It's about giving some good music to people: Shankar Mahadevan on live concerts
Some of Ranade’s most favourite Mahadevan songs are “Gaana Mere Bas Ki Baat Nahin” from “Astitva”, the ‘Breathless’ album, and “Tanhayee” from “Dil Chahta Hai”, his work as part of the music composer trio Shankar-Ehsaan-Loy.
It's all about giving good music in a "traditional public performance", says singer-composer Shankar Mahadevan as he gears up for a live concert with contemporary and classical notes, and some nostalgia too. The show, titled 'Shankar Mahadevan Live in Concert' and produced and curated by Rahul Ranade and Deux Farming Films, will be held on December 3 at the Shanmukhananda Hall in Mumbai, India.
"In the earlier days, when an artist performed in an auditorium people used to pay money to buy tickets to listen to the music. We wanted to try out traditional, regular public performances. The concert is in a few days and it is already sold out. It's about giving some good music to people," the singer told PTI in an interview here.
Mahadevan will perform popular songs, including Bollywood, Marathi, folk, fusion, and devotional genres.
The concert will feature 32 musicians in the 'Live Strings' section.
"There is going to be a live session, a big orchestra. Rehearsing with them, putting and organising things, the journey is amazing," said Mahadevan.
The 'Retro Tribute' section will pay homage to stalwarts such as S D Burman, Salil Chowdhury, Lata Mangeshkar, Madan Mohan, Shankar-Jaikishan, Mukesh, Asha Bhosle, Kishore Kumar, Sahir Ludhianvi and Majrooh Sultanpuri.
“We are doing a tribute to all these amazing people who have set up an institution of music. It is going to be a lovely musical experience. I hope people enjoy it,” the 55-year-old musician said. Srinidhi Ghatate and Raman Mahadevan as well as eight chorus singers will join Mahadevan on vocals.
This will be the third collaboration between Ranade and Mahadevan, their association going back three decades. They have previously worked on 'My Country My Music' in 2014 and 'The Masters', a 'jugalbandi' between Mahadevan and Ustad Rashid Khan (2018).
"On a collaborative project, it is the process of creating that is more fun than the actual project," Mahadevan said.
Ranade said he was in awe of Mahadevan's musical intelligence and dedication.
Some of Ranade's favourite Mahadevan songs are "Gaana Mere Bas Ki Baat Nahin" from "Astitva", the 'Breathless' album, and "Tanhayee" from "Dil Chahta Hai", his work as part of the music composer trio Shankar-Ehsaan-Loy. "He would have sung songs many times but when he is in rehearsals, he does impromptu things. It is so much fun to work with him. The camaraderie, the friendship is there. We both love to eat, so that is the common thread,” said Ranade, who first worked with Mahadevan in the late 1980s TV show "The Common Man". Mahadevan, who has numerous songs in multiple languages like Hindi, Tamil, Telugu and Kannada to his credit, said music labels unfortunately are in control of the decision-making process in the industry.
He also rued the fairly new practice of roping in multiple composers for a single movie's soundtrack.
“It is a strange time when in many of the films there are multiple composers. Music companies and producers take charge of the music in many projects,” he said.
However, there is some good music that is charting its course.
Citing the example of the hit song "Kesariya" from the 2022 release "Brahmastra: Part One Shiva", Mahadevan said, "There is a lot of mediocrity too in between. But there are people like us, who are swimming against the tide and trying to keep the idea of melody, lyrics, and rendition alive."
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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