In South Asian classical music certain ragas are traditionally associated with certain times of the day. Tonight’s programme of music at the Rose Hill is a special opportunity to experience late night ragas at their intended time. Starting at 11.15 pm and going on into the early hours of the morning, the music is awe-inspiring and imbued with the spirituality and romance of the hour.
Opening proceedings are Milad Yousofi on rubab, an Afghani double-chambered lute and Ariz Mahmoud on tabla. Yousofi underlines his lack of classical training but his playing is eloquent and measured. The pair trade phrases, with the tabla skittering surprisingly into fast-paced sections to become the focal point. Yousofi is talkative and affable between the pieces, encouraging an informal atmosphere for the evening. There’s a cross-cultural appreciation in the way he talks of Brighton and his plans to get a Network Railcard, he also plays a cheeky rendition of the Game of Thrones theme.
With the haunting Khayal vocals of Shishir Rao we’re in more traditional classical territory. Accompanied by harmonium, tabla and tanpura, the raga is explored to its full extremities. It’s long-form music which lets the Rose Hill audience, seated mostly on cushions on the floor, properly lock in. The singing style is hypnotic and endlessly inventive. The level of improvisational skill is astounding, at times soft and tender, at others reaching a passionate fever pitch. The tabla playing is sparse and trip-hoppy with soporific bassy wobbles, whilst the harmonium provides a constant meandering harmonic direction. We’re richly treated here to something that sounds meant for the dark hours.
By the time the final act plays, the audience has dwindled slightly meaning there’s space to recline on the floor on the cushions provided, and we’re offered blankets to truly get into late night mode. The Rose Hill remains the go-to venue for intimate performances and it’s perfect for a mehfil gathering like this. There’s even dhal for sale for anyone who needs some sustenance to power them through to the end.
Before the final performance, Jason Kalidas takes some time to give context to the music, talking about the raga as a type of language for improvisation, similar to how we use words in conversation. His playing on the bansuri flute is sensitive, full of expressive ornamentation and whispered devotion, accompanied by Harkiret Singh Bahra on tabla. It brings to a close an evening of intensive engagement with some complex, mesmeric playing.
Reviewed on 10 May 2025
