TRUST ME I KNOW WHAT I'm DOING

Hey, everybody. This is Aki Kumar, San Jose's king of the Bollywood blues sound, and you're listening to Trust Me, I Know What I'm Doing.
Yeah. My name is Abhay Dandekar, and I share conversations with talented and interesting individuals linked to the global Indian and South Asian community. It's informal and informative, adding insights to our evolving cultural expressions where each person can proudly say trust me, I know what I'm doing.

So periodically on Trust Me, I Know What I'm Doing, we share a spotlight conversation and feature brief chats with an individual from the community about a special topic or a unique endeavor. Now there are a lot of people who love Bollywood music, and there are certainly a lot of people who love American blues music. But what happens when these two worlds meet? And that's exactly what set the stage for a conversation I shared with Aki Kumar, a musician and singer who for over the past decade has been trying to ensure that the intersection of those two musical genres is a space that you need to pay attention to. Aki was born and raised in Mumbai and came to the US to study computer science.

Okay. That part isn't without a playbook or an actual blueprint, but with a passion for Indian music and a deep new embrace for American blues history and local blues performance, Aki set out to express himself by blending melodies from Hindi films and blues music, garnering a buzz for his performances everywhere, many, many local awards along the way, and the title of San Jose's King of Bollywood Blues. Now I have to tell you that I caught one of his shows here in the Bay Area. And from experiencing Akki on stage, his singing, his killer harmonica style, and his superb band, I could not have asked for a more entertaining way to both enjoy true Americana mixed with some soulful imaginations of Indian music. Now for me, this was all a pleasant surprise because I had made some natural assumptions about what Bollywood Blues might actually be.

And so as we began chatting, I asked him if he also had made assumptions about persona or expectations when it came to his unique brand of making music?

No. I didn't. I I approached this music from a very pure kind of angle. I like the music, and I wanted to consume more of it, and I wanted to somehow put my musical abilities to use where I could make some of that music.

So the whole stage persona, all of that other stuff, those kinds of factors and perspectives and variables, they only came in later. When I started out, it was really purely for the love of blues, and that still continues, and that's the best part about my connection to blues. Yeah. And I mean, in particularly for you, there's a lot of universality from being very specific. And in trying to not only share that blues music as a performer, as an artist, and yet also with the very unique background that you have.

Do you find that, especially for you, when you are thinking about the blues, when you're making music, when you're actually creating, you know, your art, is there indeed a universality that speaks to that even though your story is very, very specific and unique? Yeah. The the themes of that blues cover covers as a genre is no different, quite honestly, than a a a good song would cover. It's it's the themes are universal. They're about human emotions, human condition the human condition.

So when you speak of the human condition, that's as universal as it gets. And you could and and you you were at my show a few weeks ago, and we sang songs about heartbreak, we sang songs that were romantic, and that's really all there is to it. It appeals, it cuts through all demographics, and that has, to me, explained its longevity. This is why the blues will never die. The blues has been around, and it's gonna be around for a long time to come.

And, I mean, you're you're sort of a student in that way of the blues. I know you've brought this up in your shows, and I've heard you, speak in in this written about before. But as a student of the blues and as each show or each kind of iteration of this manifests itself for you, whether you're in the studio or whether you're up on stage, does does being a student lend itself to learning something new about the blues every single time you perform? And if, if that's the case, I mean, what it's practically, what practically are you learning about the blues on kind of a day to day basis? Oh, man.

That's a that's a that's a good one. Well, so let me first address the student part of it. I mean, it sounds academic when I say I'm a student. Some of it a lot of it is in the sense that there's no, you know, blues degree to be like, we're we're Desi, so we're all about Right. Yeah.

I was gonna say if there was a blues degree, man, that sign me up. That's great. If there was a blues degree that got you a visa, there'd be a lot more Indians doing the blues. That's right. I almost lost my visa wanting to do the blues, so it's all good.

Yeah. The the thing with with the student part of it is the blues is, again, it's a genre that's essentially fundamentally American. It's it's African American. It goes back. It's deeply tied to the very existence of this country, the the United States.

And so if you want to truly, you know, absorb the genre and and and be part of it, you kinda have to study that both musically, historically, and understand where it comes from and what it is, and it has such an incredibly rich recorded history. Since the inception of recording technology, the blues has been recorded. So you're looking at a 100 plus years of music making that has been made at the highest level by some of the greatest practitioners of this art form. So if you want to start in my and this is my approach and my philosophy. If you wanna start Yeah.

You have to dig in deep and you have to be a lifelong student because I haven't consumed even all the art, prior art that there is in this genre. So that's my approach to it. Then there is the student aspect where you're constantly evaluating your connection to it, and this could be at the macro level, you know, how the whole thing is going, how is your career going, how is your artistry being perceived. It can be at the micro level where every song, I think about a song that I've done today, and I go, well, how was I doing it 2 years ago? Right.

