The interview which appears below, was originally published on Rahman Music Sheets in March 2025. ©The rights to this material are reserved to the owner. If you have any concerns or comments, please send an email to info@rahmaniac.com.
The legendary percussionist sits before an array of instruments, each one telling a story of three decades with A.R. Rahman. But before diving into musical memories, Sivamani reaches for something precious – a simple candle that holds extraordinary meaning.
Tell us about this special candle.
This candle was given by Rahman’s mom. She said, “Whenever you start your work, you light this, just pray, you’ll be blessed.” Now she’s blessing, she’s watching us. Amma, we miss you, we love you always. This candle I treasure always.
I’m just praying for this interview for Rahman. All the rhythms which I performed, all because of Rahman. I collected so many instruments around, and you are with us always.
Let’s start with “Ponniyin Selvan.” How did you create the rhythms for this epic?
PS1 and PS2 took Rahman almost 3 years to curate, conceptualize and create the sound for this blockbuster. For the main theme, I created this groove using different rhythms and patterns, and then some pickups. There is a small little solo I did in that song. In PS2 also, Rahman was explaining to me what feel, what rhythm, and so we just created it with little chenda – I used Kerala instruments. This is the beat in 5/8.
There’s another song for Shiva prayer that we did for “Ponniyin Selvan.” Rahman especially loves these jingle bells. So in the background score, there is one scene where elephants walk, and you use these jingle bells. This pulse goes on the top, I start with my toms, low drums. In this groove, my voice-over – Rahman asked me to do some voice because there’s an elephant chase in that scene. So beautifully he balanced it, and then I used talking drum. He has given a solo on the talking drum on the top of the groove.
Your father initially didn’t want you playing drums. How did you practice?
My father, SM Anandan, was a Viswanathan-Ramamoorthy orchestra drummer. From childhood, I’d watch papa play drums. One day I saw him going out and I started playing the drums. When he came back and saw me, he was not at all happy because he said, “Go and study.” Maybe he had a dream – maybe he wanted me to become a doctor. Every parent has that thing. That’s why he didn’t allow me.
I used to get really frustrated – why is he not allowing me to play drums? Even if I bought some small drum for festival time, when he saw me playing, he’d hit my hand with a stick and say, “Go and study.” But God already decided I have to be in drums! So straight away I’d go to the kitchen and play. My mom used to help me, using all the vessels. That was my riyaz. But actually, for 9 months I was already practicing – listening to my mom’s heartbeat in her womb! She’s the one who supported me, giving all the spoons and big vessels. I used to play plastic buckets and all.
Is that why you can create music virtually out of anything?
Sound is everywhere, sir! I observe – even in shops they have big glass bottles, and I used to tune them. I used to play like a marimba. Sound is everywhere. For me, when I put rhythm into anything, music comes out.
When you were 12, your father sent you to the studio as his replacement. How did that unfold?
My father had an accident. Next day morning, there’s a background score happening with Viswanathan-Ramamoorthy sir and Pugazhendi sir. My father was admitted in the hospital. Dad said, “You go and play.” I went there because before, during holidays, I used to take food to the studio for my dad. So there I used to practice. All the composers knew my rhythm – they’d been observing.
When I said, “Appa’s in the hospital, he met with accident, so he sent me to play,” they immediately said, “Please come and play,” and blessed me. Then they told my father, “Anandan, bring your son along with you when you come to studio.” That’s where my life started.
What’s your fondest memory with your father?
I remember playing one concert with Rahman – all of us together, the Roots band. In the concert, the audience started shouting, “South Indian Billy Cobham! Billy Cobham!” Billy Cobham is my guru, a great drummer. My father came after the show, held me, and started crying. I said, “Appa, that’s your dream. I’m just doing that.” That’s beautiful. I have to always think of my dad, my guru.
Tell us about your relationship with SP Balasubrahmanyam.
My memories of my grandfather Balu sir – I was substitute for my father in Viswanathan-Ramamoorthy orchestra when he met with accident, and then I started continuing playing with them. One day we were doing a concert for a wedding. Viswanathan-Ramamoorthy orchestra were playing, my father was playing. Suddenly my father said, “For this Hindi song, you play, son.”
So Balu sir was singing that “Sholay” song – “Mehbooba Mehbooba.” I did a solo at the end of this song and Balu sir liked it. He said to my father, “Mr. Anand, I’m taking your son for my road shows.” That’s why I started at the age of 12. I left home, traveling every day – 29 concerts in the month, going different places. Balu sir showed the world to me and he’s my godfather. I learned a lot – how to respect others, kindness.
