‘People who are not creative have power now’: AR Rahman on losing projects in Bollywood

Oscar-winning composer A.R. Rahman has said that a shift in Bollywood’s power structure and a gradual erosion of its cultural foundations may have contributed to his reduced presence in Hindi cinema in recent years. Speaking in an interview with the BBC Asian Network , Rahman reflected on how decision-making in the industry has changed and suggested that the transformation has not always favoured creativity or inclusivity.

Rahman underlined that Hindi film music has historically drawn from Urdu poetry and a composite cultural ethos. “Hindi film music has always carried the soul of Urdu and shared traditions,” he said, adding that this legacy is “slowly getting diluted.” When asked whether this shift had affected him personally, he said opportunities often disappeared quietly. “You hear whispers of projects, you feel something might happen, and then it doesn’t. Somewhere along the way, you realise you’re no longer part of certain circles ,” he said. He added that over the past eight years, “people who are not creative have the power now to decide things,” and suggested that there could be an indirect communal element , though he stressed it was never overt and came to him only through “Chinese whispers.”

Rahman also spoke about his score for the hit biopic Chhaava , calling the film “divisive” because of symbolism that, he said, “can be read as being against one community .” At the same time, he defended his association with the project, saying, “At its heart, the film talks about bravery and resistance, and that is something I respect,” even as he acknowledged discomfort with certain interpretations.

The comments triggered sharp reactions, including accusations of hypocrisy given his involvement in a forthcoming Ramayana project . Responding in broader terms, Rahman said that artists today operate in complex, overlapping spaces. “Mythology, history and politics are getting mixed,” he said. “As a creative person, you are constantly negotiating where you stand.” He also said he does not chase work and prefers projects to come through sincerity rather than lobbying .

Others argued that Rahman’s reduced visibility in Bollywood reflects changing audience tastes rather than bias. During the interview, the rise of newer composers and singer-composers was raised, with charts increasingly dominated by contemporary voices. Rahman agreed that music must evolve but cautioned against losing depth. “Younger artists deserve their space, but evolution should not come at the cost of losing the richness that defined our music,” he said.

Several commentators rejected the idea of marginalisation altogether, pointing out that many Muslim artists continue to thrive in Hindi cinema. Veteran figures from the industry said opportunities fluctuate for everyone and are often shaped by budgets, availability and the specific needs of a film, rather than identity. Others suggested that Rahman’s global stature and commitments may also make some producers hesitant to approach him.

Supporters countered that Rahman’s so-called lull applies only to Bollywood. Born A.S. Dileep Kumar in Chennai in 1967, Rahman trained in classical piano and Carnatic music before rising to fame with his breakthrough Tamil film Roja in 1992. He converted to Islam in his early twenties, taking the name Allah Rakha Rahman , and has since become one of the most successful and in-demand composers across Tamil, Telugu, Malayalam and other South Indian languages , while also working on international projects. Rahman recalled his early journey into Bollywood as a South Indian composer who did not initially speak Hindi . Filmmaker Subhash Ghai encouraged him to learn the language, after which he studied Urdu , which he has often described as essential to understanding classic Hindi film music. He added that he did not experience direct discrimination in his early years, suggesting that the current phase reflects broader industry realignments rather than personal hostility.

Rahman’s remarks have also revived comparisons with other artists who have criticised Bollywood’s internal workings. Singer Sonu Nigam has spoken about a “music mafia” controlling opportunities, composer Amaal Mallik has described campism and monopolies, actor Sushant Singh Rajput had highlighted exclusion and gatekeeping, Nawazuddin Siddiqui has spoken of subtle discrimination against outsiders, and lyricist Javed Akhtar has warned about the shrinking space for Urdu and progressive expression. Unlike many of those critiques, Rahman’s comments combine concerns about power shifts, cultural dilution and indirect communal undertones.