Am I putting more of myself into it? Am I getting hyper technical about this? Is it getting worse? Right. Those those those aspects.

Right. Right. So there's, you know, that's why when you asked me the question, it's it's a it's a much longer answer. We could talk about just that for for an hour. You know?

It's a 10. You're right. And I love how you, you know, break that into sort of like there's a background, there's a macro, there's a micro to it. And when you think about it, it sort of is a a proxy for any craft, any kind of thing that we do that we're a student of that we're constantly learning. In your case, I mean, how have your performances and creativity in making blues music, as a student, as someone who's studying the micro and the macro part of this, how they've also have they also been expressions in a way of your deciness?

Yeah. Well, you you were at the show, and you saw me do some really, what I consider, stock blues songs. I sat I was just, about to edit a video from that show of a a little Walter song that I love, one of the first little Walter songs that I learned. It was, I think, 1953. So this is going way back.

You know? Yeah. And, it was a slow blues number I did, called, like, I can't hold out much longer. I did that song wearing a a kurta. Yeah.

Yeah. Now this is Blue kurta. Yeah. A blue kurta. And this is the dasiness coming up.

Right? And I don't I don't wear a dhoti, but what I was wearing was kind of hinting at that. You know? And maybe I will wear a dhoti someday. Sure.

So first and foremost, you got this desi very obviously desi guy Yeah. Presenting a very traditional blues song, so there is that. And in my although I'm not a classically or Hindustani or Carnatic singer, I haven't been trained in that. You know, I'm just a guy who likes to sing. I have increasingly been adding a a few Indian inflections, a little daciness to the to the vocals as well.

Because one of the traps that most blues people fall into is trying to sound like the people they're trying to emulate, whose songs they're trying to cover. And this is not just blues. I think this happens in general. I think if you see the Bollywood genre, I think many singers that are even famous today started out trying to mimic. I believe, Kumar Sano, who's, you know, legendary nineties singer, was essentially a Kishore Kumar stylist when he started out.

Right. That happens. Right? You're so enamored. You're so much in love with this kind of you know?

So when I started, I was trying to make these sounds that were like Muddy Waters or Howling Wolf, except Yeah. Those guys have such unique voices, like, generationally unique. It took me a few years to realize no matter how many contortions and you you make, it's not gonna be that. So the ultimate the reality, the desi ness is my desi voice presenting this song that I really love, and that's really what I'm always headed towards, I think, and I hope, in in reflecting my desi ness. I'm trying to do the best with, of present my best desi ness, through this music.

Let me ask you this because in a way, you're someone whose art and career don't really have a reference point. Right? And in the same and and in the same way, let's take it off stage for a second. Because if you if you think about what you do, what you're doing, and I've been to it, a show of yours and I enjoyed it thoroughly, what lessons about yourself have you learned or or even have had to unlearn from taking this approach of letting your deciness speak for itself, getting up on stage and sort of just being yourself and yet performing an art form that, again, doesn't really have a frame of reference in the style that in a way you've created. There's, a lot of lessons.

Again, too too many lessons. One lesson, let me say, you know, when you say lessons and learn, sometimes it it it's it's like, oh, I used to think this, and now I think that. One of the the lessons I've learned is I I was kind of right in my approach at least in the sense that I feel good about my approach and have for a long time, and the the part where I invested heavily in the traditional traditional side of it or at least being in love with it and trying to understand the nuances of the way it has been done traditionally or presented traditionally, I think that has served me well. Because no matter what other kind of music I bring in to my performances, even if it's country or whatever, that little attachment I have musically to the blues world has always existed, and so most people that watch me perform, they very quickly realize that that's where I'm coming from. This is a blues Yeah.

Person or somebody that wants to really present this genre, truly that's that's performing in front of them. So that's a good lesson I learned is, hey, I I was just kind of right because I feel good about it, you know, and you really kinda wanna feel good about it. The other lesson that I've learned, and I keep learning this, is making assumptions about the audience. This is a tricky one, especially now that I have ventured for the last almost decade into the Bollywood Blues world, which is again, like I said, there's no point of reference. I just made this one up.

Right. So if you're if you're in Berkeley and you're presenting to a mixed audience, what do you start with? Do you start with a blues song? Do you start with an instrumental that's kinda neutral, that doesn't kinda hint this way or that? Do you start straight up with a Bollywood song?

Do you say, oh, no. Yours in a blues song, but it's mine in Hindi. Uh-huh. Or do you say, screw all that. Do I start with an old country, George Jones?

