Melody or Metrics? The Future of Telugu Cinema

In an era where a song’s success is often measured by its 'shareability' on social media, the craft of film scoring is undergoing a massive shift. Is the soul of Telugu film music being replaced by 15-second loops? Between trending Instagram reels and the pressure to create an instant 'hook,' I wondered what the composers themselves think.

So, I reached out to some of the brightest new-generation music directors in Telugu cinema to understand how they are navigating this change.

I asked them:

1. How does it feel to compose in today's 'hook-heavy' culture compared to the traditional narrative-driven approach?? 

2. Is there still a scope for Raga-based compositions in modern soundtracks??"

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Smaran Sai:

Composing for film always comes with certain constraints. Today, music is increasingly used as a tool to grab immediate attention, which often leads to a focus on catchy pop-culture phrases and "hooks." While it is enjoyable when a catchy tune evolves organically from the music, starting the creative process with the sole intent of making a "candy" hook can leave the song devoid of emotion and narrative depth.

Repeatability is essential in music, but how a composer utilizes that repetition is what makes a song unique. Certain feelings simply cannot be forced into a hook; a composer often wants the space to explore the interplay of consonance and dissonance to truly tell a story.

Every filmmaker brings a different story, and each story demands a specific tonality. Surprisingly, Raga-based music still has a place in modern cinema, and we have seen quite a few examples of it in recent times.

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Ravi | Chandu:

Lately, when Chandu and I begin composing, our first thought is often whether we can include motifs or ostinatos. In the current era, the metric for a "hit" is a catchy hook that can be repeated in social media reels. Songs are now judged in seconds and often aren't even heard in their entirety.

To adapt, our thought process has undergone a bit of "reverse engineering." Previously, our order of priority was:

• Does it suit the scene?

• Is the emotion conveyed?

• Is it catchy enough to be a hook?

Now, we sometimes have to flip that order. While we understand the business side and empathize with producers, it is painful when music is treated strictly as a "product" rather than a feeling. This is especially evident when a singer or lyricist is chosen simply because they are "trending" rather than because they fit the song. We make a conscious effort to avoid composing "Instagram songs" unless they happen organically through the story.

Ragas remain the soul of our music. Even a small touch of a Raga makes a song feel rooted, regardless of commercial logistics. Fusing a Raga with a catchy hook is the ideal scenario.

Ultimately, we strive for a balance between "the feel," the current trends, and nostalgia. Trends are fleeting, but sincerity and musical sense should never be lost. Music should travel from heart to heart; that is how a song achieves a long shelf life.

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Sinjith Yerramilli:

The general attention span has decreased, which is likely why producers and directors now insist on a "hook system." When I started in 2022, no one asked me for hooks; now, it’s the first thing mentioned. While it was surprising at first, I don’t think having a hook is inherently wrong. It can be good for the composer, the singer, and the film’s reach.

However, it must be organic. It’s like writing a screenplay: you can’t force a joke where it doesn’t belong, or it will damage the story. I am proud that my directors and I have collaborated to find hooks without forcing them. What I do not support is the "Instagrammable song" trend where people specifically ask for music designed only for reels. I’m still learning to cope with that side of the industry.

In my experience, there is a lack of interest in Raga-based compositions. Recently, I composed a song based strictly on a single Raga, which was something I was very excited about as Carnatic music is my forte. However, after two months, the song was rejected because it was "too Carnatic" or "too classical."

It’s disheartening that I often can’t use my classical influences. I hope I get to compose some day for films of the kind Sankarabharanam or Sagara Sangamam where such music is celebrated. Luckily, because of my friendship with director Sai Marthand, I was able to include a Raga-based song called "Eee Doorame" in Little Hearts. It isn't pure Carnatic, but it features swaras based on Kharaharapriya. It’s a small victory, but I truly hope to work with more people who appreciate Raga-based strengths.

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The consensus among these composers is clear: while "hook culture" is the current reality of the industry, it shouldn't come at the cost of the story. From the "reverse engineering" of hits to the struggle of keeping Ragas alive in a pop-heavy market, the goal remains the same —balance. Trends will inevitably change, but as long as the music remains organic and sincere to the emotion of the film, it will find a way to stay with the listener long after the reel ends.