On a balmy afternoon in Mumbai, Ishaan Ghosh walks into our Juhu office—serene amid the chaos of dug-up roads, honking rickshaws and construction dust hanging thick in the air. He arrives with a quiet presence, trailed by a manager and a helper carefully cradling a pair of well-worn tablas wrapped in velvet and enclosed in a black padded case. These aren’t just percussion instruments—they’re family heirlooms, war drums of another era,
portals to a time when music was prayer and rhythm was a form of storytelling.
At just 24, Ishaan is a living contradiction—a Gen Z torchbearer of one of the oldest, most intricate musical traditions in the world. Born into the illustrious Ghosh family, where music isn't just taught but absorbed through bloodline osmosis, Ishaan’s destiny seemed pre-written. His father, the revered sitar maestro Pandit Nayan Ghosh, and his late grandfather, the Padma Bhushan-awarded tabla titan Pandit Nikhil Ghosh, shaped not just his life but the very ecosystem of classical music in India.
And yet, Ishaan doesn’t carry that legacy with the weight of obligation. He wears it like a second skin—casual, comfortable, contemporary. He’s the kind of artist who could be streaming afro-jazz one moment and rehearsing a four-hour raga the next. His band, ‘Araj’, entirely comprised of twenty-something-year-olds, which specialises in neo-classical music is proof of this.
To the uninitiated, Indian classical music can feel impenetrable—part history lesson, part spiritual experience. In our conversation, Ishaan makes it feel personal, human. Over the years, Ishaan has delivered over 1,500 live performances across more than 160 cities in 25+ countries, but his mission is unwavering: to make classical music accessible, exciting and alive for a new generation. He isn’t just playing the tabla—he’s reanimating a cultural soul that refuses to be forgotten.
In Conversation with Ishaan Ghosh
Q: You've been playing tabla since you were two—what’s your earliest
memory with the instrument?
Ishaan Ghosh: I was born into and am surrounded by music all the time but, I vaguely remember my father reciting rhythms, singing compositions and telling me bedtime stories about musical legends… he made this world sound like a fairy-tale and I was hooked. That was my initiation into the world of music. But, my dad tells me that when I was eight months old, I would nod my head at the first beat or the ‘sum’ of records and compositions, which takes some amount of time and training to get right but it came instinctively to me.
Q: Do you remember the first thing you learnt to play on the tabla?
Ishaan: There wasn’t a formal first lesson—passive learning had already seeped into my subconscious as a child as I used to be enamoured by the classes my father would have with international students he was hosting. By the time I was a toddler, I was banging on the tabla and playing around with rhythms and by the age of two, all the information I picked up from there classes had already begun to jumble in my head. That’s when the real training began—not in the traditional way of learning repertoire from a guru, but in reverse. I picked up by watching, and my father would correct my execution. By two and
a half, I performed my first tabla solo at playschool—that was pretty cute!
Q: Your father, Pandit Nayan Singh, is a maestro of both the sitar and tabla. Why do you think you were more attracted to the latter?
Ishaan: I was always more rhythmically inclined—the tabla excited me from the beginning, and it came to me quite intuitively. However, I have learnt how to play the sitar and I’ve even trained vocally—my musical education was very holistic.
Q: Can you give our readers an idea of how deep the history of classical music lies within your family?
Ishaan: I come from one of the most illustrious families in Indian classical music, with maestros in every generation—I'm part of the seventh. My father and guru, Pandit Nayan Ghosh, is one of the country’s most iconic sitar players. My great-grandfather, Padma Bhushan Pandit Nikhil Ghosh, revolutionised the role of the tabla, not only establishing it as a solo instrument but also founded the Sangit Mahabharati in Mumbai with a visionary approach to music education. His elder brother, my granduncle Pandit Pannalal Ghosh, pioneered the Indian classical flute and invented the widely-used seven-holed version.
Growing up, I couldn’t grasp the weight of these contributions but today, I feel incredibly fortunate to be a part of this family—not only did I discover a deep love and passion for music, but I was never forced into it.
Q: You must have the overwhelming pressure of living up to your family’s
legacy. Do you see it as a responsibility, privilege or both?
Ishaan: It’s a responsibility—but I try not to think about it too much because then it turns into pressure. Like I said, I was never forced into music; the legacy has always inspired me. It’s given me a strong foundation and made me appreciate the contributions made by my family. I feel very privileged—not just because of my lineage, but also because of the community I was born into.
Q: Your dad is also your mentor and guru—does that make learning more
natural, or does it come with its own pressures?
Ishaan: The learning process is very natural and fluid with him. More than just being my father or guru, he made sure I found a friend in him. I think a big reason we’re so close is because I started touring with him when I was only seven, and between all the chaos, he trained me on flights, trains, even in airport lounges. In many ways, he helped me find my own soul and idiom in expressing my music.
Q: Your instrument is like a soulmate—what’s your bond with the tabla? Have you ever wanted to try something like guitar or drums?
Ishaan: The tabla isn’t just an extension of me—it’s a part of everything I do. It’s life for me. As a kid, it was my favourite toy and now, it’s my closest companion. In Indian classical music, instruments are believed to be living entities, each with their own spirit. As musicians, a big part of our journey is connecting with that spirit and understanding what the instrument wants to say through us. Growing up, I played a lot of instruments like sitar, piano and many percussion instruments. But, tabla will always be number one.
Q: Classical music requires patience and lifelong dedication—how do you stay committed without burning out, both in music and beyond?
Ishaan: Classical music and the traditional arts are an inward journey—it's about going within and exploring what you want to express. But it’s the joy of sharing music and connecting with new audiences that keeps me going. I feel like people today are more open to experiencing classical music and of course, as an artist, it feels great when someone says your performance moved them. But it’s also important to let that go, dive back into the music and keep creating.
