Keeping the tune alive: How Lucknow’s Gharanas continue to evolve through centuries

Behind the melodies infused with the rich musical traditions of Lucknow’s Gharanas lies a story of endurance, evolution and innovation. These Gharanas, some of which have flourished for over three centuries, have borne witness to the world’s transformation—from the dawn of the industrial revolution to the age of artificial intelligence.

On the occasion of World Music Day which falls on June 21, Khalifas and Ustads from Lucknow’s renowned Gharanas share the enduring journey for preserving and expanding these musical legacies: innovation rooted in tradition and global promotion without losing identity.

Ilmas Hussain, Khalifa of the Lucknow Tabla Gharana, said the Gharana is among the most prominent in the country. It is credited with influencing the creation of the Farrukhabad and Banaras Gharanas and is known for its unique style of playing the tabla using all ten fingers.

“The Gharana was established under the patronage of the Nawabs in the mid-18th century and has continued to evolve with the fast-changing world,” said Hussain. “In the age of rock and jazz, we have stayed rooted while branching out—collaborating with Flamenco, Uzbekistani, and Afghanistani music. These fresh approaches have helped us stay relevant and promote our Gharana globally.”

Ustad Gulshan Bharti, head of the Qawwal Bacchon Ka Gharana, said their music—deeply influenced by Sufism—has always focused on Swar (notes), Taal (rhythm) and Laya (tempo), making their Qawwalis both spiritual and engaging.

“We’ve constantly experimented with different musical forms, including classical, opera, and jazz. This rhythmic diversity keeps our music fresh, never monotonous,” said Bharti. “But our roots remain intact—we only add what enhances the essence.”

Irfan Muhammad Khan, khalifa of the Lucknow Shahjahanpur Sarod Gharana, remains committed to preserving the purity of classical forms. “Concerts and international tours have helped us sustain the legacy of the Gharana. When we travel, listeners deeply appreciate the authenticity we bring. Even my students are actively working to keep the tradition alive,” Khan said.

Prof Jayant Khot, president of the Uttar Pradesh Sangeet Natak Akademi and a member of the Gwalior Gharana, believes that the survival of Gharanas over the centuries lies in their ability to diversify musically.

“The Akademi is also doing its part to promote various Gharanas across the state through summer workshops. This helps cultivate a love for playing and listening to music, especially among children and the general public,” Khot said.

However, the picture isn’t entirely rosy. Siddiq Khan, the sole surviving Nakkara player from the Lucknow Nakkara Gharana, paints a more sobering view. “I’m trying to uphold the legacy of my forefathers,” he said. “But it’s disheartening when people don’t even know the difference between a Nakkara and a Nagada. Not many are coming forward to learn this art.”