Ashnaa Unplugged: In conversation with Ashnaa Sasikaran

 

Ashnaa Sasikaran, a British-Tamil Musician, put on her second volume of ‘Ashnaa Unplugged’ on Friday, 21st and 28th March - a diverse showcase of popular Tamil and Hindi covers, blending Carnatic Music with Western genres such as Jazz, Neo-Soul and R&B, as well as original songs in Tamil and English. The show is an honest self-portrait of Music that assisted in finding and cementing her sound.

Ashnaa Unplugged hosted by Hot Vox Music at Theatreship, Canary Wharf - a historical cargo ship doubling as a floating arts centre. It was an interesting venue with alluring potential for incredible acoustics. The show occurred in the belly of the boat, in a theatre space resembling a cinema - with dark-red seats, a total absence of external noise, and worn-down wooden interiors. As the audience patiently awaited the beginning of the show, a sense of nostalgia and timelessness lingered in the air as we sat submerged in water, suspended…

I thought about the show's title and what that meant regarding curation. Ashnaa unplugged? Would it be a showcase of raw vocals and stripped-down melodies with acoustic accompaniments? Does ‘unplugged’ play a more conceptual role? However, expectations were pleasantly subverted once I saw a quintet on stage - piano, double bass, violin, guitar and drums.


When interviewing Ashnaa, I asked her about the idea for the show. She states, “It started on a blank page. I wanted to do my show, where I could perform anything I want, be myself and be vulnerable.” Ashnaa Unplugged is an extension of her natural interests - a freeform collection of songs she finds personally fulfilling, delivered extraordinarily original.


Ashnaa’s accompaniment involves some of the most compelling contemporary British-Tamil musicians. Aaron Selva, a guitarist from East London, was notably recognised for his production credit on YoungBoy’s Top for fusing melodic textures with modern beats. Aparna Raguraman, a Carnatically trained violinist, has performed with renowned artists such as Anoushka Shankar and recently begun collaborating with other artists. Anish Franklin, a double bassist from Birmingham, has been working for composers AR Rahman, Ilaiyarajah, and many more for the past 10 years. Sathvika Krishnan is a pianist with extensive training in Western classical and jazz. Joel a freelance drummer and producer based in south east. He’s recently released his new track Side Eyes.

DIVING INTO THE MUSIC:

Ashnaa’s presence on stage is intimate and powerful. With sultry vocals, improvised Carnatic gamakas, and suspended endings, a few of the standout tracks on her dynamic setlist included renditions of ‘Nee Kavithaigala’, ‘O re piya’, her original ‘Proud one day’, and ‘Ninnu Vinna Marigalada’.

Ninnu Vinna Marigalada, a Kriti composed in Raga Reethigowlai by Shyama Sasthri set in Rupaka Tala, is Ashnaa’s favourite for its calming effect. “Listening to it just gives me so much peace,” she shares. Her sultry vocals added a fresh depth to the Kriti, demonstrating her technical skill. The controlled breath sustained long, flowing phrases enhancing the raga’s prescribed smoothness, evoking a feeling of devotion and yearning. A slow tempo and subtle Gamakas beautifully amplified the Raga’s essence.

Moving on, Ashnaa’s whimsical cover of O'Re Piya was a tender transformation of the original work. It begins with a subtle barely-there violin and soft staccato guitar chords, stripping the song to its original melody and isolating the vocal arrangement. The tempo begins upbeat and then softly transitions around the bridge to the chorus by dramatically slowing down, spotlighting a climactic moment with the line 'O' Re Piya’.

Another favourite of the night was Ashnaa’s rendition of “Nee Kavithaigala" fromMaragatha Naanayam, perfectly capturing that Tamil rom-com energy. Blending Carnatic and Neo-Soul elements, she brought fresh intimacy to the song. “It’s always been one of my favourites to listen to, but I’d never performed it, so I’m glad I did,” . The drums drove the beat at the perfect level, while the piano’s lush chord progressions reflected the innocence of experiencing new love. Each instrument stayed in its lane, allowing her vocals to glide effortlessly. “Are you a dream? Are you a poem?” - under her silky delivery, the song’s poetic musings felt less existential, more like a gentle invocation to see the face of love clearly.

"Proud One Day," an original, unreleased song, captures the fear of self-growth while trying to maintain relationships. Ashnaa shares, "When you're in pain internally, you're worried you may pass that onto the ones you love," which reflects in the arrangement. The guitar and double bass together initiate a sombre mood, while the violin follows and echoes the vocals, underscoring the desire for connection and understanding.

ASHNAA’S JOURNEY IN FINDING HER SOUND:

Ashnaa’s musical journey started with learning Carnatic music at age 9. Once she went to university, her curiosity peaked with the potential of experimenting with various genres. Just before the pandemic, she started posting covers on social media, which quickly gave her the confidence she needed to begin releasing originals.


