A classical Indian tenor, Dhaval Kothari imbues his music with a certain gravitas that is reminiscent of a bygone era. Contrastingly, his musical style has a pleasant modern flair, layered as it is with measured levels of synth pads, vocal processing, and filter effects; they give the music an added dimension without overwhelming the texture of the acoustic instruments.
Whether singing popular Bollywood covers, devotional aartis, Hindi, Gujarati, or Punjabi folk songs, Dhaval infuses them with an uplifting vitality that invites listeners to share in his emotional journey. He is a consummate performer and produces music videos for all his songs. They can be viewed on YouTube, and to date, they've racked up more than nine and a half million cumulatively views. But Dhaval isn't just a YouTube personality. He has performed for widespread live audiences in Spain, Australia, and many cities across India.
In honor of Krishna Janmastmi, a festival that celebrates the birth of Krishna, Dhaval has composed an original song as a paean to Krishna's divinity. Krishna is considered to be the Hindu god Vishnu's eighth avatar and Kaanha was one of his many names. "Kaanha, Janmashtmi Special" is replete with lilting flute solos that amplify the connection with Krishna, who is often portrayed playing the flute, dressed in yellow, with a peacock feather in his crown. Dhaval's expressive singing brings a joyful cadence to this Gujarati Krishna bhajan.
Kaanha, Janmashtmi special
To create depth and motion in the "Kaanha, Janmashtmi Special" music video, director Rachit Vohra has used varied camera angles and close ups of Dhaval balancing a tanpura on his thigh, with flautist Avdhoot Padhke to his right and percussionist Vaibhav Doshi to his left. They are seated cross-legged on a pale Persian rug in an airy room furnished with just a few potted plants, one on a carved stand. Behind the musicians is a gossamer white curtain, backlit with daylight, adjacent to which is a brick wall with four strands of strung marigolds. Coupled with the musician's attire, instruments, and seated poses, the scene is classically Indian. To cement the Krishna connection, a fluttering peacock feather intermittently appears in the foreground during Dhaval's closeups. Like the music video for "Aayat Mashup," Dhaval remains seated during the performance. But the feel is more atmospherically like that of the video for "Kothe Te Aa Mahiya"—uplifting and filled with light. All in all, this is a very pleasant video of a devotional song that is charming in its elemental simplicity.