Right. Right. Right? Now I could sit here and hyper analyze it. I could look at the audience and go, okay, we're 60% this and 40% that.

I've just kind of the lesson I've learned over the years is to forget all of that and just go and do what I'm feeling Yeah. In that particular moment, And almost always, the audience just comes along because they're there for the ride. Yeah. And and what what would you say in that same way that, like, you know, a lesson you learned is not to necessarily assume and not to necessarily try and analyze and just kind of go with it and do what's in your heart because the blues is your anchor. Right?

I mean, that that's your kind of compass here. So in a way, for audiences, especially those who are are learning about this and they're they're kind of now getting to know this very creative, unique style that that you said you've you've created and and you're creating as you speak. What what are they most surprised by? Especially, you know, after they've experienced one of your shows. I mean, they come up to you and and they must tell you, like, hey.

We loved your show. And, you know, what what for them is probably do you think is is probably the most surprising or the the the moments that they might feel? The way in which me and not just me, my band, and you saw my band in action as well, and these are Yep. Stellar musicians. I'm I'm really proud to be associated with all of them.

The ease with which the band pivots and just goes from Mukesh or Mohammed Rafi Yeah. Straight into muddy waters, and there's not even a second's worth of hesitation, and it all musically works. That part is almost mind blowing to people because they've never never witnessed that. And the other thing that's surprising to Desi people, and this I chuckle about all the time because I'm from Mumbai. Hindi bol saktao.

I'm Marathi Balmoto. Yeah. I'm, you know, I'm Desi, Pakka Desi, born and raised in Mumbai. But I, I stand on this on these stages, and I'm singing Louisiana Blues, and they think and they assume I'm somebody that was born and raised here and kind of almost forced myself to learn these songs. I've had people, Desis, come up, watch a whole show, almost an hour of me singing in Hindi, come up and compliment me on my Hindi saying, well, it must have taken you a long time to get all this your accent right, and then I respond to them in Hindi that's better than theirs, and then they're shocked by what happened.

Right? So that those are the beautiful moments where you kind of you almost did like a a a magic trick and and blew the audience's mind without even really trying. And I think that's that's kinda, like, the fun part that people appreciate. No. Of course.

And and I think that's always, it's a great way to debunk myths, And it's another, you know, it's a surprise. And like you said, it's sort of a magical I like that word. It's a it's a magic moment for for many people. You know, I I thought about kind of how I reacted and and what my feelings were after after the show. And I was really, you know, quite amazed with that great fluidity between going from a a Bollywood song, a Mulghee song or Odafi song, straight into, you know, a very traditional, you know, blues song as well.

And in in that way, a lot of blues music is about yearning and sorrow or, you know, some kind of fiery anger, you know, and and those kinds of expressions. And so how does blues music for you make you in fact feel complete and whole and joyful and peaceful? You know, especially with themes that are are really not necessarily always about joy and peace. Yeah. Well, I think, just having the outlet and just having this conduit, this this way for you to channel those specific emotions you talk, which are not necessarily joy and peace.

Because if you are joyful and peaceful, you don't need an outlet. You're just feeling content. It's like you had a good meal, and then there's nothing else to do. You just take a nap. But if you're feeling a little agitated, there's something system turmoil, inner turmoil, 10 times out of 10, it's good to have a positive way to to vent.

Right? And I couldn't think of a better way of expression than music. And I think a lot of musicians, especially live performers, would agree with me that a lot of their just pure mental sanity is associated with with having this platform where they can express their deepest emotions. Sometimes even and often even through the words of somebody else, but you're still, you know, presenting a part of yourself through it, and so those emotions come out. If I'm singing a Slim Harpo song about lost love, maybe I'm singing about my lost love.

Who knows? Yeah. In the back of my head, and it really helps. It it it it keeps you emotionally it keeps I won't don't wanna speak for him, but it keeps me emotionally stable for most nights, and I I really appreciate that. Let me ask you something.

I feel like art is definitely an expression of our truths. And so when you're up on stage, I mean, 2 parts of this one. The first one is, does blues and particularly melding that with your background as a Desi artist, does that reflect sort of a mirror of who you are, or is it a window into something else that you're discovering? Well, it's both, I suppose. I mean, the the mirror part is is is true, and I'm trying to be as honest as I am when I'm on stage.

I hope you you felt that. You know? There I I I have I did. Over the years, I I've tried to take away any pretense, any even near, you're getting really the latest point whatever version of me on stage Right. And as as truly as I can present it.

It's not necessarily the complete picture at all times, so there's a window part. And some of that completeness, I'm still discovering within myself. Yes. So, you know, for instance, on the new, New New Year's Eve show, you didn't hear a lot of the political songs that I have. That that's not a site I presented.

