A grandmum’s wish, a tabla’s calling, Manjit Singh’s journey from kirtan to Town Hall in Akl

When tabla player Manjit Singh takes the stage with Bach Musica NZ this weekend, it will mark more than just a performance. It is a testimony of nearly two decades of building a cross-cultural music movement in Aotearoa.

Sharing the stage will be a diverse ensemble of Western and Indian classical artists, including soloists Alanah Jones, Jack Doyle, Iain Tetley and Blake Scanlen, alongside Indian classical musicians Daljeet Kaur, Shalu Garg and Singh himself, performing with the choir and orchestra under the direction of Jono Palmer.

Tickets available via Ticketmaster.

“This upcoming concert with Bach Musica NZ is truly special and unique. It marks the New Zealand premiere of This Love Between Us by the acclaimed composer Reena Esmail,” Singh says, describing the April 19 show at the Auckland Town Hall.

The production brings together Western classical musicians and Indian classical artists, blending ragas and taals with sacred texts from seven world religions. “Audiences can expect a deeply moving experience where two musical worlds come together—blending seamlessly while still honouring their own authenticity,” he says.

Singh’s journey to this stage began in 2008, when he arrived in New Zealand to teach music through a Sikh community programme in Hamilton. “After spending six months there, I moved to Auckland in response to the growing interest in Indian music among the local community,” he says. What started as teaching within a religious setting soon evolved into something broader.

“The idea of starting my own music school emerged from a desire to create a more inclusive and accessible learning environment,” he explains. Singh wanted to establish a space open to people of all backgrounds, where students could explore a wide range of musical styles, including Indian classical, semi-classical, and folk traditions.

That vision strengthened further when Daljeet Kaur joined him in 2009. Together, they expanded the school’s reach and offerings, building a platform that today serves a wide cross-section of Auckland’s communities.

That vision quickly found traction. “In our very first year, we enrolled more than 130 students, which clearly reflected a strong interest in Indian classical music within the community,” Singh says.

What stood out was the diversity.

“We had participants from other Indian regional backgrounds, as well as students from Asian, Pasifika, Pākehā, and Māori communities—all engaging with genuine enthusiasm.”

Today, the school has grown to around 225 students across Papatoetoe, Flat Bush and Takanini, signalling both demand and a gradual cultural shift. Yet Singh believes the wider industry has not kept pace.

“There remains a noticeable gap in the representation of ethnic music within the mainstream industry,” he says. “Indian music, in particular, has a vast and vibrant global presence ,and the emerging Kiwi-Indian music scene is both unique and evolving Yet, it is still rarely visible in the mainstream.”

That gap, he adds, is also rooted in education. There is limited exposure to the musical traditions and cultural contexts of non-Western communities, he adds.

“This can lead to a narrower understanding of the global music landscape.”

It was this realisation that led him back into academia at the University of Auckland. Feeling a strong responsibility to contribute toward addressing this, he says, pursuing further study was a conscious decision to immerse himself in Western music traditions and to gain insight into the local education system.

His training now informs a hybrid teaching approach, one that reflects both Indian classical rigour and New Zealand’s diverse classrooms.

“Ultimately, my motivation for further study was rooted in a desire to learn, to engage with a new cultural context, and to broaden my understanding as a musician.”

Music, for Singh, has always been deeply personal. His journey into music began at the age of 12, when his grandmother passed away, she expressed a wish to Singh’s father that his brother and he should learn Kirtan, he recalls.

“Honouring her wish, my father enrolled us in singing classes at a local temple.”

The pull towards the tabla came soon after. “Its depth, rhythm, and expressive possibilities fascinated me.”

That decision reshaped his life. He made the difficult decision to leave engineering studies and fully dedicate himself to music.

Training under a disciple of the legendary Ustad Alla Rakha, Singh committed fully to the art. “It wasn’t always an easy path, but it was deeply fulfilling.”

His daily routine still reflects that dual commitment to teaching and performance.

“A typical day for me is a balance between teaching and rehearsing—both of which I find equally inspiring,” he says.

Teaching is incredibly energising for Singh and in many ways, he shares he learns just as much from his students as they learn from him.

But it is in rehearsals that he finds a different kind of creative freedom.

“They are a space for exploration and conversation between musicians—where ideas flow, emotions are expressed, and the music evolves naturally.”

Collaborations have been central to that evolution. Inspired by global crossovers involving figures like Ravi Shankar and artists such as The Beatles, Singh began to look beyond traditional roles.

“That inspiration encouraged me to look beyond the conventional role of a classical accompanist and explore a wide range of genres.”

Today, Singh sees himself as a hybrid artist.

“My foundation is deeply rooted in Indian classical music, but my playing and compositions also reflect the many cross-cultural collaborations I have been part of.”

Even as interest grows, Singh believes there is still ground to cover.

“I believe there is still untapped potential for Kiwi music to more fully reflect the diverse cultural voices that make up Aotearoa today.”

For now, performances like Sunday’s offer a glimpse of that possibility, where traditions meet in conversation.