When I got my Padma Shri award announced, immediately I called the first person – Balu sir – and I said, “Anna, they announced my name,” and he was so happy, so blessed. He said, “You get more and more and more, and always my blessing, my dear.”
What was his final message to you?
June 2020, during the COVID lockdown – 4th June was Balu sir’s birthday. He sent me a message: “Shiva, don’t send any flowers and I don’t want to celebrate because so many musicians are suffering at this moment. I don’t want to celebrate my birthday.” So what I did, I called all my musician friends and everyone gave a small wish for Balu sir. I made a beautiful happy birthday video and sent it to him.
He saw that video and called the next day, June 4th and June 5th. I missed the two calls, and he sent a voice note. That voice note – that’s the one thing I have now, I treasure it. In that voice note, he was giving thanks: “Shiva, I cherish all those lovely moments and to all my lovely friends who have participated in this, I love you all and I wish you all the best always. God be with us always.”
Three months later, SP Balasubrahmanyam passed away. When he went to hospital, he put in the media that he’s going to rest. I called him immediately and said, “What is this video we saw? What happened to you? You stay at home and rest, you’ll be fine.” He said, “No, no, no. At home, COVID is there. I don’t want to spread to anyone. That’s why I’m going.” And that was it. But still his songs and his music are around here, and he lives with us. We love you, we miss you.
Let’s talk about “Rockstar.” How did you create the rhythms for “Nadaan Parindey”?
“Rockstar” was released in 2011, depicting the journey of a singer. The soundtrack generated hysterical response from critics and audience, calling it the album of 2011. When Rahman came in the studio, all instruments were set up, and he said, “Shiva, just come and listen to the song. I want some opening.” When I heard the song, it’s a lovely composition, and I said, “Opening, how we’ll do? We’ll do like rock bands – they just start like a rush!” So I started creating these grooves. All the melody is going in my mind, I’m just playing the grooves. This is the kind of grooves we did for “Rockstar.”
Tell us about your first meeting with Rahman when he was still known as Dilip.
I remember after studio work, papa and Shekar mama would work in RK Shekhar studio. One Sunday, my dad went and visited Shekar uncle’s home. There I saw a little boy playing organ, and that’s Mr. A.R. Rahman. That was my first look. Rahman used to come – at that time he was Dilip. Dilip used to come to RK Shekhar studio to play for some Malayalam movies, and I used to tell him, “Practice with me, practice with me!” That’s how we connected through our fathers’ friendship.
Even as a small child, he somehow saw his future in music. After his dad passed away, he had to drop out of school. It’s not easy. Both of us were good friends. What was the big challenge for Rahman at that age? He had lots of equipment they used to rent. Even I haven’t gone to school much. We used to discuss Berkeley College of Music those days, though we didn’t have enough finance to go there to study. But Rahman is a genius, and he focused on what he wants. Anything for Rahman, I am there for him in music. Anything, anything in music.
How was it working with him as a session musician in those early days?
When Rahman started working at that young age in RK Shekhar studio, I’d regularly see him. One day I saw T. Rajender and Rahman recording – if we weren’t there, the recording would be canceled. I’d meet Rahman regularly in the studios as he worked as a programmer for MSV sir. Then for Raja sir, one song he was programming, I remember for “Punnagai.” I was there in the studio with Raja sir, and I played that song.
Rahman worked with lots of music composers, and full-time he’d work in the studio. In the night, all the ad films he’d work whole night. Rahman was always fully focused on music and his computer. Food and everything would be there, but who goes to the studio room? It’s like an engineering room where he composes – no one’s allowed.
Amma would call me: “Shiva, he didn’t have his dinner. Please, slowly go to the studio. Tell him I’m hungry, I need to eat something, please come, we’ll have together.” So I’d pull him out to eat.
Tell us about the early days of the Roots band.
Today Rahman’s concerts are larger than life – they enthrall audiences across the globe – but the roots lie in very humble beginnings. The band Roots that Rahman started in the mid-80s. On the first floor we had a small room where we’d practice as Roots band – myself, Rahman, John Anthony, Jojo. Amma would keep food for us and we’d go and eat.
I remember Rahman got his first computer, then the black one, and then Roland 760 sampler – the first sampler. Amma got it for him. We started building that studio, a small studio. We’d work whole night, and all the wiring, everything we’d do. Even in Roots band when we were playing, very quietly – what an amazing programmer! We’d play for Shankar sir, and when foreigners came from abroad for shows, Roots band was amazing. Rahman’s programming was awesome – what a great band!
Let’s talk about “Dil Se” and the iconic “Chaiyya Chaiyya.”
