Anurag Kashyap Questions the Industry’s Music Valuation Practices, Targets T-Series
Renowned filmmaker Anurag Kashyap has made bold remarks against T-Series, India’s biggest music label, alleging that the company consistently undervalues music unless backed by major film stars. In a recent interview with The Juggernaut, Kashyap opened up about his long-standing frustrations, asserting that T-Series underpay music even when it comes to critically acclaimed soundtracks such as Dev D, Gulaal, and Gangs of Wasseypur.
Kashyap’s comments shed light on what many in the creative industry have quietly murmured: that music labels often reward commercial appeal over musical innovation. His latest critique comes at a time when conversations about artistic integrity versus profitability dominate the entertainment landscape.
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Music from Cult Films Like Dev D and Gangs of Wasseypur Received Meager Compensation from T-SeriesIn the interview, Kashyap directly named Bhushan Kumar, the head of T-Series, accusing the label of offering nominal amounts for the rights to now-iconic music. The director revealed that despite the long-standing cultural impact and commercial afterlife of albums like Dev D and Gangs of Wasseypur, the label was unwilling to invest adequately in their music.
He stated, “If Bhushan Kumar is not buying it, then it is good music. T-Series doesn’t buy good music at a good price.” Kashyap reiterated that T-Series underpay music if it does not come with big-name actors attached, suggesting that the label values star presence more than sound quality or creativity.
Kashyap Says Producers Had to Absorb Costs as T-Series Lacked Interest in Non-Mainstream Music
The filmmaker emphasized that it wasn’t the music label but the production studios that had to bear the cost of licensing the music for these films. Citing examples, he said that UTV, the producers behind Dev D, paid out of pocket because T-Series found the music unworthy of investment. “They don’t understand what’s good music,” Kashyap stated bluntly.
This practice, according to him, reveals a larger pattern where T-Series underpay music unless it fits a predefined formula of commercial music linked with high-budget, star-driven Bollywood projects.
Bombay Velvet Received the Highest Fee, But the Music Failed Commercially
Bombay Velvet Received the Highest Fee, But the Music Failed CommerciallyKashyap pointed out a glaring contrast in T-Series’ payment history by citing Bombay Velvet, a 2015 film starring Ranbir Kapoor and Anushka Sharma. According to him, T-Series paid the most for this film’s music, composed by Amit Trivedi and steeped in vintage jazz, a genre rarely explored in mainstream Bollywood.
Ironically, while the soundtrack of Bombay Velvet was musically rich and highly praised by critics, it did not resonate with mass audiences. “They paid the highest amount for Bombay Velvet, and it worked the least for them because nobody wanted to listen to jazz,” Kashyap commented.
This contradiction, he said, demonstrates that when T-Series underpay music, it often happens for work that later becomes artistically significant but lacks initial mass-market appeal.
Anurag Kashyap’s Critique Highlights Systemic Problems in India’s Music and Film Industries
By calling out T-Series publicly, Kashyap reignites an ongoing debate about how India’s entertainment industry prioritizes marketability over merit. His statement that T-Series underpay music when it doesn’t involve big stars underscores a wider industry pattern—where creativity is overlooked unless packaged with commercial viability.
This approach, Kashyap argues, discourages innovation. He believes that many unique, genre-defying compositions fail to receive the attention or financial backing they deserve simply because they don’t cater to formulaic expectations.
The Director’s Exit from Mumbai Reflects His Discomfort with Current Industry Trends
Kashyap, known for his gritty realism and anti-establishment views, recently relocated out of Mumbai. In interviews, he has expressed disillusionment with the current state of Bollywood, which he says is increasingly driven by algorithms and advertising metrics rather than storytelling or substance.
He explained that stepping away from the industry’s epicenter allowed him to breathe and reflect. “I needed to get out of that city. Everything there was about numbers, Instagram followers, and endorsements. I couldn’t breathe creatively anymore,” he said.
The belief that T-Series underpay music is just one symptom of a deeper issue: the commodification of every aspect of filmmaking, including music, which once played a pivotal storytelling role in Indian cinema.
Kashyap’s Comments May Encourage Artists to Reconsider How They Value Their Music
Kashyap’s strong stance could push composers, producers, and independent labels to reconsider how they approach music rights and licensing deals. If a label as powerful as T-Series can be called out for undervaluing influential music, smaller creators might feel empowered to stand their ground.
The director’s remarks may also prompt the audience to appreciate film soundtracks beyond star-driven appeal, encouraging a shift toward valuing musical quality and originality. Ultimately, his claim that T-Series underpay music invites deeper questions about the intersection of art, commerce, and cultural preservation in the Indian film industry.
Art Must Not Be Compromised for Commerce Alone
Anurag Kashyap’s outspoken nature continues to challenge industry norms. His accusation that T-Series underpay music for culturally significant works like Dev D and Gulaal calls for a re-evaluation of how music is priced, promoted, and preserved in Bollywood.
As his films gain continued recognition for their storytelling and sound design, his criticism reminds both creators and consumers to look beyond surface-level star power. In a time when profit often outweighs passion, his message is loud and clear: value the music for its substance, not just the face behind it.
