A.R. Rahman on Reinvention, Resilience, and Refusing to Live on Past Glory

A.R. Rahman has never been a composer who rests comfortably on nostalgia. Yet, in recent interviews, the maestro revealed how constant comparisons with his own legendary past quietly unsettled him. Fresh off controversy surrounding a remark that was widely interpreted as “communal”, Rahman also spoke candidly about feeling gaslighted by generational expectations.

In a conversation with The Hollywood Reporter, Rahman reflected on how praise from older listeners sometimes carried an unintended sting. When people celebrated his 1990s classics like Raja, he said, it often sounded like an indirect suggestion that his current work lacked relevance. According to him, repeated reminders of former brilliance can erode confidence if caught at the wrong emotional moment.

Instead of retreating, Rahman chose overdrive. He deliberately immersed himself in work, composing relentlessly to recalibrate how newer audiences perceive him. Between 2019 and 2025, he claims to have scored music for nearly 20 to 30 films, a statement that contrasts with his earlier remark that opportunities had slowed over the last eight years.

Rahman explained that this creative surge was strategic. By stacking recent, high-impact projects, he ensured that conversations around his music referenced the present rather than the past. He cited praise for his work in Mani Ratnam’s Thug Life as proof that the narrative had shifted. For Rahman, this wasn’t about validation; it was about survival across generations.

His hunger to evolve has not dimmed. Collaboration with Oscar-winning composer Hans Zimmer on Nitesh Tiwari’s Ramayan, Rahman emphasized that complacency is his greatest fear. Accolades, he believes, can become emotional ballast. Dwelling on Filmfare counts or Oscar wins, he said, drains motivation instead of fuelling it. That is why his social media bios are stripped of achievements; 2026, for him, represents a clean slate.

Amid the storm surrounding his earlier remarks, Rahman also issued a heartfelt clarification on Instagram. He reiterated that music, for him, has always been a bridge, never a divider. India, he said, remains his eternal muse, and hurting sentiments was never his intention.

Addressing his earlier comment to the BBC ASian Network, Rahman elaborated on what he called shifting power structures within the Hindi film industry. Decision-making, he suggested, has incresignly moved into non-creative hands. Offers would arrive, only to dissolve quietly , what he described as “Chinese whispers.” Rather than resent it, Rahman chose acceptance, even humour, calling it an unexpected pause to spend time with family.

Despite everything, his recent body of work speaks volumes—spanning Tamil, Hindi, and Malayalam cinema. For Rahman, the message is clear: reinvention isn’t optional; it’s essential.