Every time a song from a sequel to a hit Bollywood film is released, it draws intense--and often--unfavourable comparisons to the original's tunes. More recently, these sequels’ new and remixed songs are also drawing listeners back to the older tracks and returning the classics to the charts. In this episode, we show evidence of this relatively new trend, examine why it’s happening, and what it says about the current state of Hindi movie music and the economics of industry as a whole.

The charts have been unusually static this year so far. The big hits have been sticking around for several months while catalogue tracks are increasingly making their way into the top ten, leaving little room for newer music to break through. Should India then follow Australia with a chart that only showcases frontline releases? In this episode, we discuss why there might be a need for such a chart, what other countries have done to fix the issue, how open our music industry would be to such a survey, and more

Last week, Spotify shocked the music industry by discontinuing its Viral Songs chart. In India, it was among the few places that put a spotlight on upcoming music acts, and served as a discovery tool for both listeners and A&Rs. In this episode, we discuss the role the chart played, the possible reasons behind Spotify’s decision and whether it’s good or bad for the Indian music business.

Last month witnessed the long-awaited return of BTS with the release of their new album ‘Arirang’. While the comeback effort broke streaming records globally, lead single “Swim”, somewhat surprisingly, did not follow earlier hits such as“Dynamite”, “Butter” and “Permission To Dance” to the No.1 spot in India. The album, meanwhile, debuted at No.2 on Spotify’s chart for the country. For any other international release, that would be a remarkable achievement but given BTS’s chart history, it feels like the LP has underperformed here. How far is this true? And what are the reasons for it? On this special episode, we’re joined by our friends, the hosts of the ‘K-Pop in India’ podcast, Shreya Khaladkar and Soham Sengupta, to help us answer these questions.

Pre-pandemic, India’s handful of multi-genre music festivals focused on independent musicians in the traditional sense of the term. In the recent past, as the lines between indie and mainstream have blurred, there’s a lot more pop on festival bills, and it seems like programmers are closely watching the charts. On this week’s episode, we talk about why this is happening and the pros and cons of the trend.

While we constantly hear about the potential of Indian music to cross over into the rest of the world, what’s relatively less spoken about is how the rest of the world is increasingly trying to cross over into India. From foreign delegations scoping out the scene at conferences to international artists touring at a higher rate than ever before, we discuss where and how this is happening, and most importantly, why. As always, we look at key movements on the Spotify Weekly Top Songs India chart, this time for the survey dated February 5, 2025.

As is now tradition, our first episode of the New Year is about the trends we’re expecting to see over the next 12 months. We’re predicting that the supposedly distinct segments of Bollywood and independent music will integrate more than ever before, that intra-national collaborations will be more common than international crossovers, and that live tours will increasingly help drive chart success. As always, we look at key movements on the Spotify Weekly Top Songs India chart, this time for the survey published on January 9, 2025.

If it’s December, then there will be a special episode in which we look at the Top 50 songs of the year and discuss the genres, artists, languages and labels that dominated the music charts. We talk about how deep catalogue tracks had a stronger presence than ever before, why it was a relatively better year for female artists, and what the key differences were between Spotify and Apple Music’s list of their most-streamed tunes of 2025.