Two years after the infamous Marakkuma Nenjam concert in Chennai collapsed into chaos, thousands of AR Rahman fans continue to wait for full refunds, despite assurances, interviews, public apologies, and even an email sent in Rahman’s name promising compensation and a “surprise.”

The September 2023 event, organised by ACTC Events at Adityaram Palace, became one of Tamil Nadu’s worst-managed large-scale shows. The fiasco left families stranded outside locked gates, thousands crushed in overcrowded entry points, and many who paid as much as ₹1 lakh for tickets unable to even enter the venue. Today, several attendees say that they have received only partial refunds or none at all.

A Crisis That Began With Overselling and Overcrowding

The controversy erupted when the venue, spread across only 5–6 acres, was used to host a crowd far beyond its capacity. While permission was granted for 25,000 attendees, ACTC claimed to have sold 36,000 tickets and issued 4,000 free passes. Public estimates suggested the numbers were far higher.

The venue itself could accommodate only around 7,000–8,000 people comfortably. Insufficient parking space, no clear entry or exit points, and a near-total absence of toilets, drinking water, or first-aid facilities compounded the crisis.

Video evidence later showed volunteers verbally abusing attendees and security personnel failing to manage the crowd. There were also reports of physical altercations and medical emergencies with no ambulances in sight.

Organisers Shift Blame, Issue Late Apology

Hemanth Raja, CEO of ACTC Events, appeared on Thanthi TV after widespread outrage but failed to provide clear answers. He denied overselling and instead alleged that duplicate tickets—particularly of complimentary passes—had caused the surge in attendees.

He also admitted that the company had aimed to “break attendance records,” seeking to push far beyond the approved limit.

While calling the event’s outcome “inconvenience,” he conceded that choosing the ECR location was a mistake. But his explanations did little to address the trauma felt by families, children, and elderly attendees who faced suffocation-level crowding and were forced to leave without witnessing the concert.

A Mass Email From Rahman, but No Meaningful Resolution

Following massive backlash, fans received a mass email signed in A.R. Rahman’s name, apologising for the distress caused and promising refunds along with an unspecified “surprise.” Many recipients, however, found the message impersonal, an automated template asking for bank details, tickets, and receipts.

Critics questioned why Rahman, who had gone live on Instagram to address the postponement of the earlier August concert, did not issue a similar personal message or video after the September disaster.

Two years later, fans report that the promised surprise never arrived, and refunds remain incomplete.

ACTC Promises Refunds After Outcry—but Delivery Remains Patchy, Even After 2 Years

As anger reached its peak in 2023, ACTC’s CEO posted a video stating:

• AR Rahman was “not to blame” and had only performed.
• ACTC bore full responsibility.
• Refunds would be issued to all who paid “in a proper manner.”

Yet multiple attendees say they have never received the compensation promised, and many state that ACTC has stopped responding altogether.

Two Years Later, the Pain Remains

For fans, the memory of the night remains vivid; hours spent in crowds without information, police turning them away despite valid tickets, children crying, and elderly attendees collapsing from heat and pressure.

And for thousands who still wait for accountability and their rightful refunds, the frustration continues.

Two years have passed since the fiasco and for many, all they have received is silence.

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The post Two Years Gone, AR Rahman Concert Ticketholders Who Went Through A Miserable Experience Wait For Their Refund appeared first on The Commune.

Music composer AR Rahman is facing online criticism after collaborating with choreographer Jani Master, whose real name is Sheikh Jani Basha, who was arrested last year in a case under the Protection of Children from Sexual Offences (POCSO) Act. The backlash erupted after Jani shared photos with Rahman and director Buchi Babu Sana from the sets of Ram Charan’s upcoming film “Peddi”, for which he choreographed the song “Chikiri Chikiri.”

On 9 November 2025, Jani Master posted the photos on social media, expressing gratitude to Rahman for the collaboration.

The post quickly went viral, prompting several users to question Rahman for associating with an individual accused of sexual harassment.

Internet users pointed out that Rahman had previously refrained from working with Tamil lyricist Vairamuthu, who faced multiple sexual harassment allegations during the #MeToo movement in 2018. Critics accused the composer of inconsistency, questioning why he would collaborate with Jani Master despite the pending case.

Others, however, defended Rahman, calling out what they described as selective outrage in the film industry, citing instances of other actors and directors working with figures accused of misconduct without facing similar criticism.

Jani Master, a prominent choreographer in the Telugu film industry, was arrested in September 2024 after an assistant choreographer accused him of sexually harassing her when she was still a minor. The complaint, filed in Goa, alleged that he harassed her during photoshoots and rehearsals and threatened her with violence if she spoke out.

Following his arrest, the Ministry of Information and Broadcasting suspended his National Award for Best Choreography for the song “Megham Karukkadha” from Dhanush’s “Thiruchitrambalam”. He was later released on bail and has since resumed work in the Telugu film industry.

