Bhajan reboot

By: Ganesh Neelakandan
A packed auditorium in Palakkad last Nov. A group of youths in brick-red shirts and dhotis on stage is joyfully rendering Pamba Ganapathi, a fast number from the Mammootty-starrer Pattalam, in a devotional mood, with minimal orchestral support. Almost everyone in the crowd is singing along, either clapping or tapping on their thighs to keep the beat cycle. The group pauses as the song’s pallavi ends when Arvind Nair, the stylish young reality show winner, emerges from the far end in a matching costume. He walks onto the stage singing the charanam and blends into the confluence.

Nandagovindam, which describes itself as a “trendsetter bhajan band” on Instagram, where it has over seven lakh followers, is on song. Many more have watched its performances live across the world as the band, after lying low for two decades, has surged in popularity to reach a level unachieved by traditional bhajan samithis or modern bands in Kerala.


“Wonderful harmony,” remarked composer Sharreth, who joined them to sing Pranathosmi Guruvayur Puresam, a complex composition typical of him from Sindoorarekha, in Kollam late last month.

Most members of the troupe have been together performing sampradaya bhajana—a structured, traditional form of congregational devotional singing—together for more than 25 years, long enough to even measure another’s breath. That perhaps makes Nandagovindam inimitable. They look relaxed and happy on stage, constantly engaging the audience and encouraging everyone to sing along. As the show ends, one returns home as if they have been part of the symphony.

Yet, the band’s fervent following is recent. The troupe, which started off as Sreedurga Bhajana Samithi at Nattassery near Kottayam and later performed to support its founder Rajendra Panicker after he lost his eyesight, took the name Nandagovindam, and continued to sing bhajans, mainly in temples.

The breakthrough came during the Covid lockdown, when they began posting many of their renderings, like the devotional Neela Neela Malayil, on social media, which people watched on loop. When live performances resumed, they incorporated hit film songs from the 1980s and 90s with lyrics denoting devotion; sopana sangeetham; and popular devotional album songs, presenting them as a pleasant package through social media. The approach helped them connect more strongly with older generations.

“With the innovations made primarily by our lead singer Naveen Mohan and manager E P Unnikrishnan, supported by a creative orchestra team, we incorporated popular songs or portions of them, such as the solo violin from the Tamil movie ’96, into our performances,” said Vipin Krishna, who handles rhythm pad in the troupe.

In doing so, they kept things simple. Talented and celebrated local musicians were engaged on stage. Flautist Rajesh Cherthala performed alongside them in Alappuzha a fortnight ago. The world came to know about Babu Narayanan, who penned the lyrics of Darikante Sirassu, only when Nandagovindam honoured him.

Mini P (63), who watched their performance at Thamaramkulangara Sree Dharma Sastha Temple in Tripunithura recently, said: “I feel calm listening to Nandagovindam. I repeatedly hear their songs on my phone and go to sleep playing them, though Radha Than Premathodano (from the 1993 Yesudas album Mayilpeeli) is my favourite.”

Equally popular is their version of Ponpularoli Poo Vithariya, a romantic song from Bharathan’s Ithiri Poove Chuvanna Poove, which deals with Naxalism. Uma Jayachandran, 62, who attended their programme at Pandavarkulangara Bhagavathi Temple in Kallara last Sunday, had watched the film as a 20-year-old but she says its scenes did not come to mind as Hindu mythological visuals played on the LED back wall during the performance.

Singer V S Umesh, alias Umesh Thuravoor, best known for his rendering of the S P Balasubrahmanyam-hit Sankara Nadasareera Para from Sankarabharanam, said film songs were earlier banned in many temples. “Some festival organisers permitted songs like Sankara as they are presented as devotional in the film. But Nandagovindam has given us a new licence,” he said. “We incorporated three lines beginning with Thungajadadhara from the peppy number Confusion Theerkkaname from Summer in Bethlehem into another song with a similar raga, and it worked.” His Thrissur-based troupe, Mahadeva Bhajans, recently underwent a cosmetic makeover modelled on Nandagovindam.

Playback singer Ganesh Sundaram and four others have formed Nadabrahmam Cinematic Bhajans Concert, while reality show performer Jins Gopinath is part of a similar troupe, Thrayambakam. Umesh says the comparison ends with attire. There is a huge gulf in remuneration and following.

Nandagovindam now attracts crowds in thousands in India and abroad for programmes titled Sandranandalayam in temples and Bhajan Connect elsewhere. They have already branched out to the UAE and Canada.

Some Left sympathisers have criticised them as pied pipers, luring devotees with popular film numbers towards Hindutva. P Vasudevan of CPM, however, said the party has not made any such comment on the programme and added that it is not against celebrations of any kind.

Thamaramkulangara Ayyappa Seva Samithi vice-president Krishnanath Venkataraman, who was instrumental in bringing the band to the temple, described what they offer as “spiritual entertainment”. “They follow the style of Nama Sankeerthana singer Swami Haridhos Giri, who was affectionately called Guruji. It is true that the band is drawing devotees to temples in large numbers, but nobody can complain as long as they are not using any wrong means. They create a frenzied mood without any intoxicants. Energy is their hallmark,” he said.

As thousands of youths sang and danced to Pamba Ganapathi at the Siva temple in Ettumanoor earlier this week, the Nandagovindam impact was evident.

Sopana sangeetham singer Eloor Biju admits as much. His popular song Chandrasekhara, composed by him and penned by Radhakrishnan Narikode, gained more listeners after being performed by the band. “They are transforming many generations,” said Biju. “People prefer trends, and what Nandagovindam has achieved is incredible.” Everyone is jumping on the bandwagon.