Talking about the ongoing debate around nepotism, Anand believes the music industry operates differently from films. “There isn’t as much nepotism in the music industry as there is in films, where actors’ children become actors. In music, it depends on talent. If a father sees that his child is talented, then he should definitely support them. Aulad ke liye faulad banna baap ka duty hai,” he says.
He also shares that both his children are gradually finding their place in the world of music. “My younger daughter is a singer, and my son is planning to launch his own music label. He tells me, ‘Dad, you’ve already created so many songs. You stay in your creative zone. Let me enter the strategic planning side and build the label.’ Both my children are entering music, directly or indirectly. They have those germs within them, and their ears are very sharp,” Anand explains.
For him, the larger conversation around nepotism often feels overstated. “If some parents take a risk because of putra moh or putri moh, that’s their personal choice. They’re doing it for their own children, and they absolutely should. Getting your parents’ support is like receiving support from nature itself,” he adds.
Having spent much of his career away from the spotlight, Anand admits that the landscape has changed significantly with the rise of social media. “When my songs became hits, there was no social media. Songs like Dil De Diya Hai are still heard today, but over time people forget, and that’s natural. Today, social media is everything. If there’s no noise around you, you’ll simply be ignored,” he says.
At the same time, he believes visibility alone is not enough. “People say, jo dikhta hai woh bikta hai, but I don’t completely agree. I believe jo dikhta hai woh tikta hai, aur jo tikta hai woh bikta hai. If you don’t stay in people’s minds, how will your work sell? But if the song itself isn’t strong, nothing will sustain. Your content has to be powerful,” he explains.
Reflecting on his early days, Anand says his biggest lessons came from watching films. “I used to bunk school and go to the cinema. I observed during which songs people stayed seated and during which songs they got up and left. Those observations became my first lessons. I never wanted to create a song during which people would leave their seats,” he recalls.
Though inspired by legends like Mohammed Rafi and Kishore Kumar, his own journey into Bollywood was far from easy. “I was probably the only Punjabi music director from Delhi working in Bollywood at that time. I started writing, composing and singing because I didn’t know anyone in Bombay. That fear became my biggest teacher, and slowly songs kept getting created with a bit of luck supporting me,” he says.
Speaking about contemporary lyricists, Anand expresses admiration for several names. “I really admire Jaani’s writing. He is excellent, whether it’s films or singles. Then there are Kumar paaji, Irshad Kamil and Amitabh Bhattacharya. These are extraordinary writers. Whenever the right project comes along, I would definitely like to collaborate with them. At this stage, I don’t want to write every song myself because writing is very difficult,” he shares.
With audiences rediscovering his work and celebrating his contributions, Anand says he is entering a new phase with renewed confidence. “My fear has completely disappeared. Through podcasts, media and friends, people have started rediscovering my work. Now I cannot afford to do ordinary work because expectations are high. I only pray to God to continue blessing me with good ideas so that I can serve people through my music,” he says.
And in his own words, “My time is still due. Everyone else has already taken my music, and my turn is still coming. Abhi mera maza baaki hai.”