(Source: India Today)

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The Chennai North District Consumer Disputes Redressal Commission has directed ACTC Events to pay ₹50,000 in compensation for the mismanagement of music composer A.R. Rahman’s ‘Marakkuma Nenjam’ concert, which was held in Chennai on 10 September 2023. The commission also ordered the company to pay ₹5,000 towards litigation costs.

The complaint was filed by K.R. Arjun, who had purchased a ‘diamond category’ ticket for the event, originally scheduled for August 12, 2023, but later postponed due to adverse weather conditions. In his petition, Arjun alleged that ACTC Events, along with ticketing partner Big Tree Entertainment and A.R. Rahman, had engaged in negligent and unfair practices. He claimed that the event was poorly organized, leading to significant hardship for attendees. Despite his premium ticket guaranteeing a parking spot, no such facility was available, forcing him to miss the concert.

ACTC Events, in its defense, stated that the August 12 concert had to be cancelled due to unexpected heavy rainfall and damage to the venue and equipment. The company claimed that the cancellation was communicated to ticket holders through social media and other channels.

However, the commission, comprising president D. Gopinath and members Kavitha Kannan and V. Ramamurthy, found the event management company negligent. The order noted that, given the scale and publicity of the concert, it was the organiser’s responsibility to inform participants well in advance to avoid inconvenience and potential safety risks.

“Cancelling the scheduled event on August 12 citing weather conditions at the last minute caused monetary loss, mental hardship, and suffering to the public. This amounts to clear negligence,” the commission said.

While ACTC Events was held accountable, the complaint against Big Tree Entertainment and A.R. Rahman was dismissed, with the commission stating that no substantive evidence of fault was found against them.

AR Rahman’s Marakkuma Nenjam Concert

AR Rahman’s Marakkuma Nenjam concert on 10 September 2023 in Chennai turned into a chaotic disaster and one that will remain an unforgettable nightmare for fans. They faced overcrowding, traffic jams, no parking, mismanagement, poor audio, and alleged molestation and missing children. Despite paying up to ₹10,000 per ticket, many were denied entry or sat in the wrong sections due to overselling. Stampede-like conditions, lack of volunteers, and safety lapses were widely reported. Fans demanded refunds and accountability from Rahman and ACTC Events. While organisers issued a mild apology, Rahman didn’t directly address the outrage, fuelling public anger over what many called a “scam” and traumatic experience.

(With inputs from The Hindu)

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Kollywood’s virtue-signaller AR Rahman, who remained completely silent on the horrific Pahalgam terror attack where innocent Hindu tourists were brutally killed has now found himself facing sharp backlash from netizens. Despite not having the courage to condemn the terrorist attack or acknowledge the victims, Rahman took to social media to preach vague messages of peace and love aimed at the Indian government after its decisive counter-terror strike.

On 7 May 2025, following the Indian Armed Forces’ precise retaliation against the Pakistani terrorists responsible for the attack, Rahman posted a cryptic message on X using just two emojis, “.” While likely intended to signal peace, the post was seen as tone-deaf and morally inconsistent especially given his complete silence on the massacre itself.

The backlash was swift and widespread, with users calling out his hypocrisy, ultimately forcing him to delete the post. Some of the netizens criticism given below

No.of. tweets on condemning Pak sponsored terror attack on Indian civilians = 0

When the Indian Army attacks Pakistan terror camps https://t.co/zrtH6Pflzs

— Balaji (@Balaji_Tweets_) May 7, 2025

AR Rahman didn't utter a word on Pahalgam terror attack by his Qaum. Today he is calling for peace.

Converts are more vile than the Original Muslims. pic.twitter.com/gFXh58Y7Wi

— BALA (@erbmjha) May 7, 2025

Not even spoke a word against the Pak sponsored tèrròr attack at Pahalgam.

But he chose to preach peace. Shameless. https://t.co/0mMmW4JxAb

— Soma Sundaram (@isomasundaram72) May 7, 2025

He was absolutely right https://t.co/9fEVA0AytA pic.twitter.com/aTnYjTEqBp

— Akshay Akki ಅಕ್ಷಯ್ (@FollowAkshay1) May 7, 2025

bro was silent during Pahalgam Terrorist Attack bt now wants peace

greens exposing themselves https://t.co/KN1B9fAKtN

— Ajju (@itss_ajju) May 7, 2025

If you did not condemn #PahalgamTerroristAttack , you don’t have to right to preach peace when strikes back. https://t.co/Xecb1g26Qq

— Arvintha (@ArvinthaB) May 7, 2025

Converts are deshdrohis.

