Sharreth
Sharreth (born Sujith Vasudevan I, 3 October 1969) is an Indian music director, composer, and playback singer renowned for his work in the Malayalam film industry, where he integrates classical music influences into film scores.[1][2] Born in Kollam, Kerala, he began his career in Chennai and has composed for films across multiple South Indian languages, including Malayalam, Tamil, and Telugu, over a span exceeding three decades.[2][3] Sharreth made his debut as a music director with the Malayalam film Kshanakkathu in 1990 and went on to score notable soundtracks for films such as Thirakkatha (2008), 180 (2011), and Ivan Megharoopan (2012).[4] His compositions for Thirakkatha earned him the Filmfare Award for Best Music Director – Malayalam in 2009, while Ivan Megharoopan secured the Kerala State Film Award for Best Music Director in 2012.[5][6] A trained Carnatic vocalist from a musical family, Sharreth has also excelled as a singer, receiving the inaugural Kerala State Film Award for Best Classical Playback Singer in 2010.[3][7] Beyond films, he has judged popular music reality shows and marked 35 years in the industry in 2025, continuing to perform and mentor emerging talents.[8][1]Early Life and Background
Childhood and Family
Sharreth, born Sujith Vasudevan on October 3, 1969, in Kollam, Kerala, India, grew up in a culturally rich environment steeped in the traditions of South Indian classical music.[9] He was the son of Vasudevan Achari, a Sales Tax Commissioner in Kollam who was deeply interested in music and frequently brought home collections of classical recordings, and Indiradevi, a trained singer who became his initial music guide and fostered his early interest in the arts.[9][10] The family's home in Kollam served as a constant hub of musical activity, influenced by Kerala's strong Carnatic music heritage, with his uncles—ardent enthusiasts of the genre—and brother Renjith Vasudev, who later became a music director and composer, further immersing the young Sujith in performances and discussions that shaped his foundational exposure to melody and rhythm.[9][11] From a tender age, Sharreth's childhood revolved around this familial and regional musical milieu, where he first experimented with composition and vocal practice amid the coastal town's vibrant artistic traditions. Later, as he entered the professional music scene, he adopted the stage name "Sharreth" without any specific rationale, having initially used his birth name for a few recordings.Education and Musical Influences
Sharreth received his early schooling in Kollam, Kerala, where he demonstrated a keen interest in music by winning a state award at the school youth festival. He expressed a strong dislike for formal studies, frequently skipping classes to immerse himself in musical pursuits, and ultimately discontinued his pre-degree college education in Kollam to relocate to Chennai and dedicate himself fully to music.[7] His musical education began informally at home, with his mother, Indiradevi, serving as his first guru after recognizing his talent at the age of two; the family's encouragement, including his father's collection of classical music records, provided early exposure to Carnatic forms and ragas. Sharreth underwent initial formal training in Carnatic classical music under the unconventional teacher B.A. Chidambaranath and, from the age of six, became a long-term disciple of the renowned Carnatic virtuoso M. Balamuralikrishna, training under him for over 20 years and developing proficiency as a Carnatic vocalist. He also acquired skills in keyboard playing through self-experimentation on the harmonium—where he composed his first song at six and a half by rearranging popular works—and later honed them professionally.[12][7] Sharreth's early artistic development was profoundly shaped by influences from Carnatic classical music, including ragas like Amritavarshini, which he first impressed Balamuralikrishna with as a child, as well as exposure to Malayalam film music through family listening. Key inspirations came from composers like Raveendran, whose melodic style he admired and under whom he worked as a favored keyboard programmer in his initial professional forays, blending classical elements with film traditions. He also drew from innovative figures such as Ilayaraja, whose reinterpretations of Carnatic kritis influenced Sharreth's own experimental approach to ragas and old songs.[12][8]Professional Career
