‘Bandish Bandits’ Season 2: Akashdeep Sengupta On Curating Music Album And Taking Over From Shankar-Ehsaan-Loy

Music has always been the heart and soul of Bandish Bandits.  

From its very first season, the show set a high bar by blending Indian classical music with contemporary styles, creating a soundtrack that has resonated deeply with audiences. Taking on the challenge of curating the music for Season 2 was no small feat, especially after the iconic work of Shankar-Ehsaan-Loy in Season 1. 

In this exclusive interview with The Hollywood Reporter India, Akashdeep Sengupta, the creative force behind the music of Bandish Bandits Season 2, shares his journey of curating an album that not only honours its predecessor, but also explores new musical horizons.  

After putting together 17 tracks within 18 months, Sengupta discusses everything from the intricacies of fusion music to the challenges of coordinating a multi-composer album, all while staying true to the show’s emotional and narrative core. 

Akashdeep Sengupta in the studio.

Edited excerpts: 

Taking over from Shankar-Ehsaan-Loy’s first album must have been daunting. Was there any nervousness about stepping into their shoes, and how did you navigate that? 

Absolutely. During the lockdown, we were all at home, either working remotely or waiting for opportunities. When the first season of Bandish Bandits came out, it was revolutionary for music in India. Shankar-Ehsaan-Loy had created something truly inspiring and enriching. For any artist, it was a treat—a visual and auditory spectacle. 

From where I was at the time, it felt like a distant dream to be part of such a project. But by 2021, after working on Maja Ma (2022) and supervising music for Bad Newz (2024), I got this surreal offer to curate the album for the second season. My first reaction was disbelief, especially given how much time and effort had gone into the first season. We had a tighter timeline now—about 18 months—but with Shankar-Ehsaan-Loy’s blessings, we took up the challenge. They had set a high benchmark, and we aimed to honour that legacy while bringing something fresh and distinctive to the table. 

The story in Season 2 is very different—a ‘battle of the bands’ between East and West. This required a blend of Indian classical and Western contemporary music. It was detailed work, breaking down how songs are built, adding competition elements, and involving a variety of composers to achieve a cohesive yet diverse sound. 

In this project, I was more of a creator as well as the head of the music department. I collaborated with Anand Tiwari and Amritpal Singh Bindra to define the album’s direction, deciding the musical tone and colour, identifying the right composers for specific styles, and ensuring the album felt unified despite having multiple composers. 

When you talk about the “colour" of the album, what does that mean? Can you give us an example of how you approached a specific track? 

Take the opening song, Yaahin Rahio Sa, which is based on Raga Mand—a glorious raga that exudes positivity and celebration. Anand sir’s brief was clear: we needed to celebrate music and the legacy of Pandit Radhemohan Rathod (Naseeruddin Shah). The ragas we chose had to align with this uplifting narrative, offering sweetness and a glorifying tone. 

Fusion music plays a key role in this season; how did you balance the Indian and Western elements? 

Fusion is all about balance. For example, the track Hichki 2.0 starts with a Rajasthani base composed by Siddharth Pandit and written by Alok Ranjan Srivastava. Adding a swing pattern to it while incorporating the essence of the original was a challenge—but a rewarding one. It’s about bringing two artists from different genres together in the same space; this required live collaboration to achieve that jugalbandi energy. 

The recording studio becomes a magical place when artists feed off each other’s energy. Our sound engineers and producers played a crucial role in compiling and editing these sessions into cohesive, harmonious pieces. That’s the beauty of fusion—melding diverse styles into something greater than the sum of its parts. 

Did you insist on artists recording together for this album? 

Absolutely. For an album like this, recording separately wouldn’t work. Jugalbandi requires real-time interaction. When artists collaborate live, they create spontaneous moments of brilliance that can’t be planned or replicated. This energy translates directly to the listener, making the music more potent and immersive. 

Season 2 also revisits elements from Season 1. Sajan Bin makes a comeback, and we also hear an instrumental rendition of Chedkhaniyaan. How did you decide on which callbacks to include? 

The callbacks were driven by the script. For instance, whenever Radhe and Tamanna connected musically, we referenced their iconic Chedkhaniyaan theme from Season 1. But we kept it fresh with an acoustic twist, ensuring it served the narrative without feeling repetitive. The aim was to honour the past while pushing the music forward. 

A multi-composer album must present unique challenges. How did you manage the selection process?

It’s about aligning the right composers with the script. We didn’t select composers first; instead, we identified the musical needs of each situation and sought the best fit. Each composer brought their own sound. We heard the music first, then we selected the composers.  

There are pros and cons to everything. It’s not like a single-composer album is easier or harder. Think of it like a bouquet—whether it’s made of all red roses or many different flowers—what matters is how it is put together. They are equally beautiful. With a multi-composer album, we had to ensure there was harmony between the flowers. When done right, every piece contributes to the overall beauty.