Daughter of legendary singer Anuradha Paudwal, singer-performer Kavita Paudwal is carving her own space while staying rooted in devotional music. After launching Kirtan Klub, she is now taking the format across India with an ambitious plan of 52 shows a year—blending devotion with a high-energy, community-driven experience. The journey kicks off in Mumbai on May 3, 6:30 pm at Ajiwasan Hall, Juhu.With over two decades of stage experience and training under Pandit Jialal Vasant and Suresh Wadkar, Kavita brings both legacy and a deep, lived connection to bhajans. In an exclusive chat with ETimes, she speaks about Kirtan Klub, her journey, growing up with Anuradha Paudwal, and the lasting inspiration of Asha Bhosle.

Your show ‘Kirtan Klub’ sounds like a very unique experience. Tell us about it. Is it a fusion between classical and western?

No, it’s classical music with some elements of western music. It’s different in the sense that, as the name suggests, it’s more traditional. These are songs that people sing a lot during festivals—that’s the key part of it.When we say “club,” we refer to that happy, free state of mind. The idea is to sing the same traditional songs but without restrictions—very open, very inclusive. These are songs that generations have sung. Everyone sings, everyone listens. We are trying to create a platform where everybody can sing and dance together.At the same time, we are very conscious about maintaining the sanctity. It’s like a family gathering—people of all ages, someone playing guitar, someone playing drums, someone adding a twist—but it still retains a certain purity. There is no alcohol or anything like that. It’s a space of joy, familiarity, and togetherness.

Can the audience also participate?

Of course. This is not a performance in the typical sense. It’s like a satsang. No one just sits and watches—everyone participates.If one person sings “Ganpati Bappa Morya,” it’s not the same as when everyone sings together. That collective energy is what we want. It’s interactive, immersive, and very community-driven.We also plan to share stories—about pilgrimages, festivals, and traditions across India. On the same day, different parts of the country celebrate different festivals, each with its own songs and language.For example, Diwali has its own language and context, Makar Sankranti has another—but the essence is celebration. So we’ll have Krishna bhajans, Radha bhajans, Shiva chants, mantras, Ganpati songs. We’re also bringing in multiple languages—Gujarati garba, Punjabi bhajans, and more. It’s all very vibrant and celebratory.

What kind of experience do you want people to take back?

I want people to feel warm and happy. For those 90 minutes or two hours, they shouldn’t think about anything else. They should just sing, dance, and be present.Today, people feel lonely. When you come into such an environment, you feel a sense of belonging. And when you are happy, you don’t judge anyone. That’s the feeling I want people to take back.It’s by invitation, but also open. The venue capacity is around 150 people, so we have to limit it. It’s first-come, first-served. If people come by around 4:30–5 pm, they are most welcome.

How did your musical journey begin?

It started in my childhood. Every day, we would gather for aarti. During festivals, especially those 10 days, we would wait eagerly—it would go on till 2–3 in the morning.That was my upbringing. A family that eats together, stays together, prays together, sings together—that’s how we grew up. Those are my earliest memories of kirtan.I started as a child artist. I sang for composers like Bappi Lahiri and Nadeem-Shravan. My father, Arun Paudwal, was an arranger with Bappi Da, so we were always around music. I was also training under Suresh ji.As a child, I got an opportunity to sing for a Mahesh Bhatt film Junoon featuring Rahul Roy and Pooja Bhatt. I didn’t even realise it was a big deal—I recorded the song and forgot about it. Months later, I found out it had been used in the film.

How did your career progress after that?

There was a gap because I was still in school. Later, in college, I did an album that became quite popular during the indie pop phase. After that, I started doing live shows and playback singing.I also got offers to host reality shows like Antakshari and Sa Re Ga Ma, but I refused one because it clashed with my B.Com exam.Eventually, I worked with composers like AR Rahman. Then I got an opportunity to move to the US.

How did that shape you?

My mother, Anuradha Paudwal, encouraged me. She said once you grow up, you must work and explore opportunities.I went for an unpaid internship initially, even worked with the United Nations. Then I got a job at a TV channel as a producer and writer. I was already writing scripts for devotional shows in India, so it came naturally.I later completed my Master’s from NYU. After that, I had the option to stay or return—and I chose to come back. I was very happy to come back.

Did being away affect your career in playback singing?