That's the tweet.
He didn't utter a word on #PahalgamTerrorAttack
Now asking for peace…

Shame on you @arrahman pic.twitter.com/UmcgSHUthj

— 𝙏𝙧𝙞𝙫𝙚𝙣𝙞 𝙋𝙖𝙖𝙩𝙞𝙡 𝙎త్రివేణి పాటిల్ (@Mani_Karnika06) May 7, 2025

எல்லாரும் கழுவி ஊத்துறாங்கனு கமெண்ட்ஸ் Off பண்ணிட்டான் https://t.co/FAGPlsKT7b pic.twitter.com/rP35eTW2D8

— ZekeRavi Official (@zeke_ravi) May 7, 2025

அன்பை விதைப்போம் Comment Section off செய்வோம்#OperationSindoor https://t.co/ZBZNgxEnuD pic.twitter.com/YeU8HGR207

— Bagavath Pratheep (@Bagavathprathee) May 7, 2025

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The Delhi High Court has directed renowned composer A.R. Rahman and the team behind Ponniyin Selvan 2 to deposit ₹2 crore with the court after a copyright infringement complaint involving the Junior Dagar brothers’ classical piece, Shiv Stuti. The legal dispute was initiated after Ustad Wasifuddin Dagar, a distinguished Dhrupad vocalist, accused Rahman of copying a traditional family composition to create the song Veera Raja Veera for the film.

In an interim order dated April 25, Justice Prathiba M Singh observed that, from the perspective of an average listener, Rahman’s composition bore not mere inspiration but substantial identity with the original Shiva Stuti — matching in its melodic structure, emotional tone, and overall auditory impression. The court found this to be a violation of the original creators’ rights and directed the filmmakers to insert a slide crediting Late Ustad N. Faiyazuddin Dagar and Late Ustad Zahiruddin Dagar, known as the Junior Dagar Brothers, across all OTT and online platforms where the film is available. The court further awarded ₹2 lakh towards legal costs to a family member of the late artists.

Ustad Wasifuddin Dagar alleged that Rahman had taken the entire composition without authorization, stating, “He took the entire composition and used it as he pleased.” According to Dagar’s students, efforts were made to contact Rahman, including an email sent to him. Though Rahman and Dagar eventually spoke briefly over the phone — a call that reportedly lasted only around 30 seconds after a three-minute wait — no resolution emerged from the conversation.

Madras Talkies, the production house behind Ponniyin Selvan, responded to the allegations by rejecting the plagiarism claims. Their legal team argued that Veera Raja Veera was not a direct copy of Shiva Stuti but based on a 13th-century composition attributed to Narayana Panditacharya. They dismissed the accusations as a “fishing expedition for monetary gain and publicity,” asserting that Shiva Stuti has been widely performed over time.

Adding to the controversy, Dagar’s students pointed out errors in the crediting process. Initially, the traditional Dhrupad lineage — the Dagarvani tradition — was not acknowledged in the description of the song and was only added approximately ten days later. Even then, the tradition was incorrectly spelled as “Dargavani” instead of “Dagarvani.”

Ustad Wasifuddin Dagar explained that the piece was composed by his father, Ustad Faiyazuddin Dagar, and uncle, Ustad Zahiruddin Dagar, in raga Adana, later known popularly as Shiva Stuti. The Dagar family belongs to the prestigious Dagar gharana, a lineage that traces its musical roots back over 20 generations to the 15th century and is recognized as a cornerstone of Hindustani classical music’s Dhrupad tradition.

Meanwhile, Shivam Bhardwaj, a disciple of Dagar credited in the supporting vocals of Veera Raja Veera, revealed that discussions regarding the song’s origin were already underway prior to the formal complaint. Arman Ali Dehlvi, another student involved in the Hindi version of the song, mentioned that he had suggested the use of raga Adana and demonstrated the traditional composition in Tarana style when Rahman sought ideas for a battle-themed song, to which Rahman reportedly responded positively and agreed to give credit to the Dagarvani tradition — though, as critics argue, the acknowledgment was poorly executed.

Anand, another disciple of Dagar, criticized Rahman’s handling of the situation, stating that while Rahman’s song amassed millions of views and substantial revenue, the original composition was marginalized, reduced to a mere footnote. He remarked, “Rahman excels in using ragas innovatively. So this brazen effort to copy-paste an entire bandish and pass it off as his doing is shocking. He’s just an arranger in this case.”

Initially, Wasifuddin Dagar contemplated creating a video to publicly highlight the similarities between the two pieces. However, he refrained after his family advised caution, warning him of the formidable influence wielded by powerful figures within the South Indian film industry.

(With input from NDTV and The Print)

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First, this movie needed to be made. Chhatrapati Sambhaji Maharaj was a Sanatani hero, a man who did not give up on his faith to save his life. What little I had heard of him earlier made him out, unfairly, to be a wastrel and not a patch on his illustrious father. That needs to be rewritten and disseminated to the upcoming generations.

Vicky Kaushal IS Sambhaji. He exudes that confidence and aura that one would expect from a king.

The man who really does steal the show is Akshaye Khanna, as Aurangzeb. If you didn’t know that he had played the role, you wouldn’t have figured it out. His transformation is stark and that brooding menace, malevolent, yet turning increasingly defeatist, is well done.

The costumes are well made and seem pretty authentic. The sarees worn by the women are gorgeous and, as my wife assures me, are reflective of those likely worn by Marathi women of that day and age with Benaras silks and Paithani sarees predominating.

Now for the bits that bothered me.

Every historical depiction I see on screen in India, I automatically compare to the serial from the 80s, Chanakya. And EVERY single one of them falls short, including this one.

