In today’s rapidly evolving music landscape, where artists like AP Dhillon, Diljit Dosanjh, and Karan Aujla are reshaping the contours of Punjabi music, seasoned singer Sukhbir Singh finds himself in a unique position. Even as the singer’s decades-old tracks such as “Gal Ban Gayi,” “Ishq Tera Tadpave,” and “Oho Ho Ho Ho” remain party staples worldwide, Singh is welcoming the new age of Punjabi music rather than solely depending on his time-tested hits.
Celebrated for his role as the ‘Prince of Bhangra,’ Sukhbir Singh highlights how change is key to staying relevant, even when tradition remains beloved by many. Reflecting on this balance, Singh reminisces over his work on “Billy Billy” for Bollywood star Salman Khan last year. “It was a traditional Punjabi tune,” he recalls. However, the streaming numbers for the song underscored a clear trend—today’s youth crave something different than the pure traditional sound, he explains. “[Finding that balance between old and new sounds] is crucial. The audience ultimately decides what they accept,” says Singh.
Singh acknowledges that the fusion of Western music influences with traditional Punjabi beats has been pivotal to this genre’s modern transformation. This shift is personified by the success of new-age artists like AP Dhillon, whose introduction of a hardcore American musical style layered with a distinct ‘desi’ melody wooed listeners and set a trend that Singh finds fascinating and inspiring. For Singh, if a trend is gaining traction, it’s a sign of its resonance with listeners.
Additionally, Singh is conscious of the evolving role of social media in an artist’s success. He cites multiple accounts where viral reels have altered an artist’s trajectory.
. However, as a proponent of social media’s ability to level the playing field, Singh remains a believer in the perfect alignment of elements—songs with the ‘X-factor,’ captivating hook steps, and their rightful presence in the social space. He draws a comparison between his experience working with yesteryear’s Bollywood hit-maker Salman Khan and the surprise success of the minimalist yet global hit “Manike Mage Hithe” by Sri Lankan singer Yohani. Despite Khan’s film “Kisi Ka Bhai Kisi Ki Jaan” featuring significant resources and collaborations, it did not create the anticipated stir, while Yohani’s low-budget, self-edited visual attempt, shot by friends, outperformed all metrics.
Despite the digital-savvy world altering music dissemination, Singh’s prowess as a performer remains highly appreciated. His latest work, the Punjabi film track “Meher,” resonates with the infectious appeal of his older hits. Sukhbir narrates his experience with the song: “[Director Abhishek Saxena] was eager for my voice for the song, which was surprisingly more challenging in its high key, a step outside my comfort zone,” Singh shares. Watching the eventual music video, Sukhbir warmly admits feeling pride and nostalgia, enriched by actor and former choreographer Arshad Warsi’s Punjabi dance tribute.
While live performances remain a significant component of his career, Singh’s concerts are designed to be visually stimulating while preserving their sonic allure. Emphasizing audience interaction, Sukhbir says, “The goal is to make the audience participants in the experience.” Integrating feedback, Singh also focuses on alive, energetic dance routines. “Audiences delight more when they see my band members joining the rhythm,” he notes, highlighting the successful energy exchange he strives to initiate on stage.
Engaged in this intersection of tradition and modernity, Singh embraces the dynamic evolution of Punjabi music while meticulously ensuring that what comes across to the audience remains appealing and engaging, personifying both his heritage and the contemporary pulse of music lovers today.
