Music

Arijit Singh’s Unfinished Melodies: A Goodbye That Doesn’t Quite End


When Arijit Singh announced his decision to step away from playback singing earlier this year, it felt like a quiet storm passing through the music world. There was no drama, no grand farewell—just a simple note, almost like one of his songs, understated yet deeply emotional. For fans who have grown up with his voice stitched into their memories, it felt personal.

But now, in a message that feels both comforting and bittersweet, Arijit has reminded everyone that endings are rarely absolute. In a heartfelt note shared with his listeners, he expressed gratitude for the love he has received in what he called a “ruthless world.” At the same time, he revealed something that instantly reignited hope—his journey isn’t entirely over yet. There are still many songs left unfinished, and those songs will continue to find their way to listeners over the course of this year, possibly even beyond.

It’s a revelation that changes the tone of his “retirement.” Instead of a sudden silence, what lies ahead is a slow fading echo—new releases that carry the essence of what he has always been known for: emotion, depth, and an uncanny ability to make every listener feel seen. For fans, this means that the connection isn’t being cut off abruptly. Instead, it’s being extended, gently, song by song.

His note, however, wasn’t just about music. It carried a philosophical undertone—advice to step away from noise, to read, to meditate, to find peace. It felt like Arijit wasn’t just signing off from playback singing, but also urging people to reconnect with themselves in a world that rarely slows down. And then came the line that has stayed with everyone: “Who knows what lies ahead?”

That one sentence has sparked countless interpretations. Is it a hint at a possible return? Or simply an acknowledgment that life is unpredictable, even for someone who seems so certain about stepping back? Fans, of course, are holding on to hope. Because when an artist like Arijit leaves the door even slightly open, it’s hard not to imagine him walking back in someday.

Interestingly, his retirement announcement in January had already created waves across the industry. Even Aamir Khan personally visited him, urging him not to quit, especially while working on the title track of Ek Din, a film connected to his son. The moment, captured in a behind-the-scenes video, showed just how valued Arijit is—not just as a singer, but as an emotion that filmmakers rely on. Meanwhile, voices like Shreya Ghoshal stood in support of his decision, respecting the choice of an artist who has given so much over the years.

What makes this phase particularly intriguing is its in-between nature. Arijit Singh is neither fully present in the playback scene nor completely gone. He exists in this space where his past work continues to breathe, and his unfinished songs promise a future that hasn’t entirely closed.

And maybe that’s what makes it so poetic. Because if there’s one thing Arijit Singh has always done, it’s leave us with feelings that linger long after the music stops.

Music

Mumbai Sings Along as Michael Learns To Rock Spark Pure ’90s Magic


Mumbai didn’t just attend a concert on Saturday night—it felt like the city collectively stepped into a time machine. As Michael Learns To Rock took over the MMRDA grounds, what unfolded was more than just a live performance. It was an emotional reunion between music and memory, where every note carried a story and every lyric found a voice in the crowd.

The Danish trio—Jascha Richter, Mikkel Lentz and Kåre Wanscher—may have defined global pop in the ’90s, but what stood out most was how effortlessly their music still connects with listeners today. As they opened the night with “Someday,” the mood was instantly set. The audience didn’t need warming up; they were already there, singing along, almost as if these songs had been quietly living within them all along, waiting for this moment.

There was something deeply moving about watching generations come together—fans who grew up with cassette tapes and radio dedications standing shoulder to shoulder with younger listeners who discovered the band in a digital era. And yet, there was no gap, no disconnect—just one unified chorus echoing across the venue.

The band’s setlist read like a love letter to their journey. Tracks like “Sleeping Child,” “Complicated Heart,” “25 Minutes,” and “Nothing to Lose” didn’t just play—they lingered, wrapping the audience in waves of nostalgia. Between songs, Richter’s reflections added a personal touch, especially when he spoke about their early struggles and how countries like India played a crucial role in sustaining their music when global plans fell apart.

One of the most intimate moments of the night came when the band stepped forward and sat at the edge of the stage to perform “I’m Gonna Be Around,” recreating the simplicity of their rehearsal days. It stripped away the scale of the concert and replaced it with something far more powerful—connection.

The energy shifted seamlessly throughout the evening, from soulful ballads like “Love Will Never Lie” to emotionally charged favourites like “You Took My Heart Away.” Lentz even brought in a moment of humour, joking about their band name being “one of the stupidest of all time,” a candid remark that only made the audience love them more.

As the night built towards its finale with “Paint My Love,” it felt like the perfect goodbye—until the crowd refused to let it be one. What followed was a moment that defines truly timeless artists. The audience took over, singing loudly enough to pull the band back on stage for an encore that included “Take Me To Your Heart” and “That’s Why (You Go Away).”

It wasn’t just about the music anymore—it was about belonging, about shared memories, about songs that have quietly walked alongside people through different phases of life.

With their India tour, produced by Fever Live, also covering Bengaluru and Delhi, Michael Learns To Rock once again proved that while trends in music may change, emotions don’t. And as Mumbai sang its heart out under the night sky, one thing became clear—their music never really left, it simply waited for nights like this to come alive again.

