Aki Kumar is a blues musician and artist from the Bay Area. Over the years he has developed his identity as a musician and what it means to be Indian in a traditional Blues world. Now as a well-established musician and artist, redefining and breaking the barriers of genre, I chat with him to understand his growth and work as an artist.
“Toxic masculinity is the biggest hurdle in my world. It’s the ‘macho bravado’ that I needed to get out of myself.”
He elaborated on the importance of getting out of the man box and how the presence of toxic masculinity has affected many women in the Blues world. He details his understanding of appreciation vs appropriation, the importance of the Indian community and the barriers of toxic masculinity in the blues world, and how he overcame the divide in the music world, to create a fusion of those worlds.
IC: Where do you feel you stand in music right now and going ahead? Where are you headed?
AK: I’m headed towards running away from the label of ‘genre authenticity’ which is really what caused me to first try to not represent my Indianness and then go completely the other way. Blues has been heavily appropriated in the US by the white audience that consumes it. When I was starting out in the Blues scene, I played and performed with my white peers, following their tastes and catering to a white audience. But even they know in the back of their heads that they’re not the authentic torchbearers of this genre. It’s always been Black music and in fact, black musicians have been denied their rightful ownership for several decades. I realized I was chasing an authenticity that these guys (white musicians) were not going to find. What’s authentic for a Desi boy is to be Desi as best as you can. But moving forward I’m going to try and break away even more from these predefined notions of what is authentic and what isn’t. The only authentic thing to me is just me and if a song comes to my head I’m gonna represent it my way.
IC: What message do you have for the people that look up to you?
AK: I hope someone is inspired by what I’m doing. The thing I would like to tell people is to really find yourself in your art. I myself didn’t realize this when I was starting out because I came from a traditional standpoint. But despite that, you have to find your voice. It’s a journey and when you find it is up to your circumstances but it is the most important aspect of artistry, otherwise you’re just reduced to an authentic mimic of something that already exists.
IC: As an Indian immigrant in the States, how important is it to speak from an Indian perspective, in your music?
AK: It has been a journey to be honest because the first ten years of existing in the US was just ‘hey do I have my visa? Where’s my visa? Is everything stamped? I don’t want to get a drunk driving ticket cause then I’ll get deported.’ Until I realize that there are more people here (in the States) and there’s a history here. It’s a process of growth and I think everyone goes through it.
One of the things I find with the Indian community is that we can be caught on the fence. A lot of folks are not sure about how to thread this needle where they want to be nationalistic in the Indian sense but they can’t embrace American nationalism cause that’s toxic to them. So they end up being liberal in the United States in many ways and embracing the freedom they enjoy here and then being rigidly conservative in India. This is a liberalism of convenience where you’re saying ‘oh I’m going to embrace the aspects of a democracy or being liberal when they benefit me but if they’d not benefit someone else I don’t care’. This is something I would like to address because they need to be aware of this. If you care about inequality it has to be in all aspects.
IC: Where do you think the rise in fusion music puts India in the global music market?
AK: I think India is going to be a powerhouse, it already is. There is so much variety and talent in India and the consumer market is also in India. If all the music was made in India and listened to in India, it would be a powerhouse even if no one knew about it. The next century belongs to India culturally speaking. There’s so much regional music and so much potential for fusion, which has already been happening. Bollywood, for example, is fusion music. We are a masala of cultures. Everything gets blended in and we make something good out of it. However, it is important that we don’t appropriate cultures in fusion. If you’re going to bring cultures together through music, be aware of what you’re doing and educate yourself on the genres and history behind styles of music. If you want to do fusion, be a master of your domain.
IC: You explore a lot of genres and with fusion, there is bound to be criticism from both communities of Bollywood and traditional blues. How do you deal with that?
AK: There has been a lot of support, which I was really worried about in the beginning but a lot of folks got what was going on primarily because musically what I did with the fusion, worked. Most people who listened to it without prejudice found it smooth. The criticism comes from people who are so fixated on genre-centric music that they have established rules for what is and what isn’t fitting of blues music. In fact, all of the criticism has been from white people. Black people typically won’t go that way because they themselves have been oppressed in the ownership of the genre they created. So I don’t pay much attention to that part. In Bollywood music, it’s mostly people who say ‘oh that’s Kishore Kumar and he’s my favorite artist, but you don’t sound like him.’ I’m not Kishore Kumar that’s why I don’t sing like him. Nobody has really criticized me in a way that has stuck and after five years, if no one has found a way to give you truly insightful criticism, then maybe you’ve done something right.
IC: Your track Zindagi that you released this year, is extremely comforting and hopeful, what made you release such a song during this time?
AK: I wrote the track a year before I actually did a video. I’m very proud to say that I wrote it in Hindi which has been a bit of a tricky thing for me because I don’t speak Hindi fluently. But it was part of the process of trying to write something more positive because typically I write cleverly worded attack songs to express my frustrations with the political or social climate. But then I thought that as an artist I need to find myself a more positive form of expression. Given the pandemic and how we landed last year, I had a feeling that if I put something positive right now it’s gonna seem lame cause people are not feeling positive right now. But there was hope of vaccines and the administration changing. Everything was building up to a more positive year. So I feel now is a time to put zindagi out there to help people feel hopeful.
IC: The song was more reggae than blues, was there a reason for that?
AK: I’ve been on this old school Ska and Rocksteady journey which are precursors to reggae, and I’m the kind of person that steadily listens to one genre of music in extreme depth to really find its roots. I realized the things that appealed to me about the blues— the core nature of the rhythm being in place and this tonal vocality that just cuts through with a message, all of that is in ska and rocksteady because that’s the foundation of black music. I know reggae has kind of been a part of my musical listening even before I moved to the US like A.R Rahman’s Dil Hai Chota Sa’ is complete reggae, so I knew the genre and I just thought it would be perfect for the song.
Swati Ramaswamy is a recent graduate from UC Davis and is an aspiring creative writer who loathes speaking in the third person.
