'Only Love Is Real' being considered for a Grammy is a blessing: Violinist Apoorva Krishna

CHENNAI: In the silence before the performance, there’s a stillness — a poised calm that holds the promise of music waiting to bloom. When Apoorva Krishna lifts her violin, that silence transforms into sound that shimmers with emotion and precision. Rooted in the rich grammar of Carnatic tradition, her artistry goes beyond boundaries.

In Apoorva’s world, the violin isn’t just an instrument — it’s a language of emotion, where discipline and imagination move in harmony. Now, she is excited as her album, Only Love Is Real, is being considered for a Grammy nomination. An independent artist, she speaks to DT Next about the core idea behind the album, her other works, and the lessons that have shaped her artistic journey.

Your album title, Only Love Is Real, is quite profound. Can you elaborate on the personal mantra behind this title and how it guided the creative process for the entire album?

The title Only Love Is Real is a truth I return to again and again. In every moment of uncertainty, loss, growth, and joy, one thing remains constant: love. That includes divine love, self-love, and the love we share with family, community, and the world. This mantra became the foundation of the album. Each composition reflects a deeply personal moment from my own journey, but also points to this universal truth. The creative process flowed naturally once I surrendered to this idea.

You’ve described the album’s sound as “born from simply being, not blending.” Could you explain this concept further and how it differentiates Only Love Is Real from your previous work, such as your debut album Intuition?

With Only Love Is Real, I wanted to move beyond the idea of fusion as an intentional act of combining styles. Instead, the sound emerged organically, from simply being present with who I am as an artist today. My Carnatic roots are at the centre, but they naturally converse with contemporary soundscapes and improvisation. Unlike my debut album Intuition, which explored those meetings more consciously, this album feels like an unfiltered reflection of my inner world. It’s not about blending—it’s about being.

Only Love Is Real is being pitched for a Grammy nomination. What does this recognition mean to you as an independent artiste, and what do you hope a Grammy nomination would achieve for your music and the broader Carnatic tradition?

It feels like a blessing just to have Only Love Is Real considered in the Grammy process. As an independent artiste, it is the result of love and effort from everyone involved in the album. A nomination would mean more people discovering Carnatic music and experiencing how beautifully it can converse with different worlds.

Collaborating with artistes like Michael League, Vijay Prakash, and Varijashree Venugopal must have been a unique experience. Can you share an anecdote or a particularly memorable moment from the collaborative process for this album?

With Vijay Prakash Sir, I still remember recording Between the Lines—his voice carried such raw honesty that it completely transformed the piece, which explores the shift from grief to acceptance and questions to possibilities. Michael’s sensitivity on Surrender brought so much depth to every note—it felt like a quiet conversation of trust. And with Varijashree, the recording of our second version improvising over Merging Parallels was so special; her soulful clarity and brilliance elevated the tribute to Zakir Ji in a way that still gives me goosebumps.

The track Merging Parallels: For Zakir Ji is a reimagined piece inspired by Ustad Zakir Hussain. How did his initial request influence this new version, and what emotions or ideas were you aiming to convey in this tribute?

Ustad Zakir Ji heard the original Merging Parallels, which John McLaughlin Ji had introduced and encouraged me to push boundaries further and solo over the form, which led me to create a new version built around advanced Carnatic improvisation techniques. This tribute reflects his spirit of encouragement. I aimed to honour his impact on me and on the world of music, weaving complexity with deep emotion. It’s a thank you in the only way I know - through sound.

You were the first Indian artist to receive the Young Artist Grant from the London Tarisio Trust, and you’ve performed with legends like John McLaughlin and Ustad Zakir Hussain. How have these significant moments and experiences shaped your evolution as a musician and composer?

The London Tarisio Trust grant was a turning point - it gave me the resources and courage to dream bigger. With that support, I was able to create Ragamaya, featuring dear Shankar Mahadevan Ji. Performing the Shakti masterpiece Lotus Feet with John McLaughlin Ji and Zakir Hussain Ji at The Harvard Business School has also been life-changing- their humility, depth, and generosity constantly remind me that music is not just about technical brilliance but about carrying truth and love through sound.

Looking back at your extensive career, from your rigorous training in Carnatic music to your contemporary explorations, what do you consider the most pivotal moment or lesson that has profoundly impacted your artistic path?

The most pivotal lesson has been learning to surrender—whether to tradition, to collaboration, or to the unknown. My Carnatic training gave me discipline and foundation, but stepping into new worlds taught me to let go of control and simply allow the music to flow. This surrender has shaped me not just as an artiste, but as a person- it’s taught me to trust, to breathe, and to let the music emerge from the heart.