Singer-composer Job Kurian: People might think I am mad on seeing me backstage

My father and uncles loved music. Back in Kuttanad, they never had the chance to learn music formally. The radio was their lifeline.  They later settled in Thiruvananthapuram. My parents ensured I learnt music, and I was fortunate to study under Surendran master. That was the turning point.

(Mohammed) Rafi saab. I would listen to his songs endlessly. Then, of course, legends like Yesudas sir and Chithra chechi. I admired composers such as Baburaj Master as well. My biggest influence, however, was Johnson Master. Every composition of his left a deep impression on me, especially his background scores. In Carnatic music, M D R Ramanathan’s kacheris influenced me. I was also close to Nedumudi Venu uncle. We were neighbours, and his son is a close friend. Those years, shaped my sensibility.

Yes, it’s a bluesy track. I had a storyteller in mind, someone like Venu uncle, who could bring out that old-school charm in narration. I shared the idea with him, and Engandiyoor Chandrasekharan wrote the lyrics. Charan (Raj), Chandrasekharan chettan, and I would spend time together, writing and singing through the lines, shaping the song. Through Venu uncle, I also got the chance to meet Kavalam Narayana Panicker sir. People like them are akin to fragrant flowers. You don’t rush past them. You pause and inhale their insights on life.

I am not someone who handles competition well. I get anxious, uncomfortable with pressure. The judges included Deepak (Dev) sir, Balabhaskar sir and Alphons (Joseph) sir — musicians I admired. I was just hoping to share my music. Making it to the final 15 felt unreal. On the first day, I almost stayed back home. My mother pushed me to go. I sang ‘Teri Deewani’ by Kailash Kher, and received a standing ovation. That day changed everything. Stage chemistry with Stephen (Devassy) chettan helped, and I eventually finished as runner-up. That felt like a blessing.

Double bonanza (smiles). During the final stages, I asked Athira (who was a fellow-contestant) if we could move forward in life together. It just felt right. Today, she is my official manager, and I am genuinely happy with how things have turned out. Working with her has reduced my stress a lot. I am an anxious person, but she manages things with great clarity. Thanks to her, I get more mental space for music.

I need a trigger to begin with. It could be an emotion, a memory, a story, or even a passing feeling. Travel often sparks ideas. Most of my independent songs are biographical or drawn from people close to me. The idea has to touch me deeply. I like making songs connected to life, not formula-based ones.

It varies. Sometimes the words come first, sometimes the tune. I am not a poet, though my Malayalam is decent. I trust emotion more than technique. As a vocalist, words and sounds have to feel right, both in the mouth and in the heart. Often, I write a few core lines and develop them with a lyricist who understands me.

I am not overly concerned about that. If I go by trends, my music wouldn’t have its originality. I don’t want to be forced to do a certain kind of music. When a time like that comes, I will step down. Recently, there was a trend of one-minute songs. When I was approached, I said I don’t have that ability for that (laughs). Social media trends, however, have helped me, like in the case of ‘Kannodu Kannayidam’. I have no idea how it went so viral.

I won’t call it selective, but I do consider a lot of aspects. Primarily, I should be able to relate to the song and give it my best. I don’t want to do it just for money. Then the composer should like it, the rendering should suit the film... with so many criteria, the number of songs will be low. Also, I am not a studio artist — I am a live performer. I enjoy singing the most in front of a crowd or with musicians at shows. Closed studio rooms make me claustrophobic. I try to be evasive when composers approach me for singing. But there are also people like Deepak (Dev) sir, Biji ettan (Bijibal), Rex (Vijayan), and Shaan (Rahman), who understand me and whom I can’t say no to. They have been patient with me, letting me sing at my comfort level. I have walked out of recordings with senior composers respectfully, as I did not feel I was the right fit. Many of those songs have also gone on to become big hits. I believe they were never destined for me.

‘Manikyachirakulla’ from Idukki Gold is an example. I loved the composition on first listen itself, but was anxious that I might ruin it. But Bijibal sir had trust in me. We recorded the whole song within 30 minutes. He didn’t even allow me to do any corrections. Such was his conviction.

