The Award-winning British Indian musician Nitin Sawhney, who had to withdraw from Australia’s premier world music festival WOMADelaide due to a medical emergency, has revealed that he ‘had a heart attack’ a few days ago.
Known for musical scores in over 70 films, including for a screen adaptation of Salman Rushdie’s 1981 Booker Prize-winning Midnight's Children and Warner Bros’ Mowgli, Sawhney took to X on Wednesday and shared the news with his fans and well-wishers.
He wrote, “I was rushed to hospital and the NHS put a stent in one of the arteries leading to my heart, after which I was kept in to await a similar operation (which I was referring to in my quoted post) on another artery. Both ops have gone well and the NHS were fantastic. I will need a third, bigger operation next month but one day at a time I reckon…
“I weight train 3-4 times a week, regularly kick-box, eat healthily, and had no history of heart disease. When I spoke to the doctor, he said it was probably a genetic predisposition… Basically, as a British Asian, I have a significantly higher likelihood of cardiovascular disease or heart attacks. My dad had a triple heart bypass, my mum has had two attacks and three of my uncles had heart attacks with one dying on the spot.”
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He further added, “It’s a terrifying feeling. Your chest feels like someone is sitting on your chest holding a 200kg weight and your head feels like it’s spinning out of control as you struggle to remain conscious. In my case, I completely blacked out, falling onto a glass ornament from a standing position, smashing the coffee table with my face as I collapsed into a pool of blood and broken shards, penetrating both cheeks, my nose, and the area just beneath my eyes. Later a plastic surgeon had to carefully remove pieces of glass from my face with tweezers after 4 injections to my face.”
Though Sawhney had to bow out of WOMADelaide, he is looking forward to his UK tour next month. “I’m ok… and (quick plug) we’ll still be touring the UK in April (Glasgow, Birmingham, Brighton, and London between the 7-11 https://aegpresents.co.uk/event/nitin-sawhney/). Obviously, we had to defer playing @WOMADelaide until next year. We also have to defer my performance with @the_halle on May 4th to later in the year as that will be soon after my third heart operation,” he wrote.
Sawhney, 59, also took the opportunity to talk about an alarming rise in fatalities from heart disease recently, particularly amongst British Asians, and said, “The point is there has been an alarming rise in fatalities from heart disease recently, particularly amongst British Asians. So… if you are Asian or, to be honest, in any vulnerable group… get your heart health checked out. It could save your life. You might not see something like this coming… I didn’t.”
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
Not really. But people are getting sick of obvious bait. Recent launches lean into warmth and inside jokes rather than feeding headlines. White set, gold couch, or a stage full of noise, it doesn’t matter. You just want to sit there, listen, get pulled into their stories, like a campfire you can’t leave. We watch, just curious, hoping maybe these stars are a little like us. Or maybe we’re hoping we can borrow a bit of their sparkle.
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