We have stopped discovering music. Now music discovers us, shares Ricky Kej

My roots lie in Rajasthan, but I am 100% Bengalurean,” says three-time Grammy winner, and Bangalore Times Headliner 2026, Ricky Kej — and he means it. For an artiste whose work travels continents, collaborates across cultures and speaks to global audiences, Bengaluru is more than just a base. It is rhythm, routine and refuge.
When he is in the city — usually six or seven days a month — his life is surprisingly contained. He is either at his studio, in a movie theatre, or at the airport. Those rituals in Bengaluru form the counterpoint to his expansive worldview. The way he consumes cinema, collects music, thinks about art and questions algorithms is tied to how he chooses to live here: intentionally, attentively and without noise. ‘I love movies, especially morning screenings,” he says. “They are peaceful — the hall is almost empty, there are no distractions, and you can truly immerse yourself in the film.” He has watched countless morning shows, even 7am screenings. Sometimes he works through the night in his studio, finishing at 5 or 6 in the morning, and if there’s a film he wants to watch, he heads straight to the theatre without sleeping.

‘Making money off streaming is not easy’

Streaming economics present a new problem. Revenue models now demand staggering numbers to match what modest physical sales once brought in. I could sell 1,000 CDs at a show and make decent money. Now, to earn the same amount, you need about two million streams. Even that comes with pressure. You have ten seconds. If it doesn’t work, the song is gone. No one will even remember it. He contrasts this with earlier film music, where repetition through radio and television allowed compositions to grow on listeners over time.

‘Owning instruments, films and music physically is still an experience’

I still buy Blu-rays. It may sound old-school, but I value owning films physically. Streaming compresses image and sound, and if you care about detail, you want the highest possible quality. Buying a Blu-ray is a commitment — you watch the film properly, revisit it and notice nuances. The picture and sound, especially the music and background score, are far superior. Physical ownership makes the experience more intentional.

I also have a large collection of analogue keyboards from the ’70s — some of which would fetch over $20,000 today. I initially bought a few the regular way, then realised that decommissioned ships with onboard performers often had instruments left behind. A friend who dismantles ships for scrap alerts me when he finds any. I restore them and bring them back to India. They have a warmth and character you don’t get anymore.

‘I would attribute every single mental health issue to social media’

I believe social media has intensified anxiety, comparison and unrealistic standards. Everybody feels everyone else is doing well. Nobody feels they are enough. I’m personally active online — it helps me stay updated on cultural shifts and emerging trends — but I strongly support age restrictions and stricter safeguards, particularly for those under 16. Digital maturity should precede digital exposure.



‘The timeless era of music is gone’

The biggest shift in music today isn’t genre, technology or audience taste — it’s distribution. Gone are the days when we discovered music; now, music discovers us. Algorithms, I believe, have changed not just how music is consumed, but how it is created. Earlier, listeners bought albums, replayed them and built personal libraries. Songs evolved and grew over time. Today, a track must connect within seconds or risk being forgotten. Songs peak quickly and fade within months because platforms reward immediate engagement over slow appreciation. I call this the ‘Ravi Shankar syndrome’. Everyone recognises Ravi Shankar’s stature, yet few can name an album or composition. Why hasn’t Spotify recommended even one of his songs to you? The issue isn’t public ignorance; it’s algorithmic bias. Marketing budgets and mainstream industries dominate recommendations, while nuanced,
archival or classical music is sidelined.

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