Niranjan Pandian is not just making music—he’s building a movement. As a flautist, composer, music director, and creative producer, he has spent the past decade redefining how Indian classical and contemporary sounds intertwine. His performances have echoed through concert halls across Southeast Asia and beyond, blending tradition with innovation in a way that transcends language and culture. Whether orchestrating grand ensembles or crafting soul-stirring compositions, Niranjan’s artistry is a testament to music’s power to connect, inspire, and evolve.
Offstage, he’s just as relentless in shaping Singapore’s music landscape. As the co-founder of Brahmastra Arts House, he has created a thriving platform for artists to experiment, collaborate, and grow. His leadership in the Singhanagara Contemporary Orchestra—the country’s first of its kind—further showcases his dedication to pushing creative boundaries. With a career fueled by passion, purpose, and a flair for reinvention, Niranjan is on a mission to keep the music scene alive and electrifying. Naturally, Hear65 had to dive deeper into his world to find out what keeps him going.
Your musical journey started with childhood improvisations. Looking back, how did those early moments shape your artistic identity today?
It was just another evening in my childhood—kids running below the block, lost in the thrill of block catching, while I gathered my siblings for something a little different. I wanted to make music. With nothing more than a few bathroom pails, I jammed along as they sang, finding rhythm and grooving to melodies we knew.
Fast forward to 2011, and I found myself at the Esplanade Concourse, performing at the NAC Prize Winner’s Concert alongside one of my closest musical compatriots, Gopi Murugan. As we entered the Jughalbandhi section, I improvised a rhythmic segment on the Indian bamboo flute, and something shifted. The energy in the space changed. The audience grew, their presence undeniable, their applause thunderous as we concluded with a Korvai.
In that moment, something struck me deep—an unshakable connection between that childhood evening and the stage I now stood on. It felt as though the rhythms and melodies of my past had seamlessly intertwined with my musical journey, shaping the very essence of who I was. That performance wasn’t just another concert; it was a realisation. A spark. The moment I knew that art wasn’t just something I did—it was who I was. It was my identity.
How do you balance tradition and innovation in your work, especially when blending Carnatic music with contemporary influences?
This journey has been a lifelong pursuit, guided by my mentors—masters of tradition—who inspire and educate me on achieving balance in music. They introduce me to musical elements from across the globe, expanding my understanding of how different traditions intersect. I then seek to unify these elements, ensuring that their integration aligns with the intended narrative.
For instance, when a melody is inspired by a Keerthanam, re-harmonization often requires exploring ragas and scales beyond the traditional framework. While these choices may not always conform to the language of the original raga, they can enhance melodic movement and deepen expression. This approach has been profoundly insightful, as different harmonic treatments reshape the perception of a melody. Using harmony as a tool to reinforce the narrative intent of a composition has been a revelatory process.
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Additionally, the act of improvising with motifs and harmonic progressions—while deliberately referencing traditional elements—has required extensive research. I continuously seek guidance from esteemed musicians such as Amith Nadig and Pundit Deepak Ram. Their expertise offers me diverse perspectives on what is innovative and what should be approached with caution.
The same principles apply to rhythm in Indian classical music. A crucial challenge is translating intricate rhythmic structures into Western notation while ensuring that Western percussionists can interpret and present these groupings within their own soundscape. Bridging these traditions demands a thoughtful and nuanced approach, one that continues to shape my musical exploration.
Brahmastra Arts House and the Singhanagara Contemporary Orchestra are significant contributions to Singapore’s arts scene. What inspired you to create these platforms, and what impact do you hope they will have in the long run?
A decade ago, I started from nothing—no networks, no roadmap—only a belief that I could make music. What began as a solitary pursuit gradually transformed as I crossed paths with like-minded souls, performing across the region and discovering a shared vision. I began to dream—not just of making music, but of building an ecosystem where artists could explore genres freely, where music, language, and culture could converge to create something greater than the sum of their parts.
What started as a four-piece traditional fusion ensemble evolved into an Indian fusion pop band. Then, as our ambitions grew, so did our purpose—we transitioned into an arts house, supporting concerts and productions by the Brahmastra Ensemble. Along the way, we adapted, refined, and embraced new workflows that allowed us to transcend cultural boundaries. This evolution led us to presenting immersive concert experiences, the development of multiple ensembles, and, most recently, the birth of the Singhanagara Contemporary Orchestra—each new step fuelled by the same driving force that started it all: a commitment to bringing artists together and inspiring youths to find their artistic identity.
Each ensemble, each orchestra, carries a unique role, dedicated to cross-genre and cross-cultural collaborations, shaping performance experiences that serve the ever-growing artistic landscape. As Brahmastra Arts House continues to bring in freelancers from diverse disciplines, my hope is to see musicians engage deeply with cross-disciplinary works, creating richer, more immersive concerts rooted in Indian classical and folk traditions.
Imagine an entire ecosystem, intricately woven across the region—ensembles and orchestras, each with its own distinct voice, resonating across nations, collaborating with global ensembles, and redefining the boundaries of music and culture. That vision is what keeps me moving forward.
Many young musicians struggle to find their footing in the industry. What advice do you have for them, and how does Brahmastra support emerging talents?
Seek your identity. Find your sound. Discover what is uniquely yours and hold onto it with conviction. Live your truth unapologetically—because if not you, then who else will? This belief has been my guiding force, a constant reminder to stay rooted in my artistic journey.
In that spirit, Brahmastra Arts House has become more than just a creative space—it is a platform for young artists to express themselves through their craft, embracing cross-disciplinary and multi-disciplinary collaborations. It is about providing opportunities where none existed before, bridging traditions with innovation, and shaping a new generation of musicians. Take, for instance, the Brahmastra Multi-Ethnic Ensemble (Youth)—an ensemble created for young musicians to explore Indian classical and folk- based music while engaging with diverse instrumentation. This group, made up of a cellist, a rebana player, a mridangam artist, a sheng player, and an Indian flautist, brings together talents aged 15 to 26, each adding their unique voice to a shared musical language.
Then there’s Singhanagara Orchestra and Choir, where the youngest member—a 15-year-old Thavil player—has found himself in an environment he never imagined, performing as part of an Indian orchestra. His journey is just one example of how Brahmastra Arts House is connecting talents across the diaspora, redefining what is possible for young musicians, and expanding the boundaries of cultural expression.
Through these initiatives, we continue to build an ecosystem where artists can not only find their place but also create new spaces for others. The journey of identity is not just about self-discovery—it is about forging paths that others can walk as well.
With a decade in full-time music, what’s next for you? Are there any upcoming projects or new directions you’re excited about exploring?
The past decade has been incredibly fulfilling, and I’m deeply grateful to my mentors, family, and the opportunities that have shaped my journey. But this is just the beginning. The next ten years will be dedicated to global performances, creating lasting memories, and producing works that celebrate my roots and community.
I aim to empower young artists, helping them build their careers alongside me. Looking ahead, projects like In Sanga’s Senses for the Tamil Language Festival 2025, performances with the Brahmastra Multi-Ethnic Wing (Youth), and international concerts with C ASEAN Consonant will bring my musical identity to the world stage.
I’m also excited to release more original music with regional artists and explore cross-disciplinary projects, especially with the Singhanagara Contemporary Orchestra—a space for young talents to aspire and be inspired. Life isn’t set in stone, but I’m relentless in pursuing the next chapter with my closest friends in music.