The screenplay is very amateurish. The dialogues are stilted. The fights all appear the same after a while. The repeated screaming by Vicky Kaushal with closeups of his clenched jaws or wide-open mouth can only be appreciated so many times.

The characters all seem to be caricatures, barring Sambhaji and Aurangzeb, maybe. The guy who is seditious, is shown with nervous, shifty eyes. It seems more like theatre with the exaggerated facial contortions than cinema.

Continuity is another problem. The story spans a number of years, but you wouldn’t know it from looking at the actors. Rashmika Mandana looks pretty but never seems to age even as her kids miraculously seem to grow up, with Rajaram growing up to become a 7-8 year old. Even Shambhaji doesn’t seem to age during that time. These are simple issues, and I am not sure why our filmmakers do not pay attention to them.

And the music. Oh God, the music. Loud, jarring, insistent, incessant. Orchestral hits are great for key moments. But if the entirety of the music is a never-ending stream of clashing cymbals and loud brass sections, it gets very annoying. I just looked it up, and am stunned that the music director is AR Rahman. I mean, what????!!!!! It was as amateurish an attempt as me playing on the keyboards with the “orchestral hit” setting.

Actually, if anyone wants to make a historical film, please just give it to Ilaiyaraaja Ayya. He would have done a fabulous job. If you couldn’t him, then give it to Atul-Ajay.

ARR perhaps forgot that pauses are good. EVERY SINGLE scene has music. Whether it is Sambhaji or Aurangzeb or any other character speaking. They all appear unspeakably noble or unspeakably villainish and the music will beat you over the head to make sure that you understand who is depicting what aspect!

Overall, I expected better. I am glad the story has been told, and that people will now dig deeper to understand who Chatrapati Shambhaji was and about his courage and valour. For that I am grateful.

But just as a movie? Disappointed.

Arun Krishnan is the author of Battle of Vathapi: Nandi’s Charge.

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Chhatrapati Shivaji Maharaj is well-known across the country but there is very little that we Indians know about his son, Chhatrapati Sambhaji Maharaj. Not many Tamils know that Chhatrapati Sambhaji Maharaj, or Shambhu Raje as he was dearly addressed, played a great role in restoring the Nataraja idol to Chidambaram Temple. Displaced during the Bijapur Sultanate’s ransacking in 1648, the idol was hidden and temple rituals halted. Sambhaji, with his Guru Muthaiya Dikshitar and official Gopala Dadasi, retrieved and reinstalled the idol, renovating the temple. A Tamil verse on a copper plate commemorates this event, marking Nataraja’s return in the month of Karthigai after 37 years.

After Shivaji Raje, Sambhaji Raje holds a significant place in the hearts of Marathas. His history was never told the way it should have been – be it his burning thirst to fulfill his father’s dream of Hindavi Swarajya, the barbaric torture he faced at the hands of the tyrant Aurangzeb, or how he refused to convert in order to save himself while being tortured.

The Film

Chhava, the film starring Vicky Kaushal (of Uri and Sam Bahadur fame) in the titular role with Rashmika Mandanna playing Maharani Yeshobai offers a powerful performance – bringing to life the characters they are playing. Vicky Kaushal looks like a lion all through the film, he roars (a lot, yes) but that can be forgiven. In fact, every single cast in the film has done an amazing job and has elevated the film – so much so that people were seen leaving the theatres weeping. The film, while not so tight in its story, portrays the Marathas in a fabulous light – that they truly deserve. The fight scenes, the iconic guerilla tactics of the Marathas, and the legendary scene where Maharaj fights a lion, have been portrayed exceptionally well. The film also shows us a glimpse of how talented Shambhu Raje was – he speaks in English in one scene with a British officer and we also get to see how rich the empire was, the grand Rajyabhishek and how prosperous our country was in those days.

The story does not include too much about Shambu Raje’s life but given the time limit, the makers try to do as much justice as they can. Some of the negatives include the heavily Urduized dialogues, the lack of Maratha accent or dialogues in the film, and the fact that Aurangzeb praised Chhatrapati Shivaji Maharaj at the beginning of the film and does the same when Shambhu Raje passes – this bit particularly felt a bit off. There is history of Aurangzeb calling Shivaji Maharaj a “mountain rat“, but whether he praised him is kind of baffling. For a tyrant who found pleasure in killing and torturing people, no matter how great the enemy, would he have praised him? I think not. 

In the film, they also do not show much of the torture that was meted out to Shambhu Raje – the peeling of the skin, the beheading, the display of the head in public, the mutilation of the body and such. In my opinion, it was kept clean for family audiences and today’s generation of moviegoers are unable to stomach what had happened in the past.

