Chart-topping singer-songwriter Devika, from the San Francisco Bay Area, celebrated for her fusion of Sufi/Indian folk and contemporary music, joins forces with Grammy-nominated composer and producer Michael Brook for the soulful new collaboration “Wisteria.” This bittersweet song, written in Punjabi and rooted in Punjabi lyrics, beautifully blends New Delhi-born Devika’s soulful vocals with Brook’s masterful production and composition.
Refreshingly spare, “Wisteria” (out March 21) explores poignancy in lyrical and musical expression. The song stands as a testament to the power of cross-cultural artistry.
Perhaps best known for Mast Qalander, this piece is a departure from Devika’s previous work, highlighting the message in Brook’s and her co-created words:
My Love, My Friend
I love you
You don’t understand what I’m feeling, and how much I feel for you
This love for you has taken my peace of mind from me.
When I’m with you, I get breathless
I love you, I love you
My Love, My Friend (translated from Punjabi)
Brook and Devika discussed their collaboration on Wisteria, in an interview with Gita Baliga-Savel for India Currents.
IC: When you consider this collaboration, how is it different from other collaborations in which you’ve engaged – especially concerning the process? How did you both arrive at various artistic decisions?
Devika: I feel that this collaboration was more open and exploratory than others – we weren’t trying to constrain ourselves to any specific formula, format, or genre. We were channeling our emotions, passion, and performance into creating something meaningful and impactful for each of us. We iterated back and forth on vocals, melody, and music until we felt that the balance and diversity of elements felt right, any more would be too much and take away from the feeling of the song.
Michael: To a degree, many of the collaborations I do are similar. They almost all start out with a germ of a musical idea, a sketch. Then, the other person usually adds a melodic element. In this case, Devika added a vocal melody. This then inspired and guided our exploratory process of trying different instruments, parts, and a new section. Development in that area then led to additional vocals. So it’s an iterative, conversational process. So in a way, the process is often similar, but as exploration and experimentation are a big part of the process, the outcome is always unique. Working in an exploratory fashion also involves some risk, which maybe help keep one on their toes. Sometimes, it just doesn’t work out. Althoug,h I think in this case it worked out great.
IC: As creatives, what would you say are the top three best things about collaborations? And how would you say collaborating positively impacts artists’ mental health? Also, having read the CBC and NYT pieces, I felt such joy at the thought of you listening to the Real World Ustad Nusrat Fateh Ali Khan recordings after 32 years. If you are open to addressing the reflections you had then, I believe your response would help me give a more robust treatment of the intersection of mental health and musical collaboration.
Devika: For me, it is really about creating something that is truly unique; the power of complementary strengths, ideas, and capabilities; and a shared goal, focus & accomplishment around the song, transcending beyond the individual.
Michael: One of the best things about collaboration is that the result is almost always much better than either person would do on their own. It’s very win-win. With current technology, it’s quite possible to work alone, and I often do. That freedom is nice but also can lack the spark of people interacting and creating together. Plus, quite honestly, I do get a bit bored, stale, and isolated working this way. It really is refreshing creatively and mentally to interact with other people. I mean, we are kind of wired to do and need that.
IC: Could you please discuss the creative decision to give the song the English title “Wisteria”? What is the connection of the lyrics and music to this lovely flowering plant (apparently can be grown in India and Pakistan, but is challenging to do so)? Also, the instrumentation and the composition itself aren’t Hindustani. Is there a message in that juxtaposition as it relates to the title or the entire piece?
Devika: The collaboration started out with me listening to a few short guitar sketches from Michael’s library, and the one that spoke to me was titled “Wisty,” which became the starting point for this song. I felt that having an English song name could broaden the reach beyond audiences who understand Punjabi. We both felt that we wanted something that connected to “Wisty” but was less casual. Michael and my husband both separately suggested “Wisteria,” and that sounded perfect. The connection to the flower which is coincidental also felt right given the underlying themes of love and longing in the song.
It’s hard to put the composition in any box – it’s not a typical Hindustani composition because it is a unique collaboration that brings together our styles – the vocal performance elements, however, do have a Hindustani Classical style. This song blends traditional roots with a contemporary feel.
Michael: The original sketch is called “Wisty”, which is a nonsense word I made up. But it is a bit evocative of wistful. For me, that connection emphasizes a sad emotional aspect, which is maybe too on the nose. There is an element of sadness in the song, but also a gentle sense of emotional beauty. (To me, at least). I think “Wisteria” feels like it fits that aspect of the song better.
IC: The press materials state: “…internationally recognized for incorporating her own experiences to shape her song’s emotional core”.” Could you please share which experiences, in particular, you brought to “Wisteria” and what you think is this song’s emotional core?
Devika: The “Wisty” riff inspired me to create a melody and lyric that just emerged from deep within. It was a reminder of past bittersweet moments of being in love – all-encompassing and consuming, while unrequited and unfulfilled at times. This song is a heartfelt expression of love, longing, and restlessness.
IC: Another bit from the press materials caught my attention: “…draws inspiration from musical greats like Nusrat Fateh Ali Khan.” Having had the privilege and pleasure of hearing Ustad Nusrat Fateh Ali Khan, I’m so moved by this sentiment. I’d love to know in what ways you draw inspiration from him, as well as other artists, and how this inspiration manifests in either how you make the work, during recording, or during live performance–any of the ways this inspiration expresses itself in your work.
Devika: I’m most inspired by Ustad Nusrat Fateh Ali Khan’s improvisation and the emotional themes that underlie his music. His renditions of “Tere Bin Nayi Lagda Dil Mera” and “Sanu Ik Pal Chain Na Aave” are magical – the vocal delivery and the modes that he transitions into are beautiful – they take me on a deep, emotional journey when I listen to or perform these songs. His album “Night Song”, created in collaboration with Michael Brook, was a huge influence that shaped my style and music. It was the first album to blend the sounds of traditional Eastern folk singing with new-age Western electronica. This album set the stage for cross-cultural collaborations and had a profound impact on the future evolution of music crossing cultural boundaries.
Michael: I never know what experiences affect what I do. Working in music is mostly following my intuition in ways that aren’t particularly subject to introspective examination.
This keeps things fresh but also means I may not have as much control over things as other composers do.
Trained in Hindustani classical music, Devika has carved a niche for herself in the world music scene with collaborations across genres, including with renowned artists like Bohemia, Amaan Ali Bangash, Ayaan Ali Bangash, and Mike Klooster of Smash Mouth.
Widely acclaimed for producing Ustad Nusrat Fateh Ali Khan’s “Night Song,” and film score credits on Into The Wild, Brooklyn, and The Perks of Being a Wallflower, Michael Brook brings his signature touch to this collaboration. Together, they create an evocative piece that bridges South Asian traditions with a global flair.
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