Debut and Playback Singing
Sharreth entered the Malayalam film music industry as a playback singer in 1985 with the duet "Dum Dum Dum Swaramelam" from the film Onningu Vannengil, composed by Shyam and featuring K. S. Chithra as the female vocalist.[13] This debut track, penned by Poovachal Khader, marked his initial foray into professional singing, showcasing a youthful energy suited to the film's romantic narrative.[13] In the late 1980s, Sharreth contributed sporadically to playback singing, including the song "Premamennalenthu" from the 1986 film Ice Cream, where he performed solo under composer Cochin Haneefa.[14] By the early 1990s, prior to his prominent shift to composition, he lent his voice to notable tracks such as "Devasabhaathalam" from His Highness Abdullah (1990), a duet with K. S. Chithra composed by M. G. Radhakrishnan.[14] Another highlight was "Vaalinmel Poovum" from Pavithram (1994), again a collaboration with Chithra, which highlighted his melodic versatility in film contexts. Throughout the 1980s and 1990s, Sharreth collaborated with leading playback singers like K. S. Chithra and K. J. Yesudas, as well as composers including Shyam and M. G. Radhakrishnan, often in projects directed by filmmakers such as Mohan Segar for Onningu Vannengil.[13][14] These partnerships exposed him to diverse musical demands in Malayalam cinema, from light romantic duets to more structured melodies. Drawing from his classical training under figures like M. Balamuralikrishna, Sharreth's early singing style evolved to blend Carnatic elements with accessible film playback, evident in the intricate phrasing of tracks like "Dum Dum Dum Swaramelam," which incorporated subtle raga influences for emotional depth.[7] This fusion allowed him to adapt traditional techniques to cinematic needs, setting a foundation for his later recognition as a classical playback singer.[7]Film Music Composition
Sharreth transitioned to film music composition in the early 1990s, marking his debut as a composer with the Malayalam film Kshanakkathu (1990), where he crafted the soundtrack after establishing himself as a playback singer.[8][15] This assignment showcased his early ability to integrate melodic structures suitable for cinematic narratives, drawing from his prior vocal experience to inform song placements.[9] Throughout the 2000s and 2010s, Sharreth composed for several notable South Indian films, emphasizing innovative orchestration and raga-based melodies. In Thirakkatha (2008), his return to composition after a hiatus featured tracks like "Oduvil Oru Shonarekhayayi," which blended subtle Carnatic ragas with layered instrumentation to evoke the film's nostalgic tone, earning praise for its emotional depth and restraint.[9] For the bilingual 180 (2011), he delivered a soundtrack with experimental elements, such as the pulsating interludes in "Nyaayam" that fused ethnic rhythms with modern beats, creating a fresh sound that critics highlighted for its orchestration and thematic coherence despite the film's mixed box-office performance.[16] His work on Ivan Megharoopan (2012) stood out for tracks like "Kaanada'ish Vishukili," where he innovatively employed raga structures and orchestral swells to mirror the film's poetic rural setting, receiving acclaim for its thematic richness and classical infusions.[17][9] Sharreth's compositional style evolved through a fusion of Carnatic classical elements—such as ragas like Amritavarshini and techniques like Graha Bhedam—with contemporary film scoring, allowing him to create non-commercial yet accessible pieces that prioritize soulful melodies over formulaic patterns.[9] This approach is evident in his use of complex rhythms (e.g., 11:8 or 13:8 beats) and full visualizations of orchestration from the initial tune conception, as seen in enduring songs like "Sreeragamo" from Pavithram (1994).