I have some issues with perfectionism. I have also realised that the more you sing the same track, the more mechanical you get. I record my tracks 10-15 times, but invariably end up using the first take. That’s why, for my new project—Job Kurian’s 10—I am planning to use the first rough track. It will have a raw, genuine feel.

I have a liking for the number 10. Maybe because of my love for sports. Ten is the jersey number of some of my favourites like Sachin, Messi, Maradona, and Pele. The project’s tagline is ‘10 songs, 10 emotions, 10 chapters of my life’.

We are very lucky today to present our music without godfathers. When we started, there was no YouTube. I literally went door to door with my songs, carrying my album Thaalam. Over time, there has been tremendous improvement. I think social media deserves the biggest credit. Platforms like YouTube completely changed everything. Cinema remains a powerful medium, but today, independent music stands parallel to it. No matter the genre, everyone has a space now — ghazals, folk rock, alternative rock, pop.

Avial, any day. They changed the scene. When I first heard songs like ‘Nada Nada’, I was stunned. Many Malayalis initially reacted by asking, ‘What is this noise?’ It was a beautiful album. Avial showed us that language was not a barrier.

The music we produce is a reflection of what we consume. Whatever I grew up listening to has influenced my musical flavour. It’s important to be open to different kinds of music and genres. One learns a lot by being able to appreciate. Growing up, I used to listen to a wide range of artists, from Michael Jackson to our classical music icons. I used to wait patiently for new arrivals at stores. I remember buying at least four CDs of Lucky Ali’s album Sifar, as they would get damaged due to repeated playing. Khaled’s ‘Didi’, Beatles, Pink Floyd, Sting... it’s a long list. Along with that, I was also into our music.

Mostly. I have studied Carnatic music. I still have a lot to learn. I remember what my teachers used to sing, the way they approached music. I studied for a while under Perumbavoor G Ravindranath sir. He was a great teacher. I also used to listen to Hindustani music. These influences come into my singing. Folk music, meanwhile, is something that feels as if it is in my blood. I love its rhythm and its energy, which was also prominent in cinema while I was growing up. Take, for example, the music in Sreenivasan sir’s Ponmuttayidunna Tharavu, where Johnson Master has used such lovely, naadan rhythmic patterns.

When I create or sing, I don’t sit and think about adding layers or moods intentionally. The feeling comes first. If the song feels happy to me, that’s how it naturally comes out. I don’t try to darken it or intellectualise it too much.

Very important. I love driving. I take my car wherever I go. Whenever I get a chance, I drive. Travel clears my head. My love for travelling definitely reflects in my music somewhere.

I am not a biker myself, but I relate to that community. Bikers have played a big role in how those videos reached people. That freedom, that openness, is something I deeply connect with. One of my friends, Ajay, went through a difficult phase. At one point, he decided to travel to the Himalayas. It was a spiritual journey, a journey towards self-knowledge. He met people who had much bigger problems than him, and that changed his perspective. He used to send me photos and messages regularly. I could feel that he was becoming clearer, calmer. When he returned, he was a completely fresh person. Watching his transformation made me happy. During that time, I kept playing small tunes. That feeling eventually became music.

That day was special. The song was in a classical style. Harish’s voice has another dimension altogether. I wanted someone who could sing proper Carnatic. When we recorded it was just full of positive vibes. Everyone on set felt it. In the video, there is a scene where I hug him in the end. That was our first take, and I was so moved. When we were editing it, I felt it might be too much, but Sumesh (Lal) sir, the executive producer, insisted we keep that portion. That togetherness is the beauty of the song.

It was a duet composed by Alphons (Joseph) sir for the film Black Cat. Singing with Chithra chechi was very special. She is extremely accommodating and considerate. The song was in a very high pitch for a male voice, almost a female range. I struggled to lower it. She understood my tension and handled the situation gently.

Yes.That’s my strength. When performing live, I sing openly and loudly. That connects with the audience, but also causes a bit of strain. So I don’t take up shows back to back. I love Sufi songs. Artists like Nusrat Fateh Ali Khan and Kailash Kher sing like this. I also used to listen to Iron Maiden. The vocals of Bruce Dickinson and his style filled with vibrato when performing inspired me when I was growing up.

