Bandish Bandits: How does Mahi’s rage, raga resonate change within ‘gharana’ culture?

As a trained singer and a devoted fan of classical compositions, I was eagerly anticipating the return of Bandish Bandits. After all, Season 1 had left me thoroughly enchanted with its captivating storytelling and mesmerizing renditions. Ritwik Bhowmik’s portrayal of Radhe was nothing short of spectacular, beautifully capturing the intricate relationships between him and his Panditji, as well as the incomplete love saga of Mohini and Digvijay. The show deftly explored the Gharana mentality, weaving it into the fabric of its narrative. On the other hand, while Tammana, played by Shreya Chaudhry, didn’t initially grab my attention in Season 1, I did not mind the dash of drama her character brought to the table.

However, what did not please me much about Season 2 is the shift of focus to Tammana’s emotional journey—her quest to reconnect with herself, her soul, and ultimately her music. The journey felt a little hollow and incomplete, sometimes even a tad bit lost at the risk of sounding snobbish. I must admit, the first episode didn’t quite strike a chord with me. But then came Mahi, and lo and behold, everything changed.

Now, this article may sound a tad biased (okay, maybe a lot), but Mahi’s character is a breath of fresh air that addresses an often-overlooked aspect of Gharana culture. For those uninitiated in this musical lineage, Gharana music is defined as a unique style characterized by its own interpretation and approach—think of it as a musical family tree where each branch has its own distinct flavor. In fact, the term “Gharana” itself comes from “Ghar,” meaning house, which makes sense since these musical lineages have historically served as centers of learning.

Traditionally, Gharanas have been quite exclusive—students are often chosen based on familial ties to the maestros themselves. It’s like an elite club where only those with the required connections can get in. Occasionally, a prodigious talent from outside might be accepted if they catch the eye (or ear) of a guru, but those are instances of rare gems being discovered.

But with time, some of these traditions have faded away and quite rightly so. The rigidity that once defined Gharanas is slowly giving way to inclusivity now. Yet the change has been too little and too slow. After all, these changes are required for the very survival of the Gharanas—a theme that is right at the center of this season.

While the guru-shishya (teacher-student) tradition remains at the core of Gharana culture, there’s a growing recognition that art must evolve to remain relevant. Mahi’s character embodies this shift; he represents the frustration and rage felt by many who see Gharanas clinging to outdated practices while art needs space to breathe and adapt.

In his brief appearances as the lead sitar player of Rage and Ragas (a name I thought was rather witty, expressive, and vastly ironic), Mahi’s backstory hints at a deeper narrative about betrayal and disillusionment with Gharana traditions. His character challenges the status quo by highlighting how these rigid practices risk pushing classical music towards irrelevance. As he poignantly points out, what Gharanas deem as “art” being sold is actually an opportunity for that same art to reach wider audiences.

Yet, amidst this rebellion against tradition, Mahi acknowledges the importance of his roots. The touching scene where Radhe’s family seeks his blessings before a performance underscores his respect for Gharana culture. While his earlier reference to Eklavya—the archetypal student who learned through his own devotion—indeed backfires on Mahi in this scene, the reference still stands true. The reference serves as a reminder that respect for tradition doesn’t have to stifle innovation.

By the end of it all, Mahi’s undisclosed history combined with his stellar sitar skills and brooding charm (or perhaps that was just Paresh Pahuja’s charisma) has completely won me over. I’m now fully invested in a spin-off focused on Mahi’s life—perhaps titled ‘Rage in Ragas.’ What do you think?