For two decades now, the Darbar Festival in London has been bringing together the East and West, North and South, Right and Left, Indic and Islamicate, postulant and pandit, connoisseur and curious, traditional and à la mode—and thereby shaping the Indian musical tradition in wholesome ways.

As Indians and NRIs scramble to purchase their tickets and passes for the upcoming Indian classical concert season in India, music lovers in London and Europe are celebrating 20 years of one of the world’s most prominent Indian classical festivals outside of India.

Indian classical music has been performed in the West since the 1960s, but the Darbar Festival is unique in that it aims to achieve what music festivals ideally should. It brings together unlikely performers, patrons, organisers, and listeners, while transmitting culture and tradition in an accessible and affordable manner. Thanks to a grant from the Arts Council England (ACE), Darbar can do so on an unmatched scale. The grant also enables Darbar to share high-quality recordings of the performances with viewers worldwide. This was my first time attending the festival in person, and I sought out what others had told me to expect: community engagement and audience participation, artist satisfaction, and organiser passion and professionalism. I found all that and more. I witnessed a story that empowered the stellar performance and popularisation of ragas and the coming together of various cultural streams over the past 20 years.

The Darbar Festival has been organised in Leicester, and more recently in London, annually since 2006. I specifically use the word organise to highlight the founder’s own description of himself: “a music activist". Sandeep Virdee, his brother Raju Virdee, and their team are very intentional in organising around music and culture. From selecting musicians to introducing them, from curating themes for panels and discussions to engagement with the Sikh and broader British-Indian community, the Darbar Team aims for positive social, professional, and musical impact.

For example, Sandeep convinced the parents of a promising 20-year-old sarangi player, who hailed from a lineage of great maestros, to allow their adolescent son, who had never left India, to perform at Darbar. Amaan Hussain of Bhopal was nearly moved to tears as he spoke about flying to London and video-calling his parents to assure them that he was eating and sleeping well, despite being so far away from home. The only reason for this painstaking effort seems to be Sandeep’s passion for promoting and nurturing the family’s musical legacy and the young man’s professional career. Several musicians confirmed that Sandeep was meticulous in scouting more accomplished musicians as well. He often attended three to four concerts to confirm musical talent and performance ethic before extending an invitation to Darbar. Similar examples can be given for Darbar’s engagement with non-profit organisations, which give back to communities in the United Kingdom and India through various initiatives. All of Darbar’s performances or activities are organised with purpose.

Sandeep’s intentionality is on full display in his treatment of the artists and the audience, especially when he introduces musicians or escorts them out of the green room and onto the stage. He is meticulous in a way that may seem odd to those who have only attended Hindustani and Carnatic concerts elsewhere. A majority of the artists and audience seem to approve of his deliberate approach. As one of the senior musicians said, “We feel heard and seen here. We feel that we, too, are appreciated—not just our music. Sandeep ji respects the art and the artist."

A younger female artist commended the organisers’ focus on safety and logistical support. “I was given three emergency contacts for safety during my visit to........

© News18