No, I was not aware. I think three or four people also recorded it, but did not work out. Then, when I was called on, I heard this from others: Deepak sir told Prithvi that he had invited a new singer named ‘Job Kurian’ for the song. Prithvi smiled and replied, ‘He is not new, he is old.’ A recent video of Prithvi narrating this event had gone viral. Yes, to Prithvi, I was not a new singer. We had been around each other since school days. We used to sing together on stages and programmes. Deepak sir really tolerated me during the recording of the song. I got there in the morning and frequently asked for breaks. It was at night that I finally got into the zone. After that it was fun.

We are not friends who call each other every day. We are the kind who meet during rare occasions. But we also start where we left off. He hasn’t changed even after all the recognition he has received in recent times. After the Empuraan song, he called me and started off with ‘aliyaa’ casually, as if going back to our school mode. He is someone that we all look up to now, but he doesn’t behave that way.  

Yes. First, sound check is vital. Most people think live shows need only three elements, a singer, mic and an audience, but it is not like that. A comfort zone is created by technicians who work behind the stage. There are many factors that they have to monitor, and it is when all of it comes together, we get into a musical trance. I am someone who is very particular about that.

The audience usually reciprocates positively. The relationship with the audience is crucial — their acceptance gives greater strength. When the audience reciprocates, the show turns into a celebration, almost like a family gathering. Concerts have a special energy. When the audience sings my songs back to me, it’s a different kind of happiness altogether. Seeing an entire auditorium singing along, there’s nothing more fulfilling for a creator.

Yes, I get very tense. When I walk around backstage, people might think I am mad (laughs). I keep sensing that something is wrong here or there. But once on stage, I often forget everything else. I become a different person — any tension disappears because of the energy and the love from the people around me. I like that feeling, even though I am still scared. There is a huge responsibility — so many people have bought tickets and are expecting something from us. That thought scares me.

Everyone has their own silent prayer. We stand together as a band, as a team, and pray quietly. It’s a prayer of love.

I used to follow a strict diet. But, at some point, I realised it was driving me crazy and I let it go (laughs). We often hear that Dasettan avoids curd and cold food, but following such rigid rules started affecting me mentally. Constantly avoiding things like AC, oil, and so on to keep my voice clear was making everyday life difficult. Most of these concerns are psychological anyway — and I am a little crazy like that (laughs). It was (singer) Sayanora who really helped me put things in perspective. She once told me, ‘It’s not possible to live like that, constantly fearing everything.’ I don’t drink or smoke. I have cold items only occasionally, which I completely avoid in the days leading up to a concert. For me, practice is everything — without that, even the best diet is pointless.

SPB used to have chilled ice cream right before going on stage (laughs). Foreign artists often keep a chilled beer beside them. I believe we should train our bodies from childhood to adapt to different conditions. Taking proper rest between shows is important. I try hard to avoid catching the flu or a cold, and I sometimes even shoo my kids away when they’re sick (laughs). Losing my voice is exhausting — I have to return the advance payment, apologise to the coordinators, and so on. It’s the worst feeling an artist can go through. Arranging the best available replacement is also something I take responsibility for.

I have many fond Christmas memories. It was all about family time, being with cousins, sharing meals, and being together. My mother used to cook a grand feast. In the morning, there would be appam and mutton stew. For lunch, there would be biriyani and pudding. She had several special recipes, and we never let her change them. More than anything, it was about time with family and friends. Since it was vacation, everyone was usually at home, and there was a sense of togetherness. I also love listening to choirs during the Christmas season. There are many good choir competitions, and I enjoy going just to listen. Sometimes I am invited as a guest, and I make it a point to attend. It’s a beautiful experience.

Beautiful. A lot of good things happened. I felt uplifted in every way. Even certain songs, like ‘Kannodu’, became really popular this year.

I have never really fulfilled any resolutions as I am quite fickle-minded. I do things when the situation demands it from me, but beyond that, I don’t think I have the willpower for resolutions (laughs).