Beyond films, what independent projects are you working on?

When I create independent music, I have complete freedom. One of my singles, Nerame, was composed and produced by my boyfriend (Gichu Joy), who collaborates with me on most of my tracks. I co-wrote the lyrics with my friend Anoop. Another track, It Will Be Born, is done in a ‘light language’ style. I have also created several other songs that will be released in time. Seed of Life, an upcoming album, is in the works.

Performing live with my own original songs gives me immense joy — much more than singing covers, which I used to do. We are currently preparing for a show at The Grill Lab, Palarivattom, which will be a mix of ecstatic singing and dancing. I also teach music, both online and in one-to-one sessions.

Many of your songs focus on themes of female empowerment…

It just happens! The songs and films that come my way often seem to align with that theme. Aside from 1744 White Alto, most of my work revolves around women’s power.

For Ashubha Mangalakari, I suggested that my rap section should serve as a response to the Malayalam lyrics, rather than echoing the same sentiments. However, for Jhalakraani in Jaya Jaya Jaya Jaya He, the theme was already set. Likewise, the background score during Kalyani Priyadarshan’s fight scene in Antony naturally fits into that same narrative. I didn’t have to force it—it just made sense, given the context.