Over the next few days, the internet will be talking about Kendrick Lamar’s undisputed domination or Billie Eilish’sthird ‘Song of the Year’. But as the lights dimmed at Los Angeles’ Crypto.com Arena for the 68th Grammy Awards, I found myself reflecting on something else. While India may not have taken home golden gramophones this year, we made an impression that will echo for years to come. The ceremony was a testament to the undeniable presence of Indian music on the world’s most prestigious stage. One moment that especially moved me was Best New Artist winner Olivia Dean’sheartfelt statement: “I’m up here as a granddaughter of an immigrant. I’m a product of bravery, and I think those people deserve to be celebrated.”
Those words were deeply powerful—and they left me both thrilled and hopeful. This wasn’t just another Grammy ceremony for India. This was a declaration that our music belongs in the global conversation, competing shoulder-to-shoulder with the biggest names in the world.
At the same time, there was a quiet note of poignancy for Anoushka Shankar, who continued her remarkable Grammy journey with two nominations this year, yet once again did not take home the award. While her absence from the ceremony was felt, she chose to prioritise her mental health and ongoing tour commitments, a decision that commands respect. That legacy has continued into the present with contemporary Indian artists leaving their mark at the Grammys in their own right. My friend Ricky Kej, a three-time Grammy Award winner and four-time nominee, has been instrumental in redefining how Indian music engages with global themes, particularly sustainability and climate consciousness, through projects that seamlessly blend Indian classical traditions with global sounds.
The Best Global Music Album also had tough competition from the legendary Indo-jazz fusion ensemble, Shakti’salbum, Mind Explosion (50th Anniversary Tour Live). As someone who has grown up with the band, I witnessed them not only blend Indian and Western music, but create an entirely new language that belongs fully to neither tradition, yet honors both.
Their track, “Shakti-Dream (Live)” was in contention for the Best Global Music Performance, too. Featuring John McLaughlin, Shankar Mahadevan, Ganesh Rajagopalan, and Selvaganesh Vinayakram, the record captures five decades of musical brotherhood across borders. These two nominations carried immense weight, with the album being tabla maestro Zakir Hussain’s swan song before he passed away in December 2024. Having won three out of his four Grammys in 2024, he forever redefined how the world perceived the tabla.
Equally seminal in shaping India’s Grammy history is Vishwa Mohan Bhatt, whose 1994 Grammy win for A Meeting by the River — a collaboration with Ry Cooder — remains one of the earliest and most profound moments of Indian classical music being recognised on its own terms. His invention of the Mohan Veena and his cross-cultural collaborations laid the groundwork for many of the global fusion conversations we now take for granted.
But this year’s Grammys wasn’t just about India’s veterans. Delhi-based composer Siddhant Bhatia also earned his first Grammy nomination. His Sounds of Kumbha was the third Indian album to compete in the Best Global Music Album category! The project is conceptually audacious, weaving traditional chants recorded at the 2025 Mahakumbh Mela with contemporary musical arrangements. It shows how Indian artists aren’t just preserving tradition, but innovating it, too. I had the opportunity to exchange thoughts with Aarti Khetrapal and several others from the global music fraternity at a gathering hosted by Ricky Kej at the Continental Club in Downtown Los Angeles.
Then there’s Indian-American jazz pianist and composer Charu Suri, who made history as the first raga-jazz artist nominated in the Best Contemporary Instrumental Album category for her album Shayan. Born in South India and now based in the United States, Suri represents the global diaspora’s contribution towards keeping Indian musical traditions alive while steadily evolving them.
The fact that Indian artists were nominated across multiple major categories is a major achievement. This year, we had classical virtuosos like Shankar, fusion pioneers like Shakti, experimental composers like Bhatia, and genre-defying artists like Suri, all competing at the highest level. The diversity of our nominations reflects the diversity of Indian music.
My mind goes back to the pivotal moment in 2010, when A. R. Rahman won two Grammys for Slumdog Millionaire,opening doors for an entire generation. This year’s ceremony is a culmination of that spark, reinforcing that Indian musicians don’t have to abandon their heritage to succeed globally.
Yes, we would have loved to see more wins. But what matters is being in the conversation. Our artists were on the world’s biggest musical stage, and the arena erupted every time their names were read.
Each nomination builds momentum. Every artist who takes the stage makes it easier for the next one to follow. The best days for Indian music at the Grammys aren’t behind us. They are re-unfolding as we speak.
Our eventual Grammy sweep isn’t a question of if, but when. The crescendo is building.