Acclaimed guitarist Prasanna recently concluded his exhilarating ‘One Man, One Guitar, Many Worlds’ tour, a seven-day musical odyssey that swept through cities like Bengaluru, Chennai, Dubai, Abu Dhabi, and Arunachal Pradesh, culminating in a memorable stop in Kochi. His performances were a vibrant tapestry, weaving together classical Carnatic compositions from Tyagaraja and Dikshitar with the soulful improvisations of jazz and blues, alongside popular tunes by Illaiyaraaja and original tracks from his own albums. A highlight of the tour included a powerful performance at the Ziro Festival, followed by a captivating 180-minute Carnatic recital that marked the golden jubilee celebrations of the Sree Poornathrayeesa Sangeetha Sabha in Tripunithura.
Prasanna’s musical path is a testament to unwavering dedication. A trailblazer in bringing Carnatic music to the guitar, his passion for the instrument ignited early. He honed his basic guitar skills as a child and soon found himself performing professionally with rock bands in Chennai even before finishing school. After graduating with a degree in Naval Architecture from IIT Madras, his musical aspirations led him to the prestigious Berklee College of Music in the U.S. There, he deepened his understanding of Carnatic music, first with six years of training under Tiruvarur S. Balasubramaniam, and then for over 25 years under the revered violin maestro A. Kanyakumari.
Through his unique approach, Prasanna infused his guitar playing with a distinctive flair, effortlessly blending the intricate melodies of Carnatic music with the raw energy of heavy metal and the rich soundscapes of Indian film scores, often performing all these genres simultaneously.
Taking a moment amidst sound checks before his Kochi concert, Prasanna generously shared insights into his extraordinary musical journey, reflecting on his experiences and philosophies:
You’re known as a guitarist, composer, and collaborator across various genres. Do these diverse roles truly define your identity?
“I primarily see myself as a cultural connector,” Prasanna explains, “with music serving as my essential medium. My ultimate aim is to foster unity through sound. There’s so much division in music, mirroring the fragmentation we see in the world around us, and I strive to bridge those gaps.”
How did the guitar become such an integral part of your identity?
“When I moved to the U.S. to study at Berklee College of Music, I encountered significant new challenges,” he recounts. “I arrived with only foundational music knowledge. Western classical and other genres demanded intensive formal study and rigorous discipline, making the transition far from easy. With over a thousand guitarists there, I had to carve out my own niche. This pushed me to master the complex subtleties of jazz and classical music, ultimately equipping myself with the unique tools needed to forge my distinct musical signature.”
Is it challenging to seamlessly navigate between so many different musical genres?
“For me, it’s no longer difficult,” Prasanna states. “My extensive years of learning, performing, and collaborating with exceptional artists have transformed into a profound strength. The mental ‘switch’ between genres only happens if you consciously dwell on it, and I actively choose not to. Instead, I simply immerse myself in the music and ‘live’ within each style.”
Having performed globally, do you believe audiences need to be ‘trained’ in the art of listening to appreciate complex music?
“Absolutely not,” he asserts. “I see that as entirely the artist’s responsibility — to captivate and educate the audience through exceptional performance. The entire onus rests squarely on the musician’s shoulders.”
What are your thoughts on the formal institutionalization of music education versus India’s traditional guru-shishya parampara (teacher-disciple tradition)?
“Carnatic music has traditionally flourished through the guru-shishya parampara, a system quite distinct from today’s institutionalized approach,” Prasanna observes. “However, genres like Western classical and jazz have long been taught in formal institutions abroad. I believe such institutions are crucial. When I sought a formal education in jazz, classical, or contemporary music, there was no equivalent in India. We boast top-tier institutions for countless other subjects, so why not for music?”
Do you think there’s a need to demystify the guru-shishya relationship, viewing the guru less as a divine figure and more as a human guide, and the shishya as a dedicated student rather than a devotee?
“This demystification needs to unfold organically,” Prasanna suggests. “For me, it has always felt more like a profound bond. My relationship with my guru, A. Kanyakumari, exemplifies this. Just recently, before a performance in Dubai, I instinctively felt the need to call her. She answered, and I sought her blessings, leading to a long conversation about music. My students in the U.S. greet me with a casual ‘Hi, Prasanna,’ and I’m never offended. Over time, people have overly mystified this concept, and I strive to keep it simple and clear.”
It’s often remarked that music is ‘caught’ rather than ‘taught.’ What’s your perspective on this?
“You simply cannot be spoon-fed in music,” Prasanna emphasizes. “When I began, it was basic guitar lessons, and from there, I had to propel myself forward. It was a cycle of intense learning, practicing (‘shredding’), and more learning. Persistence is key. For Carnatic music, it involved deep listening and imitating the intricate, human voice-like qualities. I approached jazz by immersing myself in the sounds of saxophone players. This kind of cross-learning is absolutely vital. A student must expand their horizons far beyond the direct teachings of their instructor.”
Is music truly beyond language, concerned primarily with the pure aesthetics of sound?
“Vocal music, by its nature, is intrinsically linked to language,” Prasanna clarifies. “However, if we focus solely on the aesthetics of sound, then instrumental music, to me, represents its purest form. I believe music itself is a fusion of art, science, and language. Art manifests in the spontaneous exposition of a composition, like a raga alapana or improvised solos. Science is evident in the meticulous process of structuring and arranging different musical elements. And while ‘language’ often implies grammar and syntax, when composed music is performed on an instrument, it transforms into a powerful, impactful non-verbal language. In that sense, it is indeed the purest expression.”
When does innovation take precedence over tradition in music?
“It’s entirely natural for musicians to encounter skepticism or ‘raised eyebrows’ when they venture into new or unconventional territory, moving away from tradition,” Prasanna acknowledges. “However, true innovation should emerge organically, rather than being forced. It doesn’t necessarily have to be radical to be impactful.”
Could you tell us about any upcoming projects?
“My tour schedule for 2026-27 is already largely planned,” he reveals. “Additionally, I have two new albums on the horizon: Blues for Saraswathy, which will be an exploration of pure Carnatic classical music, and Here is the Cure, a fusion project blending Carnatic and Western musical styles.”