[8] By 2025, reflecting on three decades in the industry, he noted the influence of technology in enhancing production but cautioned against overreliance, stressing that true quality demands 95% human effort in performance and composition. As of 2025, Sharreth continues to work on new film projects in Malayalam and Tamil, maintaining his approach to each as if it were his first.[8][8] His soundtracks, particularly from Ivan Megharoopan and 180, have been critically received for their timeless appeal and innovative blend of tradition and modernity, with tracks continuing to resonate in music circles for their raga-driven emotional layering up to 2025.[17][16]Independent Projects and Other Roles
Beyond film scores, Sharreth has pursued independent music production, creating non-cinematic tracks that fuse classical traditions with modern sensibilities. His independent albums feature Carnatic krithis and instrumental pieces, exemplified by Carnatic Classical Concert (2022), where he performs vocal renditions accompanied by traditional instruments like violin, mridangam, and ghatam. In 2025, he released the Classical Moments series (Volumes 1 and 2), highlighting compositions such as "Siddhivinayakam Anisham" and "Evarre Ramaiyya," performed with ensembles including Thiruvizha Viju on violin and Nanjil A. R. Arul on mridangam, emphasizing his deep roots in Carnatic music.[18][19] Sharreth has composed numerous advertising jingles, which served as a crucial financial lifeline during periods of limited film opportunities, allowing him to hone concise, memorable melodies within strict time constraints of under 20 seconds. A representative example is the catchy "Mazha Mazha Kuda Kuda, Mazha Vannal Popy Kuda," which captured public attention through its playful rhythm and regional appeal. He has also provided background scores for non-film media, including documentaries and television, while taking on production roles for his own albums and select collaborative projects.[20][21] In recent years up to 2025, Sharreth has focused on devotional and regional music endeavors, singing bhakti songs like Ayyappa devotional tracks and Christian songs such as "Jeevitha Marubhooviloode." These projects reflect his versatility in spiritual genres, often blending classical influences with accessible melodies for regional audiences.[22][23]Awards and Recognitions
Major Film Awards
Sharreth received the Filmfare Award for Best Music Director – Malayalam in 2009 for his work on the film Thirakkatha (2008), directed by R. Sarath, where his score blended nostalgic melodies with contemporary rhythms to complement the film's tribute to Malayalam cinema's golden era.[5] In 2012, he was honored with the Kerala State Film Award for Best Music Director (announced as part of the 42nd Kerala State Film Awards) for Ivan Megharoopan (2012), a poetic drama directed by Ajmal, praised for its evocative fusion of folk and classical elements that captured the emotional depth of M. Mukundan's novel adaptation.[6] Sharreth became the inaugural recipient of the Kerala State Film Award for Best Classical Playback Singer in 2010 for his rendition of "Bhavayami Padumente" from Meghatheertham (2009), a 13-minute composition that he both composed and sang. The track blends three Carnatic ragas—Pantuvarali, Mohanam, and Suddha Dhanyasi—along with raga bhedas and sruti variations recorded in three sessions, showcasing his vocal prowess rooted in over two decades of training under Chidambaranath and M. Balamuralikrishna.[7]Additional Honors and Milestones
