As a prominent music curator for one of the world’s largest concert series, Aalok’s journey from a karaoke-singing child to a professional Candlelight curator is as entertaining as the setlists he designs. His passion for music, following in the footsteps of his singer grandparents, has blossomed into a career dedicated to reviving both Indian and Western classical music and sharing it with music lovers.
The concert series, which is produced by Live Your City, arrived in India in December 2023 and has already expanded to 20 cities around the country. Conceptualising programmes for diverse demographics comes with its own obstacles, but they’re well within the Mumbai-based curator’s grasp.
Early in his music career, Aalok had the opportunity to learn from the disciples of Pandit Jasraj, the legendary Hindustani classical vocalist. “To me, [Jasraj] is like a God of music,” he says, reflecting on the year he spent under the guidance of his disciples.
Jasraj, who was a prominent figure in Indian classical music at the time, deeply influenced Aalok’s understanding of Hindustani arrangements. This experience led him to compose and arrange his own music and even work with incredibly talented artists and musicians in the field. (I asked who but he’s not legally allowed to say.)
Born and raised in the US, Aalok Gandhi grew up in a family where Hindustani music was a way of life.
We listened to a lot of Hindi songs in our house, especially from my grandparents. As I grew up, my grandfather started taking me to karaoke nights and essentially forced me to sing! I think he saw that I had some aptitude for music and wanted to push me in that direction.”
During his college years at the University of Illinois Urbana-Champaign, Aalok joined Chai Town—an a cappella group specialised in fusing South Asian and Western songs. It was at this time, juggling studies and recording albums that “All of the Lights” (Track One on Chai Town’s 2012 album, Fresh Brewed) turned on for Aalok. “I realized I wanted to pursue music as a career.” Shortly after, he went on to learn Western music theory, chords, harmonies and, importantly for Candlelight, “how to blend it with Indian music.”
Apparently, Indian classical music uses different melodic frameworks—ragas. Upon seeing my puzzled expression, he takes a moment and proceeds to explain the differences between the two classical music styles. Then, he turns on his amplifier and starts humming a raga that closely resembles the Solfège but sounds much more complex. As he sings, it is immediately clear that unlike its Western equivalent, Hindustani classical music is based on melody, weaving improvised patterns that pulse with emotion.
“Essentially, it is the performer’s job mostly through improvisation to showcase the raga in different formats such as an aalap, bandish and bada khyal to name a few,” he adds. That is why discipline is absolutely crucial and oftentimes requires lifelong training.
Moving to Mumbai almost a decade ago was the next natural progression in Aalok’s career, particularly so he could solidify Jasraj’s teachings on singing and Hindustani classical music while creating his own. Over time, he acquired a deep understanding of both Indian and Western classical music and developed an ear for harmonies and talent. This also came in handy when shifting to music curation with Candlelight.
“I look across India to find exceptionally talented artists for different formations, like solo pianists, string quartets, or Indian classical trios.” His search is not just limited to the major cities like Mumbai and Delhi, “but also from smaller cities like Ludhiana or Vishakhapatnam”, procuring the best local talent.
Aalok’s dedication to finding classically trained artists in Hindustani and Carnatic, as well as Western classical music for tributes to the likes of Vivaldi and Mozart, allows him to curate unique Candlelight setlists that find the right balance mood, feeling and the songs you want to hear. In consequence, audiences can explore a range of genres. Produced by Live Your City, a local brand of Fever Global, these performances are varied and speak to every music lover.
This season for instance, he recommends the Candlelight tribute to Punjabi hits, which celebrates the rich heritage of Punjabi music, blending traditional Indian tablas and flute with classical keyboards. This upbeat programme has been sold out in epicentres of the Indian diaspora like New York, Toronto and Sydney, and it is now conquering the Indian market, as well.
Although the job is quite rewarding, it is not without its challenges. From finding the right flow to considering location limitations, there are many variables that aren’t always in line with the curator’s initial vision. Still, “the main challenge for Candlelight Concerts in India has been finding a scalable formation of musicians.”
But he remains resolute. He’s managed to adapt to the Indian context while preserving the internationally renowned Candlelight series’ high standards. Consequently, the focus has now shifted to trios that use classical instruments specific to the Indian market.
Looking ahead, Aalok is excited about the concerts and endless possibilities. “We plan to do tributes to legendary Indian musicians and hope to include singers in these performances,” he reveals. He aims to present classical music in a unique setting at some of the country’s most culturally significant locations, including The Royal Opera House in Mumbai.
With curators like Aalok, these performances are sure to thrive, embracing both classical music’s storied past and promising future.