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Kaushik Dutta is a leading figure in India’s music ecosystem, known for bridging Indian creators with global platforms. As Founder & Director of MusiConnect India and President of MusiConnect Asia, he drives cross-border collaborations, artist mobility, and rights-based initiatives. A composer and cultural entrepreneur, he champions access and representation for diverse voices. Through his work, Kaushik connects India’s rich musical traditions with global audiences, shaping dialogues on artist empowerment and creative exchange.
In a detailed talk with IPRS, Kaushik Dutta dives deep into the world of music festivals, talent scouting, Soundscapes India, and the future of live music in India.
Here’s more…
Q. When did you get your first idea of conducting a Music Festival and what was the inspiration behind it?
A. In the early 1980s, I founded an organization called Song of Soul with the primary objective of supporting and promoting the folk, traditional, and indigenous musicians of West Bengal. Over time, the organization’s reach expanded to include artists from across India.
Through my work, I observed that in most mainstream concerts and cultural events, folk and traditional musicians were often overlooked. The reason, unfortunately, lay in their lack of exposure and the perceived “unpolished” nature of their performances when compared to urban or classically trained artists. This imbalance deeply concerned me.
To address this, I envisioned a platform where both urban musicians and folk and traditional artists could share the same stage — celebrating the full spectrum of musical expression. This vision gave birth to the Kolkata International Music Festival, which began around 2006 (perhaps a little earlier).
Since its inception, the festival has grown into a truly international event, featuring a diverse array of artists — from traditional musicians of rural India to acclaimed performers from around the world. It continues to serve as a bridge between cultures, traditions, and generations, staying true to the spirit of Song of Soul.
Q. Tell us about Soundscapes of India and your role in building this brand with IPRS?
A. Soundscapes of India is both a music market and a showcase music festival — designed as a B2B (business-to-business) platform that brings together bookers, festival directors, curators, and promoters from around the world to discover exceptional talent from India. At its core, the event provides a carefully curated space where selected artists and bands can perform live in front of these international delegates, opening up pathways for collaborations, bookings, and global exposure.
While such showcase festivals and music markets have been a part of the global music industry for almost three decades, India — despite its vast musical heritage and diverse talent — has long lacked a structured platform of this kind. Recognizing this gap, Soundscapes of India was conceived as a much-needed initiative to connect India’s independent, folk, and indigenous musicians with the international music network.
Unlike platforms focused on mainstream or commercial music, Soundscapes of India is dedicated to independent artists — those who represent the authentic, evolving sounds of contemporary India. The festival aims to provide international guests and delegates with an immersive experience of India’s musical richness — something that many global professionals have found difficult to access.
During my travels abroad, I’ve often been asked, “Where can we find independent Indian music? How do we discover artists beyond Bollywood?” India’s sheer size and diversity make it hard for outsiders to navigate its music scene, and even online searches often fail to reflect the real depth of talent here. These questions reaffirmed my belief that a curated, professional platform like Soundscapes of India was essential — not just as an event, but as a gateway for discovery.
Our objective is simple yet profound: to create global opportunities for independent Indian artists and help them reach the world stage. Beyond the festival itself, my work continues through active follow-ups with the international delegates who attend. I personally stay in touch with them after each edition — gathering their feedback, understanding which bands impressed them, and identifying artists who might need further development before entering the global circuit.
Because I have long-standing personal relationships with many of these international industry professionals, they share their honest views with me — insights that are invaluable. This ongoing dialogue helps us refine our curation, mentor artists, and prepare them for global visibility.
Soundscapes of India is, therefore, not just a festival — it’s a movement aimed at positioning India on the global music map, empowering its independent musicians, and giving the world a true taste of India’s vibrant, diverse soundscape.
Q. How do you pick the talent to feature for a festival like the Soundscapes of India which is now in its second year?
A. Identifying and bringing together talented musicians, artists, and bands from across India is a humongous task — one that requires both artistic sensitivity and a deep understanding of India’s vast and diverse musical landscape. As a musician with over four decades of experience, I’ve been fortunate to work on numerous international collaborations and to serve as a visiting tutor at two renowned music academies — one in Singapore and another in London. These experiences have given me a wide international perspective on music and performance standards, helping me recognize which artists are ready for global exposure and which ones have the potential to grow further.