The first half is a bit slow, and the real action starts in the second half. The film truly hit the core of the audience’s hearts the moment Shambu Raje and his camp came to know of the betrayal by his own relatives which leads to the Mughals catching them unprepared for war. The way Raje fights singlehandedly facing a thousand Mughal soldiers – that moment you see the real Sambhaji Maharaj, the way he fights on despite knowing he has been cornered, and his captivity and subsequent death are only moments away. You are left in awe of the hero that he was and the respect he deserves from us. From the time he is chained and brought in front of Aurangzeb till the last minute of the film where he is shown to die, is what takes the film to another level. Maharaj’s interactions with the Chandogamatya Kavi Kalash in the climax leave you with a lump in your throat.

Deplorable Music By A So-Called ‘Legend’

While Aurangzeb killed Shambhu Raje in real life, it was “legendary music composer” AR Rahman who killed the film and the majestic hero in reel. AR Rahman was the biggest misfit in the film, and he destroyed what could have been an epic that would have remained in public memory for a long time.

Rahman’s music for Chhaava was a shockingly below-average and out-of-tune soundtrack for a period film that deserved so much more. Rahman’s work here isn’t just disappointing; it’s downright pathetic, and it single-handedly kills the soul of what could have been a powerful historical epic.  

No Marathi Touch

Let’s start with the most glaring issue: the music feels completely disconnected from the Maratha culture and the 17th-century setting. For a film rooted in Maharashtra’s rich history, where was the regional flavor? There was absolutely no hint of traditional Marathi musical essence in any part of the film, maybe a Dhol Tasha in the passing just happened by mistake.

What we got to listen to was a bizarre mishmash of Arabic tunes, Middle Eastern beats, and jarring electronic elements that feel like they belong in a 2010s rom-com or a Spanish fiesta, not a period drama about Chhatrapati Sambhaji Maharaj. The background score is so out of place that it actively distracts from the film’s narrative, pulling you out of the experience every time an ill-fitting tune kicks in.  

Did the filmmakers not update AR Rahman that the film was about Sambhaji Maharaj and not Aurangzeb?

Why Does Rahman Even Sing?

Let’s take Aaya Re Toofan which was supposed to be a powerful, anthemic track to rally the spirit of Shambhu Raje and also the Maratha warriors. Instead, it feels like a half-baked attempt that lacks the punch and grandeur it needed. Rahman’s decision to sing the song himself is baffling, especially when someone like Sukhwinder Singh could have elevated it to another level. The song tries to tick Marathi music checkboxes but does so in the most forced and unconvincing way.

We are forced to compare this to Malhari from Bajirao Mastani, which effortlessly captured the Maratha spirit and became an instant classic. Aaya Re Toofan falls flat, and its inability to resonate with the audience is a testament to Rahman’s failure here.  

Then there’s Jaane Tu, a song that feels like it was plucked straight out of a mediocre rom-com with its piano crooning in the background. The tune is forgettable, the lyrics are uninspired, and even Arijit Singh’s voice can’t save it. This is supposed to be a moment where Maharani Yesubai (played by Rashmika Mandanna) worships the return of her warrior king, but the song lacks any emotional depth or cultural authenticity. It’s a far cry from the kind of music that should accompany such a poignant scene in a historical drama.  

And guess what, you even get to hear a rap song! Imagine being this disconnected to the soul of the film!

Mughal Movie Or Maratha Movie?

Rahman’s background score is equally atrocious. The moment Akshaye Khanna, playing Aurangzeb (he nailed the role beyond perfection), delivers his dialogue, you’re suddenly hit with a Middle Eastern tune that feels more suited to a desert caravan than a Maratha court. And then, out of nowhere, electronic elements creep in, completely ruining the mood. The sound design is so inconsistent and jarring that it takes away from the film’s otherwise well-executed action sequences and visuals. The war scenes, which should have been elevated by a rousing score, are instead undermined by Rahman’s insipid compositions.  

Moments that called for an upbeat, rousing BGM were instead met with sounds that felt completely out of place. The moment where Shambhu Raje sees the betrayers deserved another fitting BGM that would move audiences to tears and fury, but we hear nothing. The horror of the barbaric torture is not brought out well by the background score – it seems to fit a film on the Mughals, rather.

Could Someone Else Have Done A Better Job?

It’s baffling why the filmmakers didn’t opt for the sons of the soil, Ajay-Atul, who have repeatedly proven their mastery over Marathi music and larger-than-life soundscapes. Their work in films like Sairat and Natrang showcases their deep connection to Marathi culture, and they could have brought the authenticity and grandeur that Chhaava desperately needed. Even a bad film like Panipat, which had its flaws, managed to deliver memorable songs like Mann Mein Shiva that resonated with the audience. In contrast, Chhaava’s soundtrack is utterly forgettable.  

Lazy Attempt & Trashy Music

Rahman’s inability to capture the essence of the period is even more glaring when you consider the cultural richness of the source material. Rahman’s music fails to transport you to the 17th century. Instead, it feels like a lazy, half-hearted attempt that lacks proper historical research and cultural sensitivity. Rahman seems to fit in only with Mughal period films, middle Eastern origin/desert cult stories may be his forte. Being from the south, he has absolutely no inkling of what stature Shambhu Raje had, and his place in the hearts of the people – maybe Rahman must stick to his favourite Sufiyana style music.