“Dil Se” is one of the most globally acclaimed soundtracks by A.R. Rahman. Based on votes from 155 countries, BBC World Service rated “Chaiyya Chaiyya” amongst top 10 songs of all time. The film won two national awards and six Filmfare awards.
For the title song “Dil Se,” I used lots of elements with this darbuka. For “Chaiyya Chaiyya,” we used this talking drum – this is the main groove. In the hand solo, we used solo by hand playing, not drumstick. Rahman wanted something different, so we created this layered sound.
In “Satrangi Re,” I used this instrument called riq. These instruments we used lots of. In “Jiya Jale,” I used this instrument with lots of tambourine. Rahman also programs on top, adding more layers. When the final comes, we know which part. Sometimes he changes the sound – he’s a great editor. Working with him is a big honor.
How about “Rang De Basanti”?
“Rang De Basanti” was India’s official entry for the Oscars in 2007. In India it won four national awards, six Filmfare, and seven screen awards. Rahman swept all awards as best music director. I used this darbuka for Middle Eastern sounds – this kind of grooves with belly dance feel. That’s a typical bhangra sound – this is the groove we used, dhol and all. That’s another great hit song for concerts. We really enjoy playing it.
Tell us about “Lagaan.”
“Lagaan” was nominated for Oscars in 2002. Its music brought Rahman his third national award. “Lagaan” won eight national awards and eight Filmfare awards. The dazzling soundtrack continues to haunt – one wonders how Rahman crafted that perfect mix of grandeur and serenity.
In “Lagaan,” there’s one scene where I have to blow the conch. The temple scene – the low drum gives the message. There’s one pattern I used which I picked up in Karnataka. “Dollu Kunitha” they call that instrument – I used it for “Lagaan” because of the skin of that instrument. Different places I collect lots of instruments, and the first time I use them is always for Rahman. I really enjoyed my journey with Rahman from “Roja” till now.
Tell us about “Slumdog Millionaire” and your work on that Oscar-winning soundtrack.
“Slumdog Millionaire” announced Rahman’s arrival in global cinema. Produced on a shoestring budget of $15 million, it was originally set to be released on DVD, but distributors realized its potential. The plan was to first hype the film by releasing it in film festivals, then in US theaters on 25th December 2008. Less than two months later, on 22nd February 2009, “Slumdog Millionaire” won eight Oscars.
“O Saya” has an octapad solo in that song. In “O Saya,” Rahman opens the song with kind of train moments – that kind of journey element we brought with tom solos. Very interesting thing – we used the octapad.
Tell us about “Jodha Akbar” and the unique sounds you created.
“Jodha Akbar,” the third collaboration between Rahman and Ashutosh Gowariker, was a 16th century love story of Mughal Emperor Akbar and Rajput Princess Jodha. Rahman ensured stringent musical detailing in every note and rhythm, not only for songs but also for background music.
I like to tell the story of how Rahman and Ashutosh, in the studio, we recorded this. Rahman said, “This is a big carnival, big celebration, we need this groove.” So Rahman just played the song, and for that, I started like this with the big drums, huge gong drum, everything. There’s another pattern on top in the snare, in tabla.
We used different drums and snare and tabla. There’s one solo, very unique sound I used. There’s a sword fight scene, and Rahman said, “Shiva, we need one kind of sword sound.” I was thinking, how will we do this? Finally, I picked up my bamboo stick and created this sound. This was beautifully recorded for the scene where Aishwarya Rai and Hrithik have a sword fight kind of scene. This really captured very well, and we had great fun in the studio for “Jodha Akbar.”
There are lots of background scenes we played – big, important roles. When I hear it in the theater, wow, I was so proud playing for Rahman. He brought out whatever my talent was and put it together in this film. It’s amazing.
What do you want to say about your friendship with Rahman that spans over three decades?
Sivamani and Rahman – childhood friends. Watching action flicks on home video was a passion for both. It was an acquaintance that gradually turned into a strong bond of friendship. After his dad passed away, Rahman had to drop out of school. It’s not easy. Both of us were good friends, and it was a big challenge for Rahman at that age. He had lots of equipment they used to rent. Even I haven’t gone to school much. We used to discuss Berkeley College of Music, though we didn’t have enough finance to go there.
But Rahman is a genius, and he focused on what he wants. Anything for Rahman, I am there for him in music. Anything, anything in music. When I hear our music in theaters, wow, I feel so proud playing for Rahman. He brings out whatever talent I have and puts it together in films. It’s amazing. Rahman, you’re always great, we love you.
