'Repeating Old Ghazals Not Enough': Nisschal Zaveri on Hindustani Classical music and its Thread with Spring

Belonging to the iconic Tribhovandas Bhimji Zaveri (TBZ) family, whose entrepreneurial journey and the name gave Zaveri Bazaar its origin and existence in Mumbai, there must have been a lot of chords - musical chords - to meet for Nisschal Zaveri to find his calling in Hindustani Classical music. 

As the city's sky changes in synchronisation with the country from grey to pink or from winter to spring, the young Ghazal singer untangles how the season is deeply associated with music and poetry. Talking to Local Samosa, on the sidelines of his performance at the Kala Ghoda Arts Festival, he shares about his current project, 'Whispers of the Infinite', which explores romance, intimacy, silence, and emotional depth within the classical tradition, and also its association with Spring. Edited excerpts from the interview:

From Amir Khusrau's 'Sakal Ban' to Insha Allah Khan Insha's 'sad-barg gah dikhai hai gah arghawan basant', spring has poetically implied a transition from death to life, signifying rebirth. How do you see it?

Spring is hope. Spring is yellow. Spring is rebirth and reset. It is also deeply woven into our poetry. Lines like 'Maston pe ungliyan na uthao bahar mein' remind us how basant becomes a metaphor for joy, freedom, and renewal. For me, spring is a significant moment of the year, when emotions soften, possibilities return, and life begins again.

How have Hindustani classical music and gazals, specifically, contributed to the seasons' implied meaning, and how well do you think your current project contributes to the same?

In Hindustani music, ragas and raginis are deeply connected to nature. They are built around seasons, times of the day, and human moods. Our music has always mirrored the natural world; there are ragas for different seasons, like Bahar for basant and Miyan Malhar for the monsoons, among many others. This shows how closely Indian classical music is tied to the rhythms of life. Ghazals take this connection further by turning seasons into emotional expressions, spring for hope, renewal, and new beginnings. 

In that sense, I see 'Whispers of the Infinite – Spring Edit' as the beginning of my own musical year, much like spring itself. I am presenting my ghazals, along with new unreleased material, to the world with a fresh spirit. One of the pieces I will be performing is the ghazal “Yeh bahaar ka zamana, yeh haseen gulon ke saaye…”, a direct ode to spring and its beauty. 

As a Mumbai-based artist, who must have seen the Kala Ghoda Arts Festival start and emerge into such a popular arts and culture festival of the city, how does it feel to you to be performing there?

Performing at Kala Ghoda feels truly special. I have watched the festival grow into one of Mumbai’s most vibrant cultural platforms, and to present ghazals there is both an honour and a joy. It is a space where tradition meets contemporary audiences, and bringing my music to such a diverse and creative environment feels deeply meaningful.

Recently, we have observed an inclination among the younger audience towards Urdu, poetry, and ghazals; have you observed the same? If yes, what do you think are the key drivers?

I see a lot of younger audiences today, my generation and even younger, showing genuine curiosity about ghazals. Whenever I tell people I’m a ghazal singer, there is immediate excitement and interest. Recently, I met a 14-year-old girl at an event who spoke to me about Ghalib, Faiz, and Dagh with real enthusiasm. That shows how deeply the next generation is engaging with poetry. The audience in Mumbai is eager to learn more and understand the depths of Urdu poetry and ghazals. They may not know everything yet, but the desire is very much there.

In fact, social media has played a huge role in this revival. It unearths hidden gems, introducing listeners to poets and verses they never knew existed. People are not just consuming music anymore; they are seeking meaning, language, and depth. That curiosity and access to knowledge are the biggest drivers of this renewed interest.

Please share with us your learning experiences under Pt. Dayal Thakur of the Patiala Gharana, Pt. Shirish Shah, and Ustad Mubarak Ali Khan of the Kirana Gharana, and what have been the key learning that you can never forget. 

My musical education began at the age of six in Delhi under Vachaspati Mishra sir, who guided me all through my school years. During that time, I also learned guitar and piano from various academies, which gave me an early exposure to both Indian and Western music.  

After moving to Mumbai, I briefly studied with Ustad Mubarak Ali Khan saheb, and that period became my true introduction to classical music in the traditional guru–shishya parampara.
From Pt. Shirish Shah, who has been a constant guide and mentor, has an immense knowledge of ragas and music is extraordinary, and I can always turn to him for guidance on any raga or musical subject. My Guru Pt. Dayal Thakur awakened a deeper musical understanding within me. Along with music, he also taught me to be a person, with humility, discipline, and sincerity. That spirit of humility and lifelong learning is the greatest gift my gurus have given me.

The key learning I can never forget is this: always remain a student. Music is an ocean, keep drowning in it.

We are living in the times of a great inclination for international music, tunes, singers - a culture that one predominantly sees in the metro cities like Mumbai, with most of the concerts, events, and more centring around international artists; how do you think the time is like for Ghazals, Thumris and other nuances of the Hindustani classical culture in Mumbai?

I feel this is actually a very optimistic time for ghazals and Hindustani classical music. There is definitely space for organisers to take a leap of faith and promote more ghazal performances. Audiences today are ready and willing; it just needs more consistent platforms and opportunities.

My own experience proves this. The earlier 'Whispers of the Infinite' tour was a sold-out multi-city tour organised by my company, Tribhovandas Bhimji Zaveri Entertainment Private Limited. That success showed me clearly that there is a strong audience for ghazals when they are presented with sincerity and freshness.

At the same time, a lot depends on the artists. If we can deliver something new, create original compositions, and fearlessly present fresh material, audiences respond very positively. Simply repeating old ghazals or doing cover versions is not enough anymore. People want to hear new voices and new expressions within the tradition. So yes, international music may be visible, but there is a growing and genuine space for ghazals in Mumbai, and this is the right time to do more all over the world, not just in India.