Yes, it did. When I came back, the industry had changed. Reality shows had taken over, and many new singers had already become popular.If you disappear even for a few days today, people notice. I was away for 4–5 years. People assumed I was still abroad. So yes, from a Bollywood point of view, it made a difference.Back then, I was gone for years. Even now, people sometimes tell me, “You were in the US, right?” I say, “No, I’ve been back for 15 years.”But overall, music and culture have always been a part of who I am.

Did you struggle to establish your own identity, especially being Anuradha Paudwal’s daughter?

That is definitely a challenge. When you come from a musical family, there is a lot of expectation. People recognise you, they respect you—but they also compare you.There is pressure. People may appreciate you initially because of your background, but that doesn’t last. If your work is good, they accept you. Otherwise, they don’t.In fact, I feel it’s more pressure than privilege. Because you have to constantly prove that you are not just someone’s daughter—you are your own artist. And that journey is not easy.

Does coming from a musical family make things easier in the industry?

Not really. It may help you get an entry, but after that, everything depends on your work.People may treat you with respect, but they won’t keep giving you work unless you prove yourself. That applies everywhere—not just films.Even in business or medicine, children grow up in that environment, so they naturally incline towards it. But when you enter the real world, you still have to prove yourself.

What kind of parent was Anuradha Paudwal?

When we were young, she was quite strict—just like most parents of that generation. My father was even stricter. Parenting back then meant discipline first, even though there was a lot of love.She didn’t express love in the way people do today—like going out often or doing big gestures—but she showed it in her own way. For example, she would bake cakes herself, decorate them, do the icing—that was her way of expressing affection.We were not allowed to do everything freely. School trips were sometimes denied, outings were restricted. That was normal for kids growing up in the 80s and 90s. There were rules—you had to study, you had to follow discipline.

What was it like growing up around her music?

A lot of my learning was completely unconscious. There’s a difference between sitting down and learning something and just constantly being around it.I would hear her riyaaz early in the morning—even in my sleep, her voice would reach me. That has a very deep impact on you.As I grew older, I began to understand her artistry—how technically strong she is, how beautifully she expresses certain lines, how precise her singing is. That appreciation came much later.

What values did she instill in you while growing up?

She was an extremely strong and positive person. At that time, things were very different. Today, it’s common for 17-year-olds to go abroad for studies, but back then it was rare—especially for girls.My father wasn’t around then, so she was raising me as a single parent. For her to take that decision—to send me alone to another country for 4–5 years—was incredibly courageous.She told me, “If you go and live independently, you will understand what you want to do in life.” That was a huge decision for a mother to make at that time.Because of that, I gained a level of confidence that I don’t think I would have gotten otherwise. I will always be very, very grateful to her for that.In our family, it was always important that a child should study, pursue one sport, and learn one art. For us, music was naturally that art because it was part of our everyday life.There was discipline, structure, and a strong grounding in values. But at the same time, there was a lot of positivity. She always maintained a very strong mindset.

What did you learn from legends like Asha Bhosle?

Asha Bhosle is a huge inspiration. She had every reason to limit herself. She could have easily said, ‘I am classically trained, I will not sing certain kinds of songs.’ But she never did that. Everything she sang—whether it was classical-based or something completely different—she did it beautifully. That kind of openness is very rare.I have met her, but from a distance. I’ve said namaste to her. My father Arun Paudwal was a sound arranger and had worked closely with people like Kishore Kumar, Lata ji and Asha ji. Back then, the industry was smaller—there were very good musicians, but not too many—so everybody knew everybody.One of the biggest things to learn from her life is that whatever is happening in your personal life should not affect your performance. In fact, sometimes challenges make your performance even stronger. If someone says, ‘My situation is not good, how can I perform?’—then you just look at her journey. It is so inspiring.She was still singing even at 92. That kind of passion and commitment is unbelievable. It is so, so inspiring. In interviews, she would say that she enjoys cooking for her family. Imagine—a legend of her stature finding joy in something so simple. That is the real greatness. That is how they were as people.Artists like Asha ji, Lata Mangeshkar or Mohammed Rafi never spoke about their struggles publicly or used them for sympathy. They never capitalised on difficult circumstances. Whatever challenges they had, they focused on their art and reached incredible heights through that. Today, many people highlight their struggles, but that generation didn’t do that. For me, the biggest learning is—just focus on your art and let your work speak.

Do you plan to return to playback singing?

Right now, I’m more excited about Kirtan Club because it connects deeply with who I am.Everything I’ve learned—my upbringing, my travels, my experiences—comes together here. For me, it’s not just about performing; it’s about creating a space where people feel joy and connection.If people go back feeling happy, even for those two hours, that’s enough for me.