Some people cannot be confined to a single identity. Pallab Kirtaniya is one of them. Calling him merely a singer is true, but it doesn’t tell the whole story. He writes songs, composes music, writes books, acts, and has even been involved in filmmaking. Then there is another significant identity in his life—he studied medicine and worked as a doctor. Placing these diverse identities side by side gives a partial understanding of Pallab Kirtaniya’s life; but to truly know him better, one must listen to his songs. Today, August 14, 2026, marks the 62nd birthday of Pallab Kirtaniya. On this day, on behalf of Sangeet Gurukul, we extend our heartfelt respect and greetings to him.

Pallab Kirtaniya was born on August 14, 1964, in Kolkata. His educational life is associated with the Calcutta Medical College and Hospital. Despite studying a rigorous and reality-grounded subject like medicine, he did not distance himself from the world of creativity. Rather, his life seems to have walked parallel paths between two distinct worlds—on one side: hospitals, patients, treatments, and the harsh realities of life; on the other: music, writing, acting, and cinema. Perhaps this is why his art does not solely belong to the realm of imagination; it also harbors a reality very close to human existence. Various reports published on Pallab Kirtaniya have also highlighted the social and political experiences of his student life. A report in The Times of India mentioned that while studying at Calcutta Medical College in 1981, he was associated with the Naxalite movement. In later years, the imprint of that experience became evident in his thoughts and creations. However, over time, a tendency to not confine his art within a single political identity is also visible in his words. Perhaps this is a crucial aspect of his artistic persona—he has observed his times, walked through them, yet he did not reduce those experiences into mere slogans.

Listening to Pallab’s songs, one gets the impression that he does not see music merely as a space for entertainment. His songs often ask questions—sometimes to society, sometimes to the times, and sometimes to our own selves. Album titles like ‘Shaon’, ‘Ghumer Pata’, ‘Dhulokhela’, and ‘Muktobeni’ are associated with his musical journey. Among his works, songs like ‘Patar Basha’, ‘Manushke Pran Debe’, ‘Tomay Vote Diyechi Bole’, ‘Ekhono Gelo Na Andhar’, ‘Mon Amar Matir Pore’, and ‘Thomke Ache Megh’ are available across various musical platforms. The themes or moods of these songs are not uniform, which is only natural. Because Pallab’s creative world itself is not monolithic. He is not bound by any rigid rule that he will only write love songs; nor is he confined strictly to protest songs. Just as life is diverse, so are his songs.

Another identity of Pallab Kirtaniya is that of a writer. Among his published books, one finds mentions of ‘Ganer Mati’ (2012), ‘Patar Porijon’ (2013), and ‘Patar Canvas’ (2014). His traversal between these two mediums—music and writing—seems quite organic. When a lyricist writes a song, the words must walk in step with the melody. When a writer writes a book, the words must carry their own meaning independently. Pallab has done both. For this very reason, confining his artistic persona to just that of a singer leaves out a massive chunk of his work.

Behind Pallab’s foray into cinema lay a simple yet profound thought: not everything can always be expressed through songs. In 2014, The Times of India published the news of his entry into filmmaking. It mentioned his film ‘Daughter of Clouds’. The film focused on mother-daughter relationships, cultural identity, and generational gaps, alongside the Naxalite movement and subsequent political realities. He was also involved with the film’s music. Later, his name was also associated with ‘Megher Meye’. Looking at these works, one realizes that for him, the medium is not the primary factor; how the subject is being articulated matters more. Sometimes music, sometimes writing, sometimes film—the same man, but with different languages of expression.

This aspect of Pallab Kirtaniya’s life is particularly noteworthy. The medical profession provides an opportunity to observe human beings from very close quarters. Illness, death, fear, waiting, the anxiety of loved ones—a doctor must confront many harsh truths of life. On the other hand, an artist also observes human life, albeit through a different lens. In Pallab’s case, both these experiences converged in a single life. During the protests triggered by the incident at R.G. Kar Medical College and Hospital in 2024, he was seen in both his identities—as a doctor and as an artist. Various news outlets reported his participation. The event can be crucial in understanding his life, as it brought his two identities side by side. He did not merely sing; he remained connected to his profession and the questions of society.

There is no reason to assume that everyone will share the same opinion regarding Pallab Kirtaniya’s political thoughts or social stances. But agreeing with an artist and listening to their work with importance are two entirely different matters. An artist can raise questions with which we might not agree; yet those very questions can make us think. Looking at Pallab’s work, this specific space feels highly significant. He did not evade his times, he did not hide his experiences, nor did he make his art one-dimensional.

Perhaps there is no easy answer to this question. Bengali music is such a vast universe that boxing every artist into a specific room is difficult. Therefore, writing Pallab Kirtaniya off simply as an artist of a specific genre would be incorrect. Within him lies the freedom of a singer-songwriter; the pull towards poetry; social questions; political experience; an interest in cinema; and a long acquaintance with the realities of life. Pallab Kirtaniya is the sum of all these.

On birthdays, we generally calculate success—how many songs, how many albums, how many awards. But not all artists can be measured this way. The significance of some artists cannot be captured in numbers; their importance lies in their distinct voice. This holds true for Pallab Kirtaniya as well. Whether he will feature on the list of the biggest stars in mainstream Bengali music is perhaps a different question. But in the freedom of writing and singing songs in his own way, in the courage of seeing his times through his own eyes—in that space, he possesses a distinct identity. And in the history of art, this distinctiveness is no less important.

A tendency has developed in our times to quickly categorize artists. Who is a singer, who is a lyricist, who is a social activist, who is a filmmaker—we demand separate identities for everything. Pallab Kirtaniya’s life makes that simple compartmentalization a bit difficult. He is many things at once, and perhaps that is what is natural. Just as a person can be many things in a single life, so can an artist. One day he is a doctor, another day a man of music; sometimes a writer, sometimes a filmmaker, sometimes a conscious citizen of his times. It is this multidimensional human being that we should remember.

On Pallab Kirtaniya’s 62nd birthday, therefore, on behalf of Sangeet Gurukul, we do not want to stop at merely saying ‘Happy Birthday’. We want to listen to his songs again, read his writings again, look back at his films again, and observe how an artist infuses the varied experiences of his life into his creations. It is not just the big names that make Bengali music great; the realm of Bengali music is also enriched by many such distinct voices who walk their own path. Pallab Kirtaniya is one of them.

On his 62nd birthday, on behalf of Sangeet Gurukul, we extend our deepest respect and heartfelt greetings to Pallab Kirtaniya. May your songs endure, may your questions endure, and may your courage to speak in your own way endure.

Happy Birthday, Pallab Kirtaniya.

— Sangeet Gurukul