Fair warning: This is a fanboy post. Read at your own risk.
December 25, 2024, dawned as a truly special day. My favorite singer and dear friend, TM Krishna, was set to perform during the music season after a long hiatus. Not only was he performing at the Music Academy, but he was also doing so as the Sangita Kalanidhi designate. I couldn’t miss being part of such a momentous occasion, so I planned a trip to Chennai. It also gave me the chance to experience ‘The Season’ in Chennai after nearly two decades. However, due to various reasons, I could only reach Chennai early on Christmas morning after nearly thirty hours of travel. It was a rush from the airport to home for a quick shower, and then straight to the Academy for breakfast before the concert.
The scene at the Academy before the concert was proof that I wasn’t the only one who considered this a special event. People of all ages had been lining up for hours to secure their seats. Many artists from the current generation were also present, a testament to the respect TMK commands among his peers.
The large auditorium quickly filled to capacity, and extra chairs were brought in to accommodate as many people as possible. I was later told that a large crowd remained outside even after the doors had closed. The Academy had arranged for a live telecast of the concert outside the auditorium, and even that space quickly filled up, with people eventually being turned away. There was an unmistakable buzz of anticipation in the air.
When the curtain was raised, the audience gave the Sangita Kalanidhi designate a standing ovation. Over a hundred people, mostly young artists, were on stage, a testament to TMK’s widespread popularity among the younger generation. Krishna, clearly moved by the occasion and the overwhelming support, reflected on his first concert at the Music Academy in 1988, where he was accompanied by RK Shriramkumar and K Arun Prakash. They have accompanied him many times since and have been pillars of support.
In his signature style, Krishna began the concert with Mukhari, a ragam not often chosen for an opening. His twenty-minute rendition of Thyagaraja’s ‘Karu Baru’ set the tone for the morning. This was followed by a lively ‘Lavanya Rama’ in Poornashadjam. He then embarked on a sequence of ragams, concluding with Khamas. A slow, sensuous presentation of the Khamas javali ‘Janaro I Mohamu’ had the audience rapt. A brisk ‘Padavini Sadhbhaktiyu’ in Salagabhairavi served as an interlude before a gripping rendition of ‘Jambupathe’ in Yamuna Kalyani. The mood in the auditorium was deeply meditative by the end of that song. Krishna himself seemed to have been overcome with emotion many times during the concert that he paused, relished a phrase that was sung or was to be sung.
Krishna then started with Thodi, only to switch to Kalyani, where he sang the Swati Thirunal Kriti, Pankaja Lochana. This was a clear tribute to his guru, Sri. Semmangudi Srinivasa Iyer, as he mentioned that ‘Avar’ (Semmangudi) had sung this very song at the Academy in 1988. TMK then presented a viruttam followed by a song penned by Perumal Murugan. The song’s lyrics, “Suthanthiram vendum ethaiyum pesa, ethaiyum ezhudha, ethiayum paada, ethaiyum padikka, ethaiyum ketka suthanthiram vendum” (There should be freedom to speak, write, sing, read, and hear anything), resonated deeply with the audience, who recognized its relevance to the circumstances TMK has faced.
The pensive mood of the morning continued with an emotional rendering of the Maanji song ‘Varugalamo’. A verse from Narayana Guru rhetorically questioned what God’s true form was amid the various forms worshipped by people. The final song of the concert was another fitting choice—Dhavo Vibho in Yamuna Kalyani, a piece often sung by M.S. Subbalakshmi. This too seemed to be a tacit mark of respect for a legend TMK holds in high regard.
R.K. Shriramkumar was brilliant in his violin accompaniment, following Krishna closely, taking charge when needed, and inspiring TMK, enhancing the concert in the way we have come to expect from him. Arun Prakash, who had earlier conducted a lecture demonstration on percussion as an accompaniment, demonstrated in this concert the principles he had explained. If his lecdem was a theory class, this was the practical application. His playing, especially on ‘Janaro, Jambupathe, and Varugalamo’, was exemplary. Guruprasad on the ghatam complemented Arun perfectly, and the two formed a brilliant percussion team, adding to the synergy on stage. The camaraderie between the artists was evident—they inspired each other and enjoyed each other’s mastery.
The standing ovation at the end of the concert lasted for several minutes, a clear sign of the audience’s deep appreciation. Outside the auditorium, the excitement continued, with fans giving TMK a hero’s welcome. Many tears were shed, underscoring the emotional rollercoaster his well-wishers have experienced with him.
Personally, the long journey home was more than worth it for those few hours of enchanting music. Though I am not a believer, I still pray that these artists are blessed with long, healthy lives so they can continue to create such magical music.
I now look forward to the Sadhas on January 1, 2025, when TMK will be officially anointed as Sangita Kalanidhi.
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