Shameful

The film itself has its merits – brilliant performances, astounding cinematography, well-shot war sequences, costumes, etc. But all of this is overshadowed by Rahman’s disastrous music. For a composer of his stature, this is nothing short of shameful. Chhaava deserved better, and so did the audience.

A man who was the lion’s cub, a king who worked towards Hindavi Swarajya, the man who prayed for his stempmother’s wish to unseat him to come true, the man who refused to let out even a squeal of pain when tortured in the most heinous and barbaric methods, the man who refused to convert in order to save his life despite being skinned alive, the man who refused to give in to the most dastardly tyrant that ever lived – Chhatrapati Sambhaji Maharaj deserves greater respect and a magnificent portrayal and even more thunderous music to showcase his lived history – that AR Rahman utterly failed to do justice to, even by an inch or rather, a note.

A.R. Rahman’s lifeless, out-of-touch-with-reality compositions are the biggest disservice there ever was to the Maratha legacy and to Shambhu Maharaj and a slap in the face to anyone who expected better from a composer of his caliber. This isn’t just a disappointment; it’s a betrayal of the trust audiences have placed in Rahman over the years and for killing Shambhu Raje once again. 

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The post If Aurangzeb Killed Sambhaji In Real, AR Rahman Kills In Reel With His Trash Music appeared first on The Commune.

Coldplay’s recent performances in India, particularly their Ahmedabad concert on January 26th at the Narendra Modi Stadium, have proven to be a masterclass in event management. With over 2.5 lakh attendees, including 1.7 lakh visitors traveling from outside Gujarat, the British rock band’s Music of the Spheres world tour showcased India as a capable host for world-class events. Attendees praised the seamless experience, highlighting hassle-free roads, warm welcomes, and exceptional hospitality from autos to cabs, restaurants to street vendors, and hotels. Remarkably, not a single complaint about misbehavior, traffic issues, or mismanagement was reported over the two-day event.

Congratulations Ahmedabad, We Did It!

Kudos to Team @AhmedabadPolice , Narendra Modi Stadium Management, Team @coldplay and @bookmyshow for making it a memorable event!

We hosted an epic Cold Play concert, welcoming a record-breaking 2.5+ lakh visitors!
1.70 lakh+ visitors who… pic.twitter.com/s31sVDmQYg

— Harsh Sanghavi (@sanghaviharsh) January 26, 2025

In stark contrast, Diljit Dosanjh’s recent remarks about India’s inadequate concert infrastructure and AR Rahman’s disastrous Chennai show have come under scrutiny, fueling debate on the real challenges of live events in the country.

Coldplay’s Seamless Execution

The Ahmedabad concert, declared by Coldplay as their “biggest-ever concert,” featured dazzling lights, LED wristbands, and a meticulously designed stage. Chris Martin won hearts by addressing the crowd in Gujarati, saying, “Tame logo aaje bada sundar laago cho. Hu tamare shahar ma aavyo chu. Kem cho, Ahmedabad?” (You all look beautiful today. I’ve come to your city. How are you, Ahmedabad?).

The event’s execution was exemplary, with 3,800 police personnel and specialized National Security Guard contingents ensuring safety. Over 400 CCTV cameras provided 24/7 surveillance, and visitors enjoyed hassle-free experiences with smooth transportation, top-notch hospitality, and well-managed logistics.

Anand Mahindra shared aerial visuals of the packed stadium on social media, calling it a moment where “the world discovered that India is the new frontier of live entertainment.” Netizens echoed his sentiment, praising India’s capacity to host such large-scale events.

https://twitter.com/anandmahindra/status/1883441913040339193

COLDPLAY AHMEDABAD SHATTERS RECORDS

Biggest Coldplay show ever
3rd highest grossing show in Asia
Most attended music concert in Asia in 21st century (134k+ people)

The Narendra Modi Stadium pic.twitter.com/6Fuv52xVyd

— Johns (@JohnyBravo183) January 26, 2025

A Tight Slap To Diljit Dosanjh

Diljit Dosanjh had paused his December 14th Dil-Luminati concert in Chandigarh to criticize India’s infrastructure for live events, stating, “We don’t have the proper infrastructure for live shows here. Until then, I won’t be doing shows in India.” His comments have since drawn backlash, especially as Coldplay delivered an incident-free experience for one of the largest crowds ever hosted in India.

India does have infrastructure for live concerts @diljitdosanjh . Just hire a better team. https://t.co/0ehH6f7vZb

— Ayushh (@ayushh_it_is) January 26, 2025

AR Rahman’s Chennai Concert: The Father Of All Fiascos

The stark contrast between Coldplay’s seamless Ahmedabad show and AR Rahman’s chaotic Marakkuma Nenjam concert in Chennai further underscores the importance of professional event management. Rahman’s concert on 10 September 2023, was marred by overcrowding, mismanagement, and safety lapses. Fans faced hours-long traffic jams, insufficient parking, and chaotic crowd management despite holding expensive tickets. Many were even reportedly being denied entry.

