No Skip is Billboard India’s weekly roundup of the best new Indian music. Every Monday, we sift through last week’s crop of releases to put out the ultimate playlist – handpicked by the Billboard India team. Tracks from Indian artists across any genre (including the diaspora), released on any major streaming platform until Friday night are considered for editorial curation.
This week’s No Skip features Karan Aujla leaning into his knack for irresistible hooks, Anirudh Ravichander going big on Jailer 2, and Shreya Ghoshal bringing her signature vocals to two very different romantic tracks. Here’s the list.
1. “Ashke” by Karan Aujla, Mxrci
Karan Aujla’s knack for writing an earworm is on full display on “Ashke,” a slick electronic pop track. The hook is the star here; few songwriters working today have Aujla’s ability to make a chorus stick. Mxrci’s production gives it plenty of weight, with a beat that feels built to raise the roof in a club. This is an effective example of Aujla doing what he does best: writing a great hook and letting the production bring it home.
2. “Yeh Prem Mol Liya” by Himesh Reshammiya, Shreya Ghoshal, Nihal Tauro, Kumaar
Himesh Reshammiya, Shreya Ghoshal and Nihal Tauro deliver a song that feels tailor-made for a Sooraj Barjatya film on “Yeh Prem Mol Liya.” Ghoshal carries much of the song with her unmistakable vocal command, while Tauro holds his own alongside her, grounding the track with a warm male counterpoint.
The swelling violins and expansive score give it a distinctly cinematic quality, recalling the grand romantic sound of an earlier era of Barjatya films. Reshammiya’s production does justice to that tradition, making “Yeh Prem Mol Liya” feel perfectly at home in its world.
3. “One Sun One Moon” by Anirudh Ravichander, M.S Krsna, Super Subu, HEISENBERG
Anirudh Ravichander goes big on “One Sun One Moon,” a thumping, atmospheric track made for the larger-than-life world of Jailer 2. Like “Raga of Revenge,” the song brings together electronic production and hip-hop elements with Hindustani-style vocals, creating an interesting meeting point between Indian classical textures and contemporary sounds. The heavy beat and expansive production give the track a sense of scale that feels fitting for a film as large as Jailer 2.
4. “Bairi Piya” by Shreya Ghoshal, Anurag Mishra, Alok Ranjan Srivastava
“Bairi Piya” is a showcase for Shreya Ghoshal, who brings her signature delicacy and expansive range to the romantic track. Ghoshal’s vocals sit beautifully against the electronic beats, while the sitar adds a more traditional layer to the arrangement.
The production finds a nice balance between contemporary electronic elements and the song’s Indian musical touches, giving Ghoshal plenty of room to carry the track.
5. “Mt. Whateverest” by The F16s
The F16s add another strong alternative pop-rock track to their repertoire with “Mt. Whateverest,” a moody, atmospheric song that still carries the band’s knack for detailed instrumentation. The track moves between restraint and bursts of energy, with its layered guitars and driving rhythm section giving it plenty of momentum.
There’s a playful sense of movement underneath the moodiness, too — a quality that fits neatly into the band’s long-running alternative sound. The song’s bright, pacey quality has also made it a natural fit for the eFootball 2027soundtrack, where it premiered ahead of its official release.
6. “Aankhein” by Navjot Ahuja
Navjot Ahuja’s “Aankhein” plays like a romantic ballad, with Ahuja leaning into the sense of yearning that runs through the lyrics. The song starts out gently before gradually swelling into a fuller pop-rock arrangement, giving the track a satisfying sense of emotional scale. It’s a straightforward romantic piece that builds nicely without overcomplicating its melody.
7. “Do Guna Zindagi” by Raghav Meattle, Aditya N., Nayantara Bhatkal, Suresh Bhatia
“Do Guna Zindagi” is a warm, upbeat track whose playful instrumentation gives it a sense of childlike wonder, fitting neatly into the world of Little Thomas. Meattle sings it almost like a poem or lullaby, bringing a gentle, intimate quality to the song even as the arrangement keeps things bright and buoyant. It’s a charming combination of melody and instrumentation that feels perfectly suited to the film.