Q: How often do you riyaz (practice)?
Ishaan: I do riyaz every day, but the duration keeps changing. When I was in school, I’d practice eight to 10 hours a day and those were filled with joy. Now, with constant travel and work, it’s harder to find that kind of time. But even if I get a small window, I’ll always sit with the tabla. It’s about keeping that soul connection alive. Just staying in touch with the instrument matters.
Q: When you play the tabla, is it more about technique or surrendering to emotion in the moment?
Ishaan: Music involves both technical and emotional practice. Mastering the basics is crucial, but emotional practice is equally important. Every time I sit with my instrument, I’m expressing something new. There’s also a third kind: mental practice, which happens without the instrument. Music is always on my mind—whether I’m memorising a melody or just unconsciously humming.
Q: In an age of AI beats and digital music, what does it mean to be 24 and fully dedicated to a centuries-old art form?
Ishaan: My aim is to use music to spread peace and harmony. It’s one of the most powerful mediums, connecting people beyond language or borders. I feel that deeply when collaborating with other musicians. As for AI, if something happens in the future, I think it’ll be fun to see how it unfolds. But for now, everyone’s on their own journey.
Q: Growing up, did playing the tabla ever make you feel like a misfit, since it’s not seen as a ‘cool’ instrument?
Ishaan: Not really… I grew up in a traditional yet non-conservative environment and had a very open-minded upbringing. Even in school, I never felt out of place—I was representing my school via my music at different events and competitions so they supported me a lot. And my school friends backed me, even though didn’t know a lot about classical music back then. Today, they only come for my concerts and genuinely enjoy it. That’s what I
love—introducing people to this world and make them feel like they’re a part of it.
Q: So, would it be fair to say that more and more people are starting to get classical music now?
Ishaan: (Nods) Mm-hmm. Back in the day, people would just say, “I don’t know what you’re playing, but it sounds great.” Now, the response is more like, “Wow, what you’re doing is so cool!” But honestly, classical music has always been cool. It’s the most contemporary music in the world because it’s all about improvisation. Technically, Indian classical music can express every human emotion. It’s image has always been serious, and yes, it takes patience to understand, but there’s also a flip side. Classical music can be dazzling, high-energy, and get you on your feet dancing. It’s all about presenting it with the right spirit and connecting with the audience.
Q: What music do you listen to besides classical? What’s your favourite genre, and does it influence your own music?
Ishaan: I listen to a lot of jazz. African music is another big one for me—its rhythm repertoire is really strong. I also listen to East European folk, Middle Eastern, and Persian classical music, which also has a deep history. Of course, I also listen to Bollywood, techno and pop sometimes. I think all these subconsciously influence my music. But I think it’s important not to have blinders on and expose myself to all kinds of music.
Q: Who are your top 3 favourite musicians, and who would you love to collaborate with?
Ishaan: Ustad Vilayat Khan, the legendary sitar player, my father, of course, and U Srinivas, the great mandolin player. I’d love to collaborate with UK- based singer-songwriter Jacob Collier.
Q: What are some upcoming projects that excite you?
Ishaan: We’ve launched a new multi-genre concert series at Sangit Mahabharati called the RASA Experience, aimed at building a larger community and showing people how fun classical music can actually be. Having kicked off with a successful show by 'Araj' on Valentine’s Day in Mumbai, the series will travel across cities in India. Over the next year, we want to achieve three main things: present top-quality concerts, bring legends and rising stars together and create a space for more people to connect with this art form.
Q: Can you tell us how your band ‘Araj’ came together?
Ishaan: 'Araj' is a neoclassical band, a quintet with me and four other Gen Z musicians who are leading contemporary Indian classical musicians. We started about seven or eight years ago, when we were still teens. Two members, Prateek Singh (vocalist) and Vanraj Shastri (sarangi), are my father’s disciples, and I’ve been performing with Mehtab Ali Niazi (sitar) and S Akash (flute) since childhood. Initially, the idea was to jam together and not form a band, but within an hour, it felt like we’d been playing together forever. Now, 'Araj' has
gained popularity and we’re touring worldwide with our neo-classical sound, blending roots with a contemporary approach. Our concert in Mumbai as part of Sangit Mahabharati’s RASA series was sold out, and most of the audience were young people. The energy was incredible—it felt like everyone just tuned out from the world for two hours.
Q. Which is your favourite track in your discography and why?
Ishaan: My favourite track is called “Raag Poorvi”, from my album with my father, Synergy. While recording the album, we had 12 tracks in five hours—no retakes. We’d been playing cheerful melodies, and then suddenly, my father switched to this tune which was sombre, emotional and requires a whole different mindset. It’s rare to shift so quickly between raags, but the mood on set changed within 10 seconds. I remember thinking that as soon as this song plays, everything on the album will feel different and that’s what makes it
stand out for me.
Q. At 24, do you see the next generation carrying this legacy forward? Would you want your child to become a classical musician?
Ishaan: Let me have the kid first, then I’ll answer this! But I do know that the popularity of Indian classical music is growing every day. After concerts, many people ask how and where they can learn a classical instrument.
Q: How can Indian classical music be presented better to younger audiences, and what's the best way to preserve its history?
Ishaan: If you go back a thousand years, Indian classical music was played in temples—it was deeply spiritual. The form has stayed the same, but over time, with cultural exchanges and influences, classical music has evolved through different eras. Today, we’re exposed to so much and in the last 50–60 years, global music has really influenced our sound too. As Gen Z musicians, it’s about taking all that knowledge and training, and blending it with our own emotions and experiences. The times we live in always reflect in the music—and with
'Araj', that’s a big part of what we do. It’s rooted in tradition, but it tells today’s stories and that’s what connects with people.