Several fans recounted harrowing experiences, including stampedes, children separated from parents, women molested in the crowd, and a lack of basic amenities. Many left the venue fearing for their safety, with some even fainting due to suffocation. Fans described being stranded for hours, unable to enter the overcrowded venue, and feared for their safety as reports of stampedes, missing children, and molestation emerged.

The organizers, ACTC Events, issued a tepid apology, while Rahman faced criticism for his silence. Fans demanded refunds and accused the event of being a “scam,” citing a similar fiasco during his Coimbatore concert. This stands in stark contrast to Coldplay’s meticulous planning and execution, which ensured a safe and enjoyable experience for fans.

Coldplay’s concerts have proven that India is not only ready for world-class live entertainment but is also capable of hosting events that rival global standards. Artists like Diljit Dosanjh and AR Rahman may want to revisit their strategies and event partners, as the success of Coldplay’s Music of the Spheres tour serves as a shining example of what’s possible with proper planning and professionalism.

India is no longer just a market for live entertainment; it is the new frontier—one that demands and deserves excellence.

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The post Gujarat Shows How It’s Done: World-Class Management Of Coldplay’s 2.5 Lakh Attendee Concert Is A Tight Slap To The Likes Of Diljit Dosanjh & Dravida Model Simps Like AR Rahman appeared first on The Commune.

AR Rahman and Saira Banu have announced their decision to separate after nearly 30 years of marriage. The news was conveyed through a joint statement issued by Saira’s legal representative, Vandana Shah.

Rahman also shared the news on his X account, expressing that while they had hoped to celebrate their 30th anniversary together, circumstances led them in a different direction. Notably, he added a hashtag #ARRSairaaBreakUp to the said post. 

“We had hoped to reach the grand thirty, but all things, it seems, carry an unseen end. Even the throne of God might tremble at the weight of broken hearts. Yet, in this shattering, we seek meaning, though the pieces may not find their place again. To our friends, thank you for…

— A.R.Rahman (@arrahman) November 19, 2024

However, rumour mills started doling out all kinds of conspiracy theories. This led AR Rahman’s legal team to send out a statement to the “slanderers” warning them of legal action. 

Notice to all slanderers from ARR's Legal Team. pic.twitter.com/Nq3Eq6Su2x

— A.R.Rahman (@arrahman) November 23, 2024

Subsequently, Saira Banu also shared why she decided to separate – citing health challenges over the past few months as a key reason for needing a “break” from the renowned composer. In a voice message addressing the public, Saira requested everyone to refrain from spreading negativity about Rahman, describing him as “a gem of a person” and “the best man in the world.”

She said, “This is Saira Rahman here. I’m currently in Bombay. I’ve been physically unwell for the last couple of months. So that’s the reason I just wanted to take a break from AR, but I would request the entire YouTube YouTubers, the Tamil Media, please please do not say anything bad against him. He’s a gem of a person, the best man in the world. Yes, it’s it’s just because of, my health issues I had to leave Chennai because I knew if I’m not in Chennai, you people will wonder where Saira is. And I’ve come here to Bombay. I’m going ahead with my treatment, and this wouldn’t have been possible with AR’s busy schedule in Chennai, and I didn’t want to disturb anybody, neither my children nor him. But he’s an amazing human being. And all I would request is please just let him be the way he is. He is not linked with, I trust him with my life. That’s how much I love him, and that’s how much he does. So I kindly request you to stop all the false allegations against him, and God bless. And my sincere prayers that we are left alone and given space at this moment, not announced officially anything yet. I’ll be coming back to Chennai soon, but I have to complete my treatment and then come. Okay? So, I request you to kindly stop tarnishing his name, which is absolutely rubbish. And, like I said, he’s a gem of a person. Thank you.”

#EXCLUSIVE | “ஏ.ஆர்.ரஹ்மான் மீது அவதூறு பரப்பாதீர்கள். அவர் அற்புதமான மனிதர்”

விவாகரத்து குறித்து ஆடியோ வெளியிட்ட சாய்ரா பானு#SunNews | #ARRahman | #SairaBanu | #Divorce | @arrahman pic.twitter.com/6dELeAC5wX

— Sun News (@sunnewstamil) November 24, 2024

The couple, who got married in 1995, are parents to three children—daughters Khatija and Raheema, and son Ameen.

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The post “Physically Unwell, Needed A Break From AR”, Says AR Rahman’s Wife Saira Banu On Decision To Divorce appeared first on The Commune.

Indian music “maestro” and Oscar-winning composer AR Rahman, who recently revealed his separation from his wife, Saira Banu, after 29 years of marriage, became the target of intense online trolling. On 19 November 2024, the couple issued a joint statement announcing their split and requesting privacy during this time to the fans. However, Rahman faced criticism for including the hashtag ‘#arrsairaabreakup’ in his post, which he shared on his X account. While some fans expressed sympathy and support for Rahman, others took issue with the hashtag, sparking a wave of online backlash and trolling.

