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Vinod Krishnan is a singer, composer, music producer, and educator. He is the Creative Director of music at IndianRaga and has performed with India’s top musicians like Shankar Mahadevan and Vijay Prakash. Trained in Indian classical music and piano, his work explores taking Indian classical music to newer audiences and bringing world music together. 

He talks to India Currents about the beauty of the raga Abhogi and all things that make the scale a bright myriad of emotion. 

“Abhogi is symmetric and is also one of the few ragas that does not have the note Pa, which is sort of the midpoint of the musical scale,” says Vinod, who recently released a piece exploring the spectrum of this bright raga.

According to you, what stands out about Abhogi? 

The more compositions you learn in a raga, the more you uncover these hidden gems and mysteries in it. Abhogi is an eclectic ragam, some might also call it symmetric or striking. But, finding a way to blend the same raga in both Hindustani and Carnatic, and finding that sweet spot between genres is the challenge when you begin to explore meeting points of two genres.

How did Abhogi capture your recent attention? 

Do you know those contemporary designers who create unique looking furniture? If you ask a designer, they will have so many ways to build it. I’ve felt the process is the same for musicians. When we explore a raga, you can build it in so many different ways. There is no one right way to do it (as long as you conform to the basic structure of the raga). Some ways evoke deeper responses within you and from those listening to it, while some let you hover amidst the subtle etches of the rendition the notes remind you of. But the first step is it should overwhelm you. Only then does the listener stand a chance.

What are your favorite Abhogi film and Classical compositions? 

The first time I heard Abhogi in the film is the song “Indraikkku yen indha anandamide” by Ilayaraja sir. Not much after that. This is why I enjoy this ragam – we know that Abhogi isn’t that common of a raga picked up by contemporary musicians or by film composers, but that also makes it novel and gives a lot of scope for exploration. 

Can you talk about your recent Abhogi collaboration with IndianRaga? 

The recent Abhogi 2.0 music video I released with IndianRaga was in collaboration with Hindustani singer and senior IndianRaga fellow, Apoorva Deshpande. This production was a sequel to the “Swara Sadhana” series that we previously released with IndianRaga, a creative arts start-up that nurtures Indian art forms in the new age. Swara Sadhana is the concept of ardently exploring the “swaras” or notes rooted in different Indian classical ragas, but with contemporary arrangements. The entire production was an idea that developed over dinner when we brainstormed in Abhogi itself, and I then spent the entire night producing and arranging this composition. It came out well, much to our satisfaction. Hope you enjoy it! 


Sruthi Dhulipala is a San Francisco-based communications professional and writer.  She has been priorly published in an International Anthology “Lakdikapul II,” through an Indian Poet’s Association. She is passionate about music and her goal in life to promote music to the benefit of the people, through music therapy.

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