Lyricist Raj Shekhar On Saaiyara, Sandeep Reddy Vanga, Bollywood's Struggles, Animal And Touching Lives (Exclusive)

Lyricist Raj Shekhar recently hit a major milestone — 100 songs — with Dharma Productions' Aap Jaisa Koi and YRF’s Saiyaara marking this landmark moment as he completes a decade in the industry. While Mila Tujhe is from Aap Jaisa Koi, Tum Ho Toh from Saiyaara has been adding to the movie’s craze.

Starting his journey from Tanu Weds Manu, his profile includes indie hits like Aise Kyun and Ishq Hai, to theatrical hits such as Pehle Bhi Main and Papa Meri Jaan from Ranbir Kapoor’s Animal. The common theme in his songs which can be noticed is that they're deeply felt, evocative, and emotional.

Raj opened up with The Free Press Journal about his journey, Saiyaara, Animal, and much more. Excerpts:

Q. You’ve hit a big milestone with Aap Jaisa Koi and Saaiyara — your 100th song, and that too with two major studios. What does this moment mean to you?

A. It’s overwhelming. I never counted the songs while writing them, but when I realised these two releases were taking me past the 100-mark... that too with Dharma and Yash Raj Films, it felt surreal. When I wrote my first film song back in 2011, I didn’t have a number in mind, I just wanted to tell stories in the most honest way I could. Hitting 100 with Saiyaara and Aap Jaisa Koi releasing almost simultaneously — and both with big studios — feels like a quiet affirmation from the universe. It's not about the number as much as the journey that brought me here — the people, the pauses, the near-misses, and the quiet victories. And a long way to go from here.

Q. It’s been over a decade since you entered the industry. Take us back — how did your journey into songwriting and Bollywood begin?

A. I came to Mumbai because of my friends. I had a theatre background and had worked as an assistant director. Writing was always there in my bones, but I never imagined it would be songwriting that’d give me a voice in the industry. Aanand L Rai gave me my first break with Tanu Weds Manu. In fact, he insisted that I write lyrics. That changed things. I owe it to him.

Q. Every creative path has its hurdles. What were some of the early struggles you faced?

A. One of the early challenges was to prove my voice — to find a space where my poetic expression could meet the demands of the industry. As a lyricist, you’re constantly learning how to write something that feels honest to you, yet speaks to millions. That balance takes time, and I’m still learning. After Tanu Weds Manu, things looked promising, but I was out of work for almost three years. It was a silent phase. I wrote for television during that time, just to keep going, to survive, and to stay connected to the act of writing. It was humbling. But I don’t look at those experiences with bitterness. They were part of the journey. They taught me patience, helped me understand the workings of this world, and slowly shaped my voice. I feel grateful that, despite the ups and downs, I’ve been able to keep writing and keep growing.

Q. Papa Meri Jaan struck a deep emotional chord with many. Was there a particular response or message that stayed with you?

A. Yes, there’s one moment I’ll never forget. I met a man in Abu Dhabi, from a neighbouring country. He came up to me, hugged me, and with tears in his eyes, said, “Thank you for writing Papa Meri Jaan.” He had lost his father to COVID and couldn’t be with him in his final moments. For years, he said, he had been numb... holding that pain in, not knowing how to process it. Then one day, while driving, the song played on the radio. He stopped the car and just cried. For hours. He said, “It was the first time I allowed myself to grieve. That song opened something in me. It was therapeutic.” That moment stayed with me. It reminded me that words can carry healing — that they matter in ways we often don’t realise while writing them.

Q. In your experience, does Sandeep Reddy Vanga have a strong instinct for poetry and lyrics?

A. Very much so. Sandeep sir has a sharp instinct for emotion. He knows exactly where a song should breathe, where it should burn, and where it should just hold stillness. With Papa Meri Jaan and Pehle Bhi Main, he gave me full freedom to write from the heart. That trust made all the difference.

Q. You grew up in Madhepura. Has that shaped your writing or voice as a lyricist in any way?

A. It’s the real India — and India is made up of hundreds of such small towns. Places like Madhepura don’t always find prominent space on the map, but they live deeply in people’s memories, emotions, and language. I often ask myself while writing... will someone sitting in a remote town connect with this line? Will it feel real to them? That inner question keeps me honest as a writer.