ArtistDirect News
Composer Tanishk Bagchi Raises Royalty Concerns Over Saiyaara Title Track
On 18 July 2026, Hindi‑film composer Tanishk Bagchi took to social media to voice a sharp critique of the royalty he received for the title track of the 2025 blockbuster Saiyaara. In a brief post, Bagchi revealed that the royalty figure reported in his statement was roughly ₹8 lakh—an amount he described as “peanuts” in light of the song’s massive streaming and digital‑platform performance.
Bagchi explained that he had poured extensive time and effort into every facet of the track, from composition and recording to arrangements and final production. He noted that a significant portion of the fee paid for the project was spent on the song’s production process, and that the financial returns fell short of the labor invested. He also said that he had expected a track that amassed millions of streams and views to generate higher royalty earnings. According to a report by the Times of India, Bagchi said the experience had shifted his perspective on the music industry’s royalty structures.
Yash Raj Films (YRF) responded on the same day with a statement that all contractual payments had been fulfilled and that royalty distributions were being handled in accordance with agreements signed by all contributors. The production house clarified that the Saiyaara title track was a joint effort among Bagchi, Faheem Abdullah and Arslan Nizami, and that royalties were divided equally among the three composers as mutually agreed.
Shortly after YRF issued its clarification, Bagchi’s social‑media post disappeared from his account. The composer has not publicly addressed the removal.
The dispute has reignited discussions around royalty distribution, composer compensation and revenue‑sharing models in India’s music industry, especially as streaming continues to reshape how artists earn from hit songs. The Saiyaara soundtrack, released on 18 July 2025, was a commercial success, with the film grossing over ₹5.79 billion worldwide and becoming the third highest‑grossing Hindi film of 2025.
Industry observers point out that the Saiyaara title track was one of the film’s most streamed songs, topping charts on major platforms such as Spotify, Apple Music and YouTube. While exact streaming numbers remain confidential, media reports confirm the track’s popularity.
The case underscores a broader issue in the Indian music ecosystem. Unlike the United States, where mechanical and performance royalties are managed by established societies, India’s royalty system is still evolving. The Indian Performing Rights Society (IPRS) and other bodies are working to improve licensing, reporting and enforcement, but many composers and lyricists report that royalty payments often lag behind or fall short of expectations.
Bagchi’s public statement, and YRF’s subsequent clarification, highlight the need for clearer contractual language and transparent royalty accounting. The dispute also draws attention to the fact that many film soundtracks involve multiple composers, complicating the division of royalties.
At present, there is no further public information regarding a settlement or additional statements from either party. The incident remains a reference point for ongoing discussions about fair compensation for music creators in the digital age.
The Saiyaara royalty debate serves as a reminder that while streaming platforms offer wider reach, the mechanisms that translate that reach into earnings for composers and other stakeholders require continuous scrutiny and reform.
Bagchi explained that he had poured extensive time and effort into every facet of the track, from composition and recording to arrangements and final production. He noted that a significant portion of the fee paid for the project was spent on the song’s production process, and that the financial returns fell short of the labor invested. He also said that he had expected a track that amassed millions of streams and views to generate higher royalty earnings. According to a report by the Times of India, Bagchi said the experience had shifted his perspective on the music industry’s royalty structures.
Yash Raj Films (YRF) responded on the same day with a statement that all contractual payments had been fulfilled and that royalty distributions were being handled in accordance with agreements signed by all contributors. The production house clarified that the Saiyaara title track was a joint effort among Bagchi, Faheem Abdullah and Arslan Nizami, and that royalties were divided equally among the three composers as mutually agreed.
Shortly after YRF issued its clarification, Bagchi’s social‑media post disappeared from his account. The composer has not publicly addressed the removal.
The dispute has reignited discussions around royalty distribution, composer compensation and revenue‑sharing models in India’s music industry, especially as streaming continues to reshape how artists earn from hit songs. The Saiyaara soundtrack, released on 18 July 2025, was a commercial success, with the film grossing over ₹5.79 billion worldwide and becoming the third highest‑grossing Hindi film of 2025.
Industry observers point out that the Saiyaara title track was one of the film’s most streamed songs, topping charts on major platforms such as Spotify, Apple Music and YouTube. While exact streaming numbers remain confidential, media reports confirm the track’s popularity.
The case underscores a broader issue in the Indian music ecosystem. Unlike the United States, where mechanical and performance royalties are managed by established societies, India’s royalty system is still evolving. The Indian Performing Rights Society (IPRS) and other bodies are working to improve licensing, reporting and enforcement, but many composers and lyricists report that royalty payments often lag behind or fall short of expectations.
Bagchi’s public statement, and YRF’s subsequent clarification, highlight the need for clearer contractual language and transparent royalty accounting. The dispute also draws attention to the fact that many film soundtracks involve multiple composers, complicating the division of royalties.
At present, there is no further public information regarding a settlement or additional statements from either party. The incident remains a reference point for ongoing discussions about fair compensation for music creators in the digital age.
The Saiyaara royalty debate serves as a reminder that while streaming platforms offer wider reach, the mechanisms that translate that reach into earnings for composers and other stakeholders require continuous scrutiny and reform.