What’s in a hook?

Reshma’s classic becomes latest casualty of India’s remake rampage

Bollywood is riding a fresh wave of nostalgia. Earlier this year, the comedy-drama Crew, starring Kareena Kapoor Khan, Tabu, and Kriti Sanon, featured a high-energy remix of Choli Ke Peeche. Sanon, having a strong 2024, also starred in Teri Baaton Mein Aisa Uljha Jiya, a sci-fi comedy with a title track based on Canadian singer Raghav’s 2004 hit.

Recently, she appeared alongside Kajol in Do Patti, another lacklustre 2024 title that reworks a classic. While Sanon likely isn’t intentionally chasing past successes, her recent roles tap into a broader trend of leveraging sonic and star-powered nostalgia from a bygone era.

Through proper channels

Do Patti recruits Shilpa Rao to produce its own version of Reshma’s celebrated melody Akhiyaan Nu Rehn De. Rao’s vocals are characteristic and soulful, even if bordering time-worn, as she sings the famous refrain with calculated abandon. Those familiar with Reshma’s magic will be in for a disappointment and it has little to do with Rao’s execution. Few, and that includes the Indian singer at her best, can replicate the meditative yearning of the original even if the chorus is all that is borrowed.

With over 12 million views on YouTube, the comment section is mostly dominated by praise. However, the outrage is more pronounced on Pakistani internet, where many mourn the Indian version Akhiyaan De Kol as another unsolicited use of cultural property. “Bollywood ruined our song” is a common sentiment across Instagram pages reporting on the remake. “It’s not like it’s the first time. They have always been copying our songs.” Some have countered the online backlash by appreciating the proper attribution given to the original creators.

“There’s a difference between copying and being licenced through a label,” remarks one Instagram user. Indeed, a section under the YouTube video is dedicated to the original credits, recognising Reshma as the singer, along with the other artists responsible for the lyrics and music.

To further discuss credits and royalties, The Express Tribune reached out to COO EMI Zeeshan Chaudhry. “Technically, there is no controversy. Likes and dislikes are very subjective and another matter altogether. As far as T-Series’ remake is concerned, they have given due credit to the original creators and EMI Pakistan as its publisher.”

EMI has previously licenced songs to platforms like Coke Studio and Battle of Bands, which have elicited mixed reactions. “It’s not even the complete song. They sampled the punchline and made the rest of the song themselves,” Chaudhry added.

About tradition and ritual value

There is something unsettling about Akhiyaan De Kol even when it’s in the legal clear.

“It’s nothing short of artistic corruption,” remarked Sharif Awan, founder of the Tehzeeb Foundation, to The Express Tribune. Awan, a writer, revivalist, and curator of Pakistan’s classical, folk, and world music, has led his organisation in extensive efforts to archive the country’s classical heritage.

He added, “Intellectual property rights are important, yes. But my concern is beyond that. Today’s music scene is increasingly dominated by the reuse of existing art for immediate and ordinary gains.” The debate over creative lethargy centres on whether it stems from a refusal or an inability to explore new directions. What’s clear, however, is that for those like Awan, who are deeply familiar with indigenous music traditions, ownership is secondary. What’s truly at stake is the ritual value, pessimistically at odds with the market.

“This is like corrupting a centuries-old raag’s bandish, whether or not someone is there to claim it. In various South Asian music traditions, it is considered blasphemous to treat a musical composition in such a trivial manner by altering it for a quick hit. And the blame for this falls on these big music gurus in India and Pakistan.”

In the music video, Sanon dons a red latex, body-hugging dress as Rao’s voice mellows into a pedestrian call-out of a ruthless lover. Some might court the blue-red saturated palette and fast-paced editing as markers of high production value. Old-school enthusiasts, on the other hand, may accuse the over-polished execution of stripping away its intended rawness.

The rise of reel music