Sadakat Aman Khan is a UK-based Indian classical musician, composer, educator, and innovator. Born in Malda, West Bengal, and raised in a deeply musical family, Sadakat began his journey with the harmonium under the guidance of his father and grandfather, both respected Hindustani classical vocalists. Over the years, he has shaped a distinct artistic identity, blending classical discipline with bold experimentation. Today he is internationally known as “Mr. Harmonium” and the founder of the genre Harmonium Metal.
In this conversation, Sadakat opens up about his journey, his instrument, the emotional world of Hindustani classical music, and what it means to push boundaries while staying rooted in tradition.
In this exclusive interview, Sadakat shares his journey, creative process, lessons learned, and what lies ahead.
Excerpt from the Interview
- Your childhood was steeped in music. Can you share a memory where a particular raag or melody became a defining moment for you as a musician?
Sadakat: [Smiles softly] Oh yes, I remember sitting with my grandfather as he played Raag Yaman one quiet evening. I was very young, maybe five or six, and I just couldn’t take my eyes off him. The music… it felt like it was breathing, like the room itself was alive. [Giggles] I didn’t fully understand it then, but I knew it was magic. That moment stayed with me and still shapes how I feel about every performance today. - When you perform for audiences unfamiliar with Indian classical music, how do you convey the emotion and story behind the raag?
Sadakat: I try to focus on feeling first. Even if someone doesn’t understand the technicalities, the rise and fall, the tension and release, it communicates something universal. Sometimes I explain a bit about the mood of the raag or its story, but honestly, most of the time I just let the music speak for itself. Watching people’s expressions, their smiles or tears, tells me they’ve understood. - How do you balance the discipline of tradition with the freedom of personal expression in your performances?
SAK: Discipline is the foundation. You can’t really play freely if you don’t know the rules and structure first. But once you have that, expression comes naturally. I see each performance as a conversation between the tradition I’ve inherited and the present moment I’m in. And sometimes, that dialogue surprises even me. - Has there ever been a time when experimenting with fusion or contemporary styles challenged your connection to classical roots? How did you reconcile it?
Sadakat: [Laughs softly] Oh yes, the first time I mixed harmonium with metal, I got so many questions! Some people were worried I was straying from tradition. But for me, it was about exploring how the music could speak in a new language. The soul of the raag stays the same, just the context changes. I think that’s how traditions survive—they evolve. - Many describe classical music as meditative or transformative. Have you ever experienced a performance or raag that profoundly changed your own emotional state?
Sadakat: [Smiles, looks away briefly] Absolutely. I remember a solo performance in London with Raag Bhairavi. By the end, I was completely immersed, lost track of time, and felt this incredible calm, like a weight had lifted. Music has this power to connect you to something bigger, something beyond yourself. It’s beautiful and humbling. - What is it about the harmonium that allows you to express emotions differently than other instruments?
Sadakat: [Laughs lightly] The harmonium feels like it breathes with you. It can whisper, cry, or soar, depending on how you touch it. It’s almost like singing through your fingers. Unlike other instruments, it allows continuous melodic exploration but stays warm and intimate. I think that’s why I’ve always been drawn to it. - Being part of a musical lineage comes with expectations. How do you honor your family’s legacy while carving your own path?
Sadakat: [Smiles warmly] I honor my family by really understanding their teachings and respecting their philosophy. But I also ask myself what I can bring personally. Every note I play carries the lessons of my grandfather and father, but also my own experiences. It’s about keeping the tradition alive while letting it breathe and grow. - If you could collaborate with any artist from a completely different musical tradition, past or present, who would it be and why?
Sadakat: Herbie Hancock. I’ve always admired how he blends jazz with emotion and improvisation. I’d love to see how Indian classical melodies could converse with jazz, to surprise both traditions and find something new in the meeting. - Touring internationally exposes you to diverse audiences and cultures. What is the most surprising lesson about human connection you’ve learned through music?
Sadakat: Music really is universal. [Smiles] I’ve played for audiences who didn’t speak a word of Hindi, and by the end, there’s laughter, tears, and nods of understanding. It reminds me that emotion doesn’t need translation. That shared feeling… it’s beautiful. - Where do you see Indian classical music evolving in the next decade, and what role do you hope to play in shaping that journey?
Sadakat: I think Indian classical music will become more global, accessible, and experimental while staying true to its philosophy. I want to help it reach younger audiences, inspire fusion projects, and bring it into new spaces without losing its soul. I want the harmonium to be seen not just as an Indian instrument, but as a voice that speaks universally.