However, Soundscapes of India is not just about showcasing the “best” bands in a technical sense. Our goal is also to provide the international delegates with a rich and authentic experience of the diverse musical traditions that thrive in India — from contemporary fusion acts to deeply rooted folk and indigenous performances. For example, this year we are featuring bands from Ladakh and the southern region of India, including a group called Uroopanar, who perform with traditional instruments that are 300–400 years old. Such acts may not necessarily be “market-ready” in the commercial sense, but their artistry reflects the cultural and historical depth of Indian music — something invaluable to preserve and present to the world.
Beyond performances, Soundscapes also places great emphasis on education and professional development. We host panel discussions, workshops, and mentoring sessions led by experts from around the world. These forums help artists gain a clearer understanding of the global music ecosystem — from networking and branding to touring and collaboration.
While some Indian musicians may initially approach this concept with hesitation, I believe that once they understand its potential, they realize that Soundscapes of India can truly change lives — opening doors to global stages and international collaborations that once seemed far beyond reach.
Q. How do you see Soundscapes of India growing in the coming years?
A. After successfully hosting the first edition of Soundscapes of India, I genuinely believe that this platform has the potential to thrive and endure. The response from the international delegation and the global music community has been overwhelmingly positive. Many industry professionals have recognized it as a much-needed initiative and have expressed keen interest in being part of future editions.
From a global perspective, Soundscapes of India has already begun to establish its reputation. The first edition created strong visibility in the international music circuit, and with the upcoming second edition, we are incorporating many new elements to make the experience even more engaging and impactful. There is a palpable sense of curiosity and excitement among international delegates who are eager to return and discover more of India’s independent music scene.
If we can continue to build on this momentum, I am confident that Soundscapes of India will soon emerge as one of the most significant and largest showcase music festivals in India, and perhaps the only one of its kind with such a strong international framework.
From a national perspective, I am aware that a few other events are also beginning to explore similar spaces within India. However, Soundscapes of India stands apart because of its distinct vision and objectives — it is not just an event, but a curated movement that bridges India’s independent, folk, and indigenous musicians with the global music industry.
With continued support from local governments, partners, and sponsors, and with sustained focus on our long-term vision, I am confident that Soundscapes of India will evolve into India’s foremost music market and showcase festival, representing the country’s vast musical diversity on the world stage.
Q. What is the seed-thought behind MusiConnect Asia? What kind of market vacuum were you filling apart from the passion you have for promoting musicians?
A. MusicConnect Asia is truly a dream project, and I must admit that without the support of my international colleagues and friends, it would have been impossible to bring it to life. From the very beginning, the vision behind MusicConnect Asia was twofold.
First, to build one of the largest and most comprehensive databases for the Asian music industry — a much-needed resource at this point in time. Second, to foster stronger connectivity among Asian countries, bridging the gaps that have long existed within our continent’s diverse music communities.
One of the biggest challenges we identified was the lack of logistical and collaborative coordination among festivals and artists across Asia. For instance, when a European band travels to Asia to perform at a festival, organizing a standalone show in one country can be costly and inefficient. However, if we can create a festival route — connecting several festivals in neighboring countries around the same time — both the bands and organizers benefit.
To achieve this, MusicConnect Asia has initiated a range of workshops, online meetings, and regional collaborations. Because coordinating across Asia’s many time zones is challenging, we have established a system of territory representatives — each responsible for collecting and sharing key information from their respective regions. This helps us stay connected and informed across 50 Asian countries.
At its heart, MusicConnect Asia is about building a strong, sustainable networking system that empowers the Asian music community. We are also working to connect with funding agencies that can help provide mobility grants and logistical support — crucial resources that often determine whether an artist can travel and perform abroad.
Ultimately, MusicConnect Asia is more than a network — it is a movement toward connection, sustainability, and solidarity among the musicians, festivals, and creative communities of Asia.
Q. Young organizers can learn much from you. What would be your advice for those wanting to start their own music festival?
A. Young organizers can certainly learn a great deal from my experiences of running festivals over the past four decades. However, times have changed — and with them, the mindset of audiences, the structure of festivals, and the expectations of artists. What worked for me in the past may not necessarily work today.
Organizing a festival is not merely about logistics or management — it’s about creating an experience. You must understand the essence of the art you are presenting, and most importantly, understand musicians — their emotions, their creative process, and their temperament.
Above all, you must have passion. Passion is the driving force behind any successful festival. Over the years, through organizing concerts, promoting artists, and curating festivals across India and beyond, I’ve gained a vast pool of experience, and I am always open to sharing what I’ve learned with those who are genuinely passionate about creating meaningful musical experiences.
Vibhav Rao