In 2025, Sharreth marked his 35-year milestone in the music industry, commemorating his debut composition for the film Kshanakkathu in 1990.[8] During interviews reflecting on this journey, he emphasized maintaining a fresh approach to each project, stating, “Whether it's ‘Kshanakkathu’ or my ongoing work, I approach each project as if it were my first. The tension, the confusion, the drive for perfection—everything feels the same!”[8] He highlighted his early role as a programmer for Raveendran Master on hits like Akashathamara Pole and his critique of the overreliance on technology in modern music production.[8] As a judge on music reality shows like Super Star in 2025, Sharreth has actively mentored emerging talents, expressing joy in guiding the next generation of musicians and contributing to the vitality of Malayalam music.[24] His enduring legacy in the Malayalam music scene, as reflected in his 2025 milestone discussions, lies in blending classical precision with film innovation, inspiring younger composers to prioritize originality and emotional depth over technological shortcuts.[8]Discography
Film Scores
Sharreth debuted as a film composer with the Malayalam movie Kshanakkathu in 1990, introducing a melodic style influenced by his Carnatic training under M. Balamuralikrishna.[2] His film scores typically feature 4-7 songs per project, blending classical ragas with romantic and folk genres, and often collaborate with lyricists like O. N. V. Kurup and singers including K. J. Yesudas and K. S. Chithra.[4] Over his career, he has composed for approximately 32 films, focusing on emotional depth and orchestral arrangements, with occasional forays into Tamil, Telugu, and Kannada cinema.[25] The following table catalogs his film compositions chronologically, highlighting key soundtrack features such as genres and notable collaborators. Sharreth occasionally provided playback vocals in his own scores, such as in Pavithram. No notable unreleased or partial scores were identified beyond standard background music contributions in listed projects.| Year | Film Title | Language | Key Features |
|---|---|---|---|
| 1990 | Kshanakkathu | Malayalam | Debut; romantic ballads; 5 songs; lyrics by O. N. V. Kurup; singers: K. J. Yesudas, Sujatha.[26] |
| 1994 | Pavithram | Malayalam | Classical-infused melodies; 6 songs; hit track "Sreeraagamo"; collaborators: K. J. Yesudas, Sharreth (vocal).[4] |
| 1994 | Rudraksham | Malayalam | Action-drama score; folk elements; 5 songs; singers: M. G. Sreekumar.[4] |
| 1994 | Sagaram Sakshi | Malayalam | Melodic romance; 4 songs; lyrics by Kaithapram.[4] |
| 1995 | Thacholi Varghese Chekavar | Malayalam | Martial arts theme; rhythmic tracks; 6 songs; singers: Sreenivas.[27] |
| 1998 | Daya | Malayalam | Emotional drama; subtle orchestration; 5 songs.[28] |
| 1999 | Devadasi | Malayalam | Devotional and romantic genres; 6 songs. |
| 2000 | Ayyappantamma Neyyappam Chuttu | Malayalam | Comedy; devotional songs; 6 songs. |
| 2000 | Cover Story | Malayalam | Thriller score; contemporary fusion; 5 songs; singers: Sujatha.[4] |
| 2003 | Magic Magic 3D | Tamil | Fantasy adventure; upbeat tracks; first Tamil project; 4 songs.[29] |
| 2008 | Thirakkatha | Malayalam | Biographical drama; nostalgic tunes; 7 songs; lyrics by Gireesh Puthenchery.[30] |
| 2009 | Meghatheertham | Malayalam | Spiritual themes; classical ragas; 5 songs; singers: Shankar Mahadevan.[31] |
| 2009 | Oru Pathirakolapathakathinte Katha | Malayalam | Satirical; co-composed with Bijibal; 4 songs.[32] |
| 2009 | Kalavaramaye Madilo | Telugu | Romantic drama; melodic score; 6 songs.[2] |
| 2010 | Kanyakumari Express | Malayalam | Road trip narrative; folk-rock fusion; 5 songs.[4] |
| 2011 | 180 | Tamil/Telugu | Horror-thriller; tense atmospheric score; 5 songs; critical acclaim.[33] |
| 2012 | Ivan Megharoopan | Malayalam | Artistic drama; folk and classical blend; 6 songs; notable for poetic lyrics.[33] |
| 2013 | Ente | Malayalam | Emotional family story; 5 songs; co-elements with Shanthanu Moitra.[34] |
| 2014 | Drushyam | Telugu | Suspense thriller; minimalistic score; 4 songs.[2] |
| 2015 | The Reporter | Malayalam | Investigative drama; rhythmic tracks; 6 songs; singers: Sharreth.[35] |
| 2017 | Hadiya | Malayalam | Romantic thriller; 5 songs.[34] |
| 2018 | Autorsha | Malayalam | Women-centric drama; introspective melodies; 4 songs.[4] |
| 2018 | Naa Nuvve | Telugu | Romantic; hit soundtrack; 6 songs.[2] |
| 2022 | Ente Mazha | Malayalam | Period drama; orchestral elements; 5 songs; co-composed with Rijosh Aluva.[34] |
| 2024 | DNA | Malayalam | Mystery thriller; contemporary score; 4 songs.[33] |