In a world where music often transcends barriers, Sonam Kalra stands out for her unique ability to weave together threads of diverse musical traditions. Her journey—from discovering music as a child to creating the globally acclaimed Sufi Gospel Project—embodies an artistic vision that is both inclusive and deeply personal. In this candid conversation, Sonam reflects on the roots of her passion, the philosophy that fuels her genre-bending compositions, and the creative process that shapes her work. She also shares insights into her evolving relationship with music, spirituality, and the pursuit of truth through her art.
The idea to merge these different genres, from gospel to Sufi.
The idea for The Sufi Gospel Project was born about 14 years ago when I was invited to sing Gospel music at the Urs, the birth celebration of the Sufi saint Inayat Khan in Nizamuddin, New Delhi. Before this, although I was trained in Indian classical music, I found myself drawn to Gospel music—especially the hymn “Amazing Grace”—because it brought me comfort during my mother’s battle with terminal cancer. I followed this calling, studied Gospel music in Singapore, and soon found myself performing it at festivals and concerts.
After many concerts, people often asked, “Why does a Sikh girl sing Gospel music—or Christian bhajans, as some put it?” My answer was simple: “God has no religion, and religion is not God.”
Two years later, singing Gospel music at Hazrat Inayat Khan’s Urs was a turning point for me. As a Sikh woman singing Gospel in an Islamic setting, I felt the universe guiding me. So, I worked to create something that celebrated this profound inclusivity. The Sufi Gospel Project was born—a way to unite faiths, redefine Sufism, and share its true essence through music.
What was your inspiration, and how has your journey been so far?
I was around four when my mother recognized my love for music. Our home was always alive with music—from Indian classical and ghazals to western classical, jazz, gospel, soul, R&B, pop, and rock. My mother was deeply passionate about music, and my fondest memories are of sitting on her lap, listening to legends like Begum Akhtar, Bhimsen Joshi, Frank Sinatra, and Ella Fitzgerald. Seeing the calm and joy on her face left an indelible mark on me.
I began learning music at four, but my true personal exploration started much later, after my mother was diagnosed with cancer. As Rumi says, “The wound is the place the light enters you,” and music became my solace and my voice. Looking back, I’m grateful for the journey that’s taken me around the world—from the Sydney Opera House and Cairo Opera House to MTV’s Coke Studio—collaborating with incredible artists and sharing the stage with legends like Abida Parveen ji. Creating The Sufi Gospel Project has let me explore Sufi poetry and promote inclusion through music. Awards like the Global Music Awards affirm that my music resonates, but what truly matters is staying true to the journey.
How does a song typically begin for you?
I find great power in words, so for me, it usually begins with the lyrics—the thoughts and stories behind them. I spend a lot of time with the lyrics, sometimes days or weeks, until a melody starts to take shape in my head. Once I have the basic melody, I begin to add nuances: instruments, additional lyrics, harmonies, alaaps, even moments of sarcasm, musical passages, and silences. I love layering these elements and weaving in subliminal messages, guiding the listener toward the emotion or message I want to convey. Every choice is deliberate. For instance, when I wanted to sing Faiz Sahab’s Hum Dekhenge, the gravitas of the words was so profound that I didn’t want to overshadow them with a traditional tabla or too much music. I wanted the words to breathe, to be seen and felt on their own. Instead of musical interludes, I chose to intersperse the singing with spoken word—reciting Rabindranath Tagore’s iconic poem Where the Mind is Without Fear. It turned out exactly how I envisioned it: a quiet yet powerful plea for peace and something musically unique.
How do you take care of your mental and emotional well-being?
I feel that music itself takes care of my emotional and mental well-being. Whenever I’m stressed—even if it’s about an upcoming performance or anything else music-related—it’s music that helps me find calm. Just an hour of Riyaaz can make me feel so much better. For me, music is both meditation and worship, and it soothes my heart and soul like nothing else. When my travel and performance schedule gets intense, I’m very careful not to overstrain my voice. I avoid loud places and pay close attention to what I eat, making sure I can keep my voice healthy and strong.
What’s your creative zone, and how do you stay productive?
I need silence to create, to hear the music and ideas that take shape in my mind. For much of my life, I worked best at night. But now, with babies in my life, that’s changed—I work during the day when they’re at school, and still sometimes late at night when the world is asleep. Really, I create whenever I can find a moment of silence. I also love to create on long flights, when there are absolutely no distractions.
What keeps you grounded or fuels your creativity?
In addition to my daily riyaaz, which I do consistently, I make it a point to write down all my ideas—whether in the notes app on my phone or in a physical notebook. This habit helps me find clarity. As for staying grounded, I see music as a form of worship, as Ibaadat. I believe this gift of music has been granted to me, and I treat it with the utmost respect. My parents emphasized the virtues of kindness and humility, and I strive to keep those close to my heart.
How would you describe your fashion, and does it reflect your music?
Thank you so much for saying that! Presentation is incredibly important to me, and I strive to bring all my learnings into my performances. I have a strong interest in visual art—I went to art school and have a background in theatre, having been part of Theatre Guru Amal Allana’s repertory. I also design my own clothes for performances. My fashion aesthetic is minimal and clean; I prefer not to over-embellish, whether musically or on stage. I believe every element should have meaning and purpose, from the color palette and silhouettes I choose for myself and my fellow musicians, to the way I incorporate audio-visual screens into the narrative I aim to create.
Do you believe personal style can be a form of storytelling, much like music?
Music is storytelling - it is a baring of the soul, a telling of one’s truth. I would like to think I have told my story through my music and shared my beliefs on equality and inclusion through the medium. Personal style, the choices we make with what we wear, how we carry ourselves, are all expressions of our heritage, our personality, and our beliefs. As I said, I prefer a minimal and understated aesthetic with a piece of jewellery as a statement- a legacy piece which carries memory with it or a bold piece which represents strength.
How do you view your relationship with social media?
My relationship with social media is a love-hate relationship. It’s a great tool for advocacy, for connection, for exposure, for creativity, and in many ways a great equaliser. It’s been wonderful for so many musicians to be discovered without the backing of a label or even a stage to perform on. It’s been amazing in that way. But on the downside, it’s also a tool t...
