In a bid to champion the rights of artists in crafting a viable future for the music industry, renowned writer Varun Grover has joined forces with The Indian Performing Rights Society (IPRS). Through his active participation in the IPRS’s national campaign “My Music, My Rights” and at the Raga to Rock event, he urges audiences to stand in solidarity with creators to foster a sustainable and equitable industry. In a candid interview, Grover shares his expert insights on the longstanding challenges faced by lyricists, the cultural mindset that undermines writers, and the potential of collective action to bring about change.
Grover brings to light the disproportionate credit and recognition that pervades the music industry hierarchy. Lyricists, he observes, are frequently overshadowed by singers and composers, with the former often enjoying widespread acclaim purely based on their vocal renditions. While not begrudging the hard-earned success of these vocal artists, Grover notes the inequity that places lyricists at the bottom of the totem pole, largely perceived as dispensable. He traces this issue back to historical precedents, recalling how names of lyricists were once omitted in radio broadcasts until protests led by Sahir Ludhianvi prompted All India Radio to include them.
Yet the struggle for recognition continues, magnified by the advent of digital streaming platforms. Grover recounts his personal battles to secure proper credits for his work on an entire album, indicative of a broader issue—the underappreciation and exploitation of writers in the music industry. This disregard extends beyond mere acknowledgment; it encompasses the financial aspects as well. Grover shares anecdotes from his early years where promises of payment turned into blatant requests for him to pay to be associated with projects.
Confronted with such systemic exploitation, Grover elucidates two pivotal fronts of the ongoing battle: ensuring moral rights and fighting for fair royalties. Recognizing that music, being somewhat abstract, presents complex copyright challenges, he underscores the importance of solid contracts and proactive measures by organizations like the IPRS and Screen Writers’ Association (SWA) to protect emerging artists. Emulating the solidarity of the Writers’ Guild of America (WGA), he signals a readiness to aggressively strike if necessary to secure their rights.
Ownership of a song, Grover argues, should rest primarily with the intellectual architects—the composer and lyricist. He advocates for a licensing model that allows music companies to profit in partnership with musicians but insists on long-term rights and profit-sharing for the creators, reflecting the lifetime of effort involved in their craft.
Beyond these systemic changes, Grover implores the listening public to play a role in the transformation. In a society that consumes music as a daily ritual, he hopes for greater public acknowledgment and support of the artists responsible for the cultural soundtrack that enriches their lives. This, in a nation where the lack of a formal royalty system for writers compounds the struggle for respect and fair treatment, would represent a significant step toward redefining the value and appreciation of music creators in India.
Grover’s call to action invites a collective introspection and a movement toward valuing every facet of the creative process, recognizing that sustainability in the music industry can only be achieved through equitable treatment of all artists. His vision is one of cooperation, fairness, and recognition, aiming to harmonize the rights of creators with the joy that their work brings to the world.