That's a whole other aspect, and that has its own results and impact on the audience. That said, yes. It is it's it's a reflection of me, who I am in the moment, and and my journey, especially in this country and as a kind of a mixed culture person at this point, you know, like, I I can be pinned down. I mean, I'll always be Desi. Once you're Desi, you're Desi.

You're born and raised Indian. That's never going away. But what type of American, what level of American am I? That's always, in all That's the journey. That's the journey.

And that's always what's also being presented. Do you feel most at home on stage singing the blues? Or is it like a blend that you have to curate? Meaning, hey. Yes.

I just sang 4 blues hard, you know, traditional blues songs in a row. Man, I'm craving something, you know, Bollywood. Do do you feel like that at times? I mean, like, is is that gonna naturally happen? But in a way, is this new style or is this craft that you've created, is that is that what what's home for you?

It is home, but it doesn't mean that I don't just love to play 4 hours of straight blues, which I still do. Yeah. In fact, I just kind of just manufactured a new band very recently just so I could do that so that I don't have to have this pressure of performing this incredible array of subgenres as aki koa, and I wanted to kinda go back to just playing the blues that I kinda started out doing. So I have this other incarnation that that I'll be performing under here and there at at smaller clubs Mhmm. So that I can just do what you just described, just play 4 blues songs and then play 4 more blues songs.

Yeah. And and Yeah. That's really me on autopilot, basically speaking. That doesn't mean that any of this Bollywood music isn't natural to me because the songs, especially the ones you've heard, these were not sent to me as suggestions. I mean, they're all, you know, classics and people love them and they do request them, but the song selections are mine because they are near and dear to my heart, and so that is just as natural for me.

It's just that it's taken a little time to bring that into this blues space. I mean, it's a really bizarre thing if you think about it to have a bunch of American guys who never grew up on this music be so good at it. It's taken 10 years for me to work with these folks and even have them buy into it a little bit, and now they're fluent at it. So that's the only reason I I'd say that I don't just do a whole Bollywood show and and and go, oh, this is me in my natural state, because it's taken a lot more work to build up to that. The blues, everybody knows how to play it in this blues scene especially.

So if I find a a good blues fan, I'm playing blues. Yeah. No. And and I I love that in the sense that, like, you know, home doesn't have to always mean one thing, and, you know, it's a great way for you to also explore and and see other conduits that you mentioned. When I saw you perform, you were you were hearkening back on, you know, the first song you ever wrote and then also playing some new stuff and thinking about, you know, a forthcoming album, this year.

Tell me now and I'll try and get you out of here on this. Tell me, you know, what are you optimistic about? What are you hopeful for in 25? And what can some of your audiences kind of look forward to now as these expressions evolve as your journey continues? For me, personally, I am very I'm feeling very joyful about the the album that you mentioned, because it was recorded, engineered, mixed entirely in the garage behind me here at home.

And so, in a sense, it's kind of like a manifestation of this little tiny ambition I had during the pandemic years, being stuck in that garage, just not having the opportunity to perform live, where I learned how to do a little bit of audio engineering at home. This album has finally happened, and it's a it's really a blues album plus as opposed to the Bollywood albums of Bollywood blues albums I've put out put out in the past. So there is this feeling of, like, a completion, like, almost, you know, like, I've been waiting to do this, and it's done, so it should be out this year, and I'm I'm feeling very hopeful about that, and positive about that. And, I think generally speaking, without getting too specific, 2025 can feel like it's gonna be bleak, to many of us. But I I just get the sense, especially here in the Bay Area and in the arts community, that people are just, there's like a fire inside them, that has been lit.

And that's gonna be going strong and for a long time. So you're gonna see a lot of solidarity amongst the musicians and, especially in the blues community and the artistic community. And I've I'm looking forward to that. And then that's gonna get us all through the end of the year feeling good, I hope. So that's what I'm Dial.

Yeah. That's my hope. Yeah. No. Can't wait.

And, I mean, whether it's making people feel that fire and helping them live through your music and and sort of see themselves in that music, but then also feeling complete and really getting to experience your art. I'm sure they're gonna be very grateful for it. Aki, thank you so much for joining us. This was a real treat of a conversation, and we wish you all the best. Thank you.

Bye. Thank you. I had a great time. Thank you for having me. Thanks so much, Aki.

And please check out more about his music and upcoming shows all at akikumar.com. Remember, the city of Angels continues to recover from wildfires through community sport, love, and resilience. Please take a moment to consider donating to the American Red Cross, mutual aid, various GoFundMe efforts, Save the Children, and Baby to Baby. All of the appropriate links, of course, are in the show notes. Till next time.

I'm Abhay Dandekar