Shreya Ghoshal says “Angana Morey” began during lockdown, when fewer film projects left her with time to write, compose and sing. She built it around Indian classical music and electronica, and in a 2021 interview also named three songs she felt deserved more attention: “Naam Ada Likhna,” “Jaane Do Na” and “Rozana.”
How “Angana Morey” came together
In an interview with Scroll.in published February 7, 2021, Ghoshal said lockdown boredom and fewer film projects prompted her to make “Angana Morey.” She wanted a raag-based foundation without an overbearing treatment, drawing on genres she listens to. She described the track as a blend of electronica and Indian classical music, shaped like a mystery that ends in a trance.
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Her brother, Soumyadeep Ghoshal, produced the track and played guitar. Ghoshal said tabla player Nitin Mitta joined from New York and the Budapest Symphony Orchestra also participated. The work was done remotely.
What remote collaboration changed
Ghoshal contrasted the pace of remote work with working together in a studio: in person, musicians can respond to one another immediately; remotely, a process that might be quick in the studio can stretch over days. She said remote collaboration requires new ways of working and benefits from capable musicians. Her account describes the coordination challenge, not a claim that one method necessarily produces better music.
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Why she sees singers as part-composers
Ghoshal said she has no fixed ambition to become an independent singer-songwriter and does not want to be a full-time composer-lyricist. “Angana Morey” came naturally to her, she said; a dance track, by contrast, would call for a more commercial approach and a professional lyricist.
Even when singers do not write a song, Ghoshal believes they shape its music through decisions made while performing. “All singers are part-composers,” she said, pointing to changes and musical choices made at the microphone. As an example, she recalled that A. R. Rahman retained vocal inflections she improvised on “Barso Re” from Guru (2007).
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How her singing has changed
Ghoshal said she was 16 when she sang for Devdas. She attributed changes in her vocal texture to age, experience and learning from musicians and composers. Adapting to a composer’s musical character, she explained, involves more than pitch: dynamics, warmth, airiness, tempo, expression, pronunciation and the way a line ends all affect a performance.
Her descriptions of composers she has worked with
The following are Ghoshal’s personal characterizations from the interview, rather than independent assessments of these composers.
| Composer | How Ghoshal characterized the work |
|---|---|
| A. R. Rahman | Open to ideas but clear about the final product he wants; she called him a magician. |
| Pritam | Commercially perceptive and melodious. |
| Vishal-Shekhar | A distinct sound, audience awareness and a willingness to take risks. |
| Shantanu Moitra | Soulful, rustic and warm, with respect for retro music. |
| Shankar-Ehsaan-Loy | Unpredictable transitions and turns into the hookline. |
| Amit Trivedi | Folkish tunes, a rock approach and sparse arrangements. |
| Vishal Bhardwaj | Mature, and careful not to trivialize a song’s moment or thought. |
| Himesh Reshammiya | A strong commercial sense; she cited “Tere Naam” and “Balma” from Khiladi 786. |
| M. M. Kreem | A favorite whose deep, melodious work she felt Hindi film fans should know better; she singled out “Awarapan Banjarapan.” |
| Sachin-Jigar | Experimental and interested in exploring different aspects of her vocals. |
| Ilaiyaraaja | Someone she admires for bringing Western symphonies and jazz into Indian film music. |
Three songs Ghoshal called underrated
- “Naam Ada Likhna” from Yahaan (2005).
- “Jaane Do Na” from Cheeni Kum.
- “Rozana” from Naam Shabana.
Ghoshal named these when asked for her most underrated songs. The interview did not give release years for “Jaane Do Na” or “Rozana” in that answer.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.A career low point and her approach to ambition
Ghoshal recalled the 2013 dispute over royalty and rights involving singers, composers and producers as a low point that unnerved her. She said it changed how she felt about people in the industry and the direction it was taking. She also described her own belief system as steady, rooted in a disciplined musical upbringing and a lack of materialistic goals. Her stated mantra was: “Don’t calculate, go with the flow.”
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In the interview, she also reflected that listeners can imagine a singer’s appearance and personality from a voice, and said she would not claim that looks have no effect. These were her personal observations, not a general rule about listeners or the music industry.
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