AI is an ‘equaliser’ that benefits young creators, but unchecked adoption could hurt musicians: A.R. Rahman on Nikhil Kamath’s podcast

Music maestro A.R. Rahman views AI as an "equaliser" that benefits young creators who have "vision but not resources." However, he cautioned that unchecked AI adoption could negatively impact working musicians.

In a free-wheeling conversation with Zerodha co-founder Nikhil Kamath on the latest episode of the People by WTF podcast, the elusive musician also had a message for AI leaders: “Don’t make people lose jobs. Empower people to remove generational poverty.”

Rahman agreed with Kamath’s view that creativity becomes more valuable in an AI-driven world. A significant portion of the conversation revolved around AI—an area Kamath frequently explores with guests. Rahman agreed with Kamath’s view that creativity becomes more valuable in an AI-driven world.

Speaking about his upcoming project 'Secret Mountain', which blends human creativity with AI-driven workflows, he said: “We use the best of AI and we use the best of humans.” He explained that the project has been three years in the making. He sees it as a potential global IP originating in India, and an example of how technology and traditional music can co-exist to build new industries and jobs.

One of Rahman’s strongest arguments was for India to build world-class cultural spaces. “We don’t even have a proper symphony hall in India,” he said. He urged policymakers and private investors to prioritise immersive theatres, musical theatre venues, and state-run orchestras, arguing that India’s rising prosperity must translate into cultural access. “People go abroad and see Phantom of the Opera or Hans Zimmer… What about the person who can’t afford that? They also deserve to see it,” he said. Rahman believes such infrastructure is essential for nurturing India’s creative economy, tourism, and youth talent.

Responding to Kamath’s question on business opportunities in entertainment, Rahman encouraged young founders to “find the void” in areas like design, instruments, live experiences, and fashion. He also emphasised focussing on one’s own family and community: “If you look after your family, the world will take care of itself.”

The episode also delved into Rahman’s personal journey and offered strategic insights that speak directly to India’s fast-evolving creative and live entertainment industries—sectors increasingly attracting venture capital interest, tech-driven reinvention, and aspirational entrepreneurs.

He reflected on a childhood shaped by the early death of his father and growing up in recording studios rather than classrooms. Rahman said the “console became my classroom,” and shaped his worldview and eventually his signature global sound.

He credited his mother for steering him through economic and emotional instability: “She protected us…single-handedly brought us up and encouraged me to go into music.” Her resilience, he said, deeply influenced both his work ethic and his grounded lifestyle.

Kamath, calling himself a longtime admirer, asked Rahman when he felt his journey truly transformed. Rahman pointed to Roja, the 1992 Mani Ratnam film widely considered a watershed moment for Indian film music. “Roja changed everything,” he said, revealing that he was on the verge of stepping away from the film industry altogether. His father’s experience with the industry had made him cautious, even protective of his creative autonomy. He told Mani Ratnam at the time, “I don’t want to work with other people,” prompting Ratnam’s now-famous advice: “No, you should work with everyone.”

That decision—to expand his collaborations—shaped the next three decades of his career and helped Indian film music reach a global audience.

Despite international acclaim and significant wealth, Rahman said he intentionally maintains a simple lifestyle. Speaking about his early struggles, he recalled creating the music for Roja without enough money, “even for petrol.”

For Rahman, simplicity is not a constraint, but discipline: “Your lifestyle, even whether you have money or not, can be the same… And then it’s a fake pompousness.” This philosophy, he said, enables consistency—something he believes is key to long-term creative and financial success.

Rahman traced the evolution of Indian music over the past three decades, explaining that before Roja, mainstream film music followed traditional structures. His influences—spanning jazz, rock, Qawwali, Carnatic, and Hindustani—pushed him to reinvent. His ambition was clear: “Each Tamil song I do should go around the world. And it was planned.” This planning required time, he said, which is why he deliberately reduced output to rebuild Indian soundscapes with global production values.

Rahman also argued that Indian classical music has still not received its due and urged renewed emphasis on the guru-shishya tradition and long-term institutional investment. Reflecting on his Oscar and Golden Globe wins, Rahman said the glamour is largely perception. Attention grew gradually: “Nobody called me at first… then the Golden Globe… then the Oscar.”