Music

Shakira Announces India Tour 2026 After Nearly Two Decades


Written by Intern Rency Gomes ||Team Allycaral 

Shakira is set to make a much-awaited return to India after nearly 19 years. The four-time Grammy winner has announced a two-city India tour scheduled for April 2026.


The concerts will be held under the non-profit initiative Feeding India in collaboration with District by Zomato.

Shakira will perform at:
April 10, 2026 – Mahalaxmi Racecourse
April 15, 2026 – Jawaharlal Nehru Stadium

This marks her first major performance in the country since her 2007 Oral Fixation tour in Mumbai.

Tickets for the India tour will be available exclusively through District.

HSBC credit cardholders will get 48-hour early access starting from 12 PM IST on February 27 until 12 PM IST on March 1.

General ticket sales will begin at 1 PM IST on March 1.

The concerts are part of the 2026 edition of the Feeding India Concert initiative, aimed at supporting child nutrition and food security efforts.

Expressing her excitement, Shakira said performing in India has always been special to her and that she looks forward to reconnecting with fans in Mumbai and Delhi. She added that the tour is about coming together to ensure children have access to proper nutrition.

Meanwhile, Kanye West, also known as Ye, is scheduled to bring his live show to India for the first time on March 29 at Jawaharlal Nehru Stadium in New Delhi.

With two global music icons heading to India in 2026, fans can look forward to a major year for international live entertainment in the country.

Music

Jackson Wang Brings Wuxia Energy Alive with ‘Blades of the Guardians’ Theme Song


Global pop icon Jackson Wang has unveiled the theme song “Tian Xia Guo Ke” for the upcoming wuxia epic Blades of the Guardians, creating an immediate buzz among fans and film enthusiasts alike. Released ahead of the Spring Festival, the track has quickly gained traction, not just for its musical appeal but for how seamlessly it captures the essence of the film’s world.

Written by director and screenwriter Yu Baimei along with lyricist Gan Shijia, and composed by Tang Hanxiao, the song blends sweeping orchestral arrangements with modern production elements. Jackson Wang’s vocals carry a sense of urgency and emotion, echoing themes of freedom, संघर्ष, and the wandering spirit central to martial arts storytelling. The composition reflects a balance between traditional wuxia aesthetics and contemporary global soundscapes, making it both culturally rooted and widely accessible.

The film itself stands out as one of the most ambitious wuxia productions of the year, bringing together multiple generations of martial arts stars including Wu Jing, Nicholas Tse, and Jet Li under the direction of legendary action choreographer Yuen Woo-ping. Adapted from Xu Xianzhe’s popular comic series, the narrative follows Daoma, a fugitive tasked with escorting another wanted man across dangerous terrain to Chang’an, drawing multiple factions into a high-stakes conflict.

Set against the expansive deserts of northwestern China, the film’s visual storytelling is amplified by the tone established in its music. The accompanying music video offers glimpses into this world—warriors in motion, intense combat sequences, shifting alliances, and moments of emotional vulnerability—all underscored by the song’s dramatic progression.

For Jackson Wang, the release is particularly significant as it marks a rare Chinese-language track in his discography. Known for his global musical style that blends Eastern and Western influences, this project highlights his versatility and his continued effort to connect with diverse audiences. It also aligns with his broader artistic direction, as he has previously expressed interest in exploring more Mandarin-language music alongside his international projects.

With its combination of star power, storytelling depth, and musical impact, Blades of the Guardians positions itself as a major cinematic event for the Spring Festival season. The theme song not only enhances anticipation for the film but also stands strong as an independent piece of art, resonating with listeners beyond the screen.

Music

Bad Bunny Earns First Solo No. 1 on Billboard Hot 100 with ‘DtMF’


Written by Intern Rency Gomes || Team Allycaral 

Bad Bunny has achieved a new milestone in his career, earning his first solo Number One on the Billboard Hot 100 with his nostalgic track “DtMF.”


The Puerto Rican superstar previously topped the chart in 2018 as a featured artist on Cardi B’s hit song “I Like It.” Since then, he has amassed 14 Top 10 entries, becoming the Latin act with the most Top 10 hits in the chart’s history.

The chart-topping achievement follows a landmark week for the artist. At the Grammy Awards, Bad Bunny became the first artist to win Album of the Year for a Spanish-language album. He also made history as the first performer to headline a full Super Bowl halftime show entirely in Spanish.

Streaming numbers surged dramatically following these appearances. According to Luminate data, his catalogue recorded 99.6 million on-demand U.S. streams on February 9 — a 175 percent increase from the previous week. “DtMF” alone garnered 10.4 million streams in a single day.

Originally released in January 2025 as part of his album Debí Tirar Más Fotos, “DtMF” blends modern production with elements of plena, a traditional Puerto Rican folk genre. The song has now become the first plena track to reach Number One on the Hot 100.

Lyrically reflective, “DtMF” explores themes of memory, regret, and living in the present. In earlier interviews, Bad Bunny described the song as a reminder to cherish fleeting moments and value life’s experiences.

With multiple songs currently in the Top 10 — including “Baile Inolvidable,” “Nuevayol,” and his 2022 hit “Tití Me Preguntó” — the artist’s dominance on the charts shows no signs of slowing down.