Rahman, through his official X account, shared a message stating, ““We had hoped to reach the grand thirty, but all things, it seems, carry an unseen end. Even the throne of God might tremble at the weight of broken hearts. Yet, in this shattering, we seek meaning, though the pieces may not find their place again. To our friends, thank you for your kindness and for respecting our privacy as we walk through this fragile chapter.”#arrsairaabreakup.”

“We had hoped to reach the grand thirty, but all things, it seems, carry an unseen end. Even the throne of God might tremble at the weight of broken hearts. Yet, in this shattering, we seek meaning, though the pieces may not find their place again. To our friends, thank you for…

— A.R.Rahman (@arrahman) November 19, 2024

The hashtag #arrsairaabreakup quickly became fodder for online trolling.

One netizen commented, “Who creates hashtag for this situation? Fire your admin, thalaiva .”

Who creates hashtag for this situation? Fire your admin, thalaiva

— Pristina (@pristinaoffl) November 19, 2024

Another user questioned, “Why a hashtag after this ? Are you out of your mind.”

Why a hashtag after this ? Are you out of your mind

— Anu Satheesh (@AnuSatheesh5) November 20, 2024

Another netizen ridiculed, “Hashtag ( #arrsairaabreakup ) for a divorce post .”

Hashtag ( #arrsairaabreakup ) for a divorce post

— Esha Srivastav (@EshaSanju15) November 19, 2024

Another netizen trolled, “ChatGPT and Hashtag ? admin .”

ChatGPT and Hashtag ? admin

— Kars  (@Kars0211) November 19, 2024

Another netizen suggested, “Thalaiva, you need a better PR, please get in touch with my brother @CricCrazyJohns.”

Thalaiva, you need a better PR, please get in touch with my brother @CricCrazyJohns

— Simp (@SimpTaangaran) November 19, 2024

Another netizen schooled him stating, “If you really want privacy, do not promote the hashtag #arrsairaabreakup… This is common sense… you know?”

If you really want privacy, do not promote the hashtag #arrsairaabreakup… This is common sense… you know?

— Anurag (@LekhakAnurag) November 20, 2024

Another netizen trolled, “Who was his last movies hero?? Its #Raayan with divorce star skeleton @dhanushkraja.”

His last movie hero yaaraa irukkum???
Ade #Raayan with divorce star elumbu kuudu @dhanushkraja gay thayooli kuude….
Deei elumbaa, ippedi elloreiyum divorce panne veikuratheiye veelei pundeiyaa vechirukiyaa daa echei baadu… pic.twitter.com/JBIGr4y2jX

— IronHeart (@IMan3082) November 19, 2024

இன்னும் இந்த செவுரு எத்தன பேர காவு வாங்க போகுதோ
GV
ARM @dhanushkraja echa bumda pic.twitter.com/iXieHZLgIP

— VICKY (@ItzvickySK__) November 19, 2024

One netizen mocked him for his subscription to Dravidian ideology, sharing a picture that promoted it with the caption, “Proud Dravidian da.”

Proud Dravidian da pic.twitter.com/qW2EiS3ebg

— Murali (@MuraliS27) November 19, 2024

Another netizen questioned, “Now your followers are expected to trend this hashtag? ”

Now your followers are expected to trend this hashtag?

— Ziddi Foodie Moody (@VivaciousStree) November 19, 2024

Another netizen reprimanded him, saying, “Inna lil lahi wa Inna alehi rajee oon. May Allah makes an easy for both of you. “Of all the lawful things, divorce is the most hated by Allah.”

Inna lil lahi wa Inna alehi rajee oon.
May Allah makes an easy for both of you.
“Of all the lawful things, divorce is the most hated by Allah.”

— Adv Rukhsana Sayed (@Umm_e_meerann) November 20, 2024

Another netizen ranted, “If you wanted privacy, why are you announcing it publicly for millions more people to see and know about it? Frankly, fewer and fewer people in India care about nautankis of two-faced shameless Bollywoodians.#BoycottBollywood” 

If you wanted privacy, why are you announcing it publicly for millions more people to see and know about it?

Frankly, fewer and fewer people in India care about nautankis of two-faced shameless Bollywoodians.#BoycottBollywood

— Dr Keyur Buch | Consultant Orthopedic Surgeon (@BestOrthoDr) November 20, 2024

Another netizen mocked, “Thanks for using the hashtag #arrsairaabreakupz. This will give you full privacy as per the new X-Privacy law.”

Thanks for using the hashtag #arrsairaabreakupz. This will give you full privacy as per the new X-Privacy law.

— Manas Muduli (@manas_muduli) November 20, 2024

Another netizen mocked him by stating, ““Wish you a good divorced life. And we respect your privacy as well.” #arrsairaabreakup.”

"Wish you a good divorced life. And we respect your privacy as well." #arrsairaabreakup

— Keh Ke Peheno (@coolfunnytshirt) November 20, 2024

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The post #ARRSairaaBreakUp: AR Rahman Uses Hashtag To Announce About His Own Divorce, Asks People To Respect Privacy appeared first on The Commune.