‘Dhadak’ Music Review: Ishaan Khatter-Janhvi Kapoor’s film album is dreamy, warm and über romantic
hadak’ Music Review: Ishaan Khatter-Janhvi Kapoor’s film album is dreamy, warm and über romantic
Dhadak Music: Ajay-Atul Rating: 4 stars
With the latest song, Vaara Re, releasing, the complete album of Zee Studios and Dharma Production’s Dhadak is in place. The adaptation of Marathi blockbuster Sairat looks glossy and its music is as dreamy, warm and romantic. The soundtrack opens with a stripped-down yet powerful Dhadak, which you will love in a heartbeat. The über-romantic and symphonic duet by composer Ajay Gogavale and Shreya Ghoshal will have you all looped up, playing it on repeat mode. It’s a treat to listen to Shreya. So, you won’t have a chance to miss her singing Aattach Baya Ka from the original soundtrack. Next up is Pehli Baar, which like Yad Lagla, is arguably the best track of the album. It’s a playful number with ebbs and flows, hitting crescendos and gliding back — musically and vocally.
Zingaat is a song that needs no introduction. It has already been compared to the Marathi version till kingdom come. Of course, the gay abandon, the comfort with their language and the authentic dialect that Ajay-Atul (Mauli, Agneepath) have sung the original make the track more spirited but musically, you cannot fault the recreated one. The album ends with another effusive and full-bodied number — Vaara Re. The use of sitar with western classical instruments is a musical masterstroke in this one. Then flow in the notes of a flute to make one harmonious tune.
There’s something to be said about instrumentation in every track. From the traditional dhol in Zingaat to sitar and flute in Vaara Re and violins, cellos, piano… the works. One cannot talk about the album and ignore the fine job that Amitabh Bhattacharya has done with the lyrics, whether the deep ‘Saat janmon ki yeh pehli tareekh hai’ in Dhadak or the youthful, ‘Saari saari raat jaagun, radio pe gaane sunu. Chhat pe let ke gin chukaa hoon jo, roz woh sitaare ginu’ in Pehli Baar or even ‘Saara din usey dhoondhte rahe, naino ki lagi naukri’ in the latter again. The lyricist displays finesse almost everywhere.