only a handful of singers; when I started, there were maybe 10 or 12. Now, there are so many singers that you can choose based on vocal range,” Himesh said. He mentioned Arijit Singh, Shreya Ghoshal and Sonu Nigam as singers who can handle a wide variety of genres, while explaining that many other singers have particular vocal ranges where they sound especially strong.
Giving the example of legendary singer Jagjit Singh, Himesh said, “Jagjit Singh-ji sang beautifully, but he stayed within his specific range. He sang in his own style—no one ever pressured him to sing high-pitched songs or to emulate someone like Nusrat Fateh Ali Khan. He succeeded on his own terms.” Himesh suggested that the current environment is different, with singers sometimes being judged when a song falls outside their natural vocal range.
He continued, “Today, however, the situation is different. Apart from the likes of Arijit, Shreya, and Sonu—who can handle any genre—most singers have a specific range. They sound amazing within that range, but the moment the song's key changes, they struggle to sing it. And we, the audience, end up saying, ‘That singer isn't good.’” According to Himesh, the issue is often about finding the right match between a composition and a singer rather than simply selecting a popular voice.
That philosophy also played a role in the casting of voices for Yeh Prem Mol Liya. Himesh revealed, “That is precisely why we chose Nihal to sing alongside Shreya-ji for this specific range. It’s because he is so good in that range.” He explained that the sheer number of singers and opinions in today's industry has made the process more complicated, with discussions often revolving around immediate popularity, social-media traction and the possibility of a song becoming a long-term hit.
Himesh said, “There is so much confusion overall. Everyone has an opinion—and rightly so—about who the singer should be. They debate whether a particular singer should be chosen because they are popular and will generate high traction on day one, or if another singer’s song might become a hit a year later. Some want a song that goes viral on Reels; the industry has become fragmented.”
The composer also brought some humour to the conversation while talking about Sooraj Barjatya and the music of Yeh Prem Mol Liya. Himesh referred to the film's “seventh song” mystery and explained, “Ultimately, it comes down to one thing: just as Sooraj-ji wouldn't include a seventh song—citing reasons like, ‘It doesn't fit my image’— I couldn't quite manage the action sequences, so I poured everything into the songs instead.”
He then elaborated on the mystery, saying, “But why do I keep mentioning the ‘seventh song’ mystery? Because when Sooraj-ji showed me the full film, there was this seventh song—or rather, a unique element involving a mukhda (hook line) playing in the background—and he said, ‘I’ll show that in the second week; I’ll reveal it later.’” Himesh also recalled Sooraj Barjatya's earlier films, adding, **“You know, it has been a tradition with Sooraj-ji—like with Maine Pyar Kiya and Hum Aapke Hain Koun..! —to add a few scenes after the first week; that’s a different matter entirely.”
Coming back to the larger question of the “math” behind today's music, Himesh made it clear that he does not believe there is one person or section of the industry to blame. “But coming back to the ‘math’ of it all—no one is to blame. However, the composer has to remain very focused. Being focused doesn't simply mean having a conviction—like, ‘I believe in this.’ Mere belief achieves nothing,” he said.
For Himesh, the real test remains the audience's reaction to a genuinely strong composition. He explained, “Play a song for 100 people; if it’s a potential blockbuster, 95% of them will say it’s great or good. No one calls a blockbuster song a disaster. Audiences aren't that clueless.” He added that a composer needs variety, a solid repertoire, confidence and the courage to play their music for others.
“Therefore, a composer needs to have variety, a solid repertoire, confidence, and the guts to play their music for others. All this confusion and I have tried to avoid them,” Himesh concluded, offering his perspective on an industry where music has become more crowded, more data-driven and increasingly connected to short-form platforms.
With Yeh Prem Mol Liya, Himesh Reshammiya is once again creating music for a Sooraj Barjatya film, and the title track launch gave him an opportunity to discuss much more than one song. From the importance of long-form compositions and meaningful verses to singers, Reels and the pressures of modern film production, his comments offered a candid look at the changing music business. And at the heart of his argument was a simple thought — while the “math” around music may keep changing, a genuinely great song still has the power to find its audience.