“Figuring out my sound is a journey, but we’re getting there slowly.”


Ashnaa is honest and critical about her approach to Music and discipline."Sometimes I’ve tailored what I put towards people listening. However, I’ve learned it’s doing what I like and feels right for me”, she notes. Authenticity is measured on a feel-good meter, and she’s making choices that concern her and no one else.

As an ongoing student of Carnatic Music, she comments on the discipline as her ‘‘roots’’. She currently studies in Edgware under Vamshi Krishna Master, who “is like a father figure”. She’s committed to taking Carnatic Music seriously and continuing to be inquisitive about the form. When asked about the pressure to keep Carnatic as a traditional form and separate from Western Music, Ashnaa responds:


“I allow myself to be free and experimentative with it. I don’t feel the pressure of worrying about the rules of Music. That might be frowned upon, but I’m more preoccupied with whatever sounds right, whatever feels right to let that be because I’m having fun with it”.


Hearing those words felt like a shift in perspective. As someone who’s been to a lot of Carnatic Kacheris (concerts), the idea of keeping the art form “pure” has been the prevailing consensus for much of my Carnatic education. It’s refreshing to see an artist who consciously challenges that notion, embracing experimentation while honouring the form.

Surrendering to vulnerability in life, and by extension, in performance, is a daunting endeavour.


When asked about the feeling of confronting the audience with your innermost personal experiences, Ashnaa responds, “I think for me it’s easier to communicate through my music than to speak.”


Music then becomes a vessel in which, to those around her, parents and friends, she can communicate without fear of being misunderstood, giving her the confidence to articulate her thoughts.

Regarding challenges as an Artist, Ashnaa observes the pressure to group compositions together under an album or EP since she feels “there’s no real fluidity between them”. Since she is drawn to all genres, it cannot be easy to categorise precisely what her sound is in terms of a fixed genre, and that’s something she’s learning how to reconcile and challenge creatively in the mode of production, which the curation of Ashnaa Unplugged is a promising example of. What inspired me about the show was experiencing it in fragments, by enjoying the weight of each song without its context.


“The goal with my Music is for anyone to be able to appreciate it. I write Music from my personal experiences, and I hope if anyone is experiencing something similar, it resonates with them, and they can enjoy it.”


Regarding her songwriting process, “I’m just in my room, my own space. I can think and be free, so writing feels quite fluid and is a way to get some of those suppressed emotions out.” With her original songs being in English and Tamil, I asked which one she felt more comfortable in. “I’m not confident in writing in Tamil yet. English is much more natural for me. However, with my Tamil songs, I always write in English first, have a melody and then bring a strong concept to my lyricist, who works with me to bring my visions to life.”

Ashnaa’s influences and favourite artists are eclectic: Jordan Rakei (Eye to Eye), Raye (Hard Out Here), Ady Suleiman (Somebody to Love), Tom Misch (It Runs Through Me), and Masego (Mystery Lady). Those are her personal favourite tracks and a beginner’s entry point into learning more about some of these influences on her sound.

For Ashnaa, British-Tamil music needs more space for artists to showcase their local and international work. Her experience in Orpheus, Opera North’s opera-fusion production in 2022 was a significant turning point, showing her what it felt like to fully immerse herself in Music daily. “It was like a 9-to-5, but doing what I love. Those were some of the happiest days of my life.”

Initially to her the idea of blending opera with Indian classical Music felt almost bizarre. “I was confused, “I didn’t know how it would sound, and I was a bit worried.” But working with Jazdeep Singh Degun, who composed the Indian classical elements, changed everything. “He’s phenomenal.” The real shock - “I thought I was just going to sing! I had no idea they’d ask me to act and express emotions through movement. I was completely unprepared, but I just went for it.” Despite the nerves, she landed the lead role, and the process built her confidence in a way she hadn’t expected. “I never saw myself performing in theatre, but now I’d love to do more of it now.”

That experience also sparked a novel vision for her Music. “I want to work with a Western orchestra and make arrangements for some of my pieces.” Just as Orpheusmerged two traditions, she imagines her sound evolving with orchestral accompaniments, something expansive yet true to her roots. With Orpheus set to come to London soon and her journey as an artist unfolding, Ashnaa embraces every opportunity to push the boundaries of what her Music can be.

Ashnaa Unplugged was a space for Ashnaa to be fully herself: no limits, no expectations, just Music she loves in its purest form. Beyond just a live show, it’s a glimpse of what’s to come. For those who missed it, Ashnaa is crafting an EP, curating standout moments from Unplugged alongside new, unreleased tracks. If the show was about discovery, this project is about distilling its essence by capturing fleeting moments and making them last.

 
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