When Tamannaah Bhatia dazzled in Aaj Ki Raat from Stree 2 (2024), it promised a resurgence of special dance numbers. The popular song also guaranteed something else — the breakthrough of a unique voice, Madhubanti Bagchi. Even though she had been singing Hindi film songs since 2019, it took Sachin-Jigar’s composition to mark her arrival. Now that she has reunited with the composers for Tum Mere Na Huye, a dance song in Thamma, mid-day speaks to her about new fame, fear of typecasting, and the challenge of having an unusual voice.
Excerpts from the interview.
Tum Mere Na Huye marks another collaboration with composers Sachin-Jigar. What was their brief for the song?
They wanted the song to be intimate yet cinematic, something that would not just complement the narrative of Thamma, but also stand strong as an individual piece of music. Sachin-Jigar added their signature depth to the composition, ensuring that every note had its own space to breathe. For me, the challenge and joy were to bring that vision alive vocally.
Your collaboration with them is turning out to be solid — first Aaj Ki Raat, now the Thamma song.
Working with Sachin-Jigar has always been a creatively fulfilling experience. Aaj Ki Raat gave us a chance to explore a high-energy, dynamic sound. With the Thamma track, we ventured into a space that is far more emotional. That contrast speaks volumes about their versatility. What I admire most is how they bring out the best in every singer. They know exactly how to guide you, yet give you the freedom to interpret and make the song your own. With them, it never feels transactional, it feels like a true collaboration.
Tamannaah Bhatia in ‘Aaj Ki Raat’; (right) A still from ‘ Thamma’
You’ve emerged as one of the most sought-after voices in Hindi cinema. How validating has it been to experience this rise?
It feels gratifying and quite humbling. Every singer dreams of their voice reaching millions, but when filmmakers and composers of such calibre trust you repeatedly, it becomes the highest form of validation. What excites me most is the diversity. I’ve lent my voice to some of the most popular leading ladies of today. To adapt my singing to bring alive their emotions on screen has been a challenge as well as a joy.
Your rise is also special because your voice is unconventional for Hindi playback. Was it difficult to get the big break?
It’s true that my voice is different from the usual palette in Hindi playback. Breaking in wasn’t instant, there were moments of doubt. But I always focused on staying true to my sound rather than fitting into a mould. What helped was finding the right collaborators — composers like Sachin-Jigar, Pritam da, and Amit Trivedi, and filmmakers like Sanjay Leela Bhansali, who were willing to experiment and give my voice space to tell the story authentically. Once that alignment happened, things started clicking. In the end, I feel fortunate that what initially seemed unconventional became my biggest strength.
Having voiced dance numbers one after another, do you fear getting typecast?
I’ve had several dance numbers, but each one has its own personality. At the same time, I actively seek out projects that challenge me vocally. I have sung in Heeramandi [2024] and Coke Studio. Rather than fearing typecasting, I focus on growth and experimentation.
Your singing influences in Hindi cinema?
Arijit Singh and Lata Mangeshkar
. Begum Akhtar for her depth and mastery in ghazals
. Lata Mangeshkar and Asha Bhosle for their range and timeless appeal
. Arijit Singh for redefining contemporary playback with his emotive singing
