Arjun Sagar Gupta Looks Back on a Decade of The Piano Man

What started in Safdarjung Enclave as an intimate basement club rapidly progressed into a foundation of Delhi’s cultural life, an uncommon area where live jazz, swing, and blues took spotlight instead of just being background sound. Throughout a years, The Piano Man broadened into Saket and after that Gurugram, each location handling its own identity while remaining real to its DNA of music-first programs. Along the method, its phases have actually hosted giants like Chick Corea, Herbie Hancock, and Tigran Hamasyan, along with numerous Indian and global artists who discovered in this place something the city sorely did not have: a constant, considerate, and expert platform for live efficiency.

I initially satisfied Arjun Sagar Gupta in 2019, when I was still brand-new to the task and he was currently deep into the not likely job of constructing a home for jazz in Delhi. 6 years later on, we reconnect the early morning after The Piano Man’s 10th anniversary– a turning point that speaks with simply how far his vision has actually taken a trip

To mark the event, I overtook Gupta to speak about the anniversary, the advancement of the scene, and what lies ahead– a journey down memory lane finest coupled with a cigarette, a Whiskey Sour, and an excellent ear. Excerpts listed below:

Wanderer India: You carried out the other day at the 10th anniversary. What was the night like for you?

Arjun Sagar Gupta: It was terrific. I was simply moving through various tones of swing and jazz, and after that at particular points, I was having fun with pals I had not jammed with in a long while. Towards completion of the night, it simply ended up being a free-flowing thing– the drummer removed in one instructions, I followed, and we simply had a good time. That’s truly what it had to do with. Not overthinking it, simply delighting in the music together. And since it was the 10th year, it seemed like an event in the truest sense.

Recalling, what do you believe is the most significant shift you’ve seen in yourself from when you initially triggered on this task 10 years earlier?

That’s an intriguing concern– no one has ever really asked me that. I ‘d divide it into 3 pails: the individual, the expert, and the artist.

On an individual level, I’ve altered in how I handle tension, time management, and my top priorities. At that time I was still figuring it out; now The Piano Man has actually become my function, and with that comes clearness. You understand what you’re attempting to do, what effect you ‘d like to have, which offers you instructions even if the outcomes take years to reveal.

Expertly, the modification has actually been big. I’m not an organization school brat, so I needed to find out whatever on the task– how to run a group, how to construct an environment where individuals can prosper. Early on, I was more big-headed, believed I understood everything. Gradually you understand the world is huge, and there’s constantly more to find out. That’s humbling, and it forms the method you handle individuals. A great deal of my group has actually been with me from the start; from 20– 30 individuals in the early days we’ve grown to over 200, and about a 3rd of them have actually remained for over 10 years. In a little company that’s quite uncommon, and it shows just how much we’ve grown together.

And after that there’s the artist container. The method I communicate with artists today is extremely various from 10 years back. The company has actually grown, so the effect we can have on artists has actually grown too. Constructing a robust environment for art has actually constantly been a concern, and I believe the last years has actually had to do with gradually making that environment more expert and sustainable.

When you began, India’s live music circuit was quite fragmented. How have you seen it develop?

When I began carrying out back in 2002, the scene was extremely disorganized. There was no consistency, no facilities, no interaction, and frequently no payment either, or it followed 3, 6 months, or never ever. Even huge places acted that method.

When we began The Piano Man, we focused on repairing those problems. Facilities, noise, prompt payments, regard for the artist. We chose that whatever the quantity concurred upon, it needed to be paid on time. That was non-negotiable. Throughout the years we’ve tightened up those systems, and now there’s a standard expectation that artists ought to be dealt with expertly. If a place is harmful, artists have options and will just prevent it. That steady shift has actually required the market to tidy up its act, a minimum of in part.

Recalling at 10 years of shows, which efficiencies stick out the most for you?

That’s constantly the hardest concern, due to the fact that there have actually been many. Some are really extraordinary. Hosting Chick Corea in 2018, for instance, or Herbie Hancock, or Tigran Hamasyan. To have these giants of jazz– individuals whose music formed the category itself– carry out at your area is surreal. It seemed like a parallel universe, like: did this really take place?

At the exact same time, there are nights with lesser-known artists that stick with me simply as highly. The anniversary weekend itself had 2 extraordinary ladies playing a fragile set on piano. They’re not world-famous, however the quality and psychological weight of their music was amazing. That’s the appeal of it– it’s not almost the legends, it’s about developing an area where every artist can move individuals deeply.

Each Piano Man place has its own energy. What was your thinking behind broadening to brand-new areas?

Safdarjung, the very first, was everything about developing a home for jazz and constructing a neighborhood around it. Eldeco in Saket expanded the spectrum– we wished to generate more non-commercial music and expose audiences to various categories. Gurugram, which came 8 years into the journey, had to do with way of life: how do we get individuals because city to engage with live music as part of their lives?

Each area has its required, however the DNA is the exact same. It’s about intention– whether that’s supporting jazz, opening to larger categories, or motivating individuals to see live music as necessary instead of optional.

Are you taking a look at broadening to other cities?

Yes, the rational next actions are Mumbai and Bangalore. Each includes its own obstacles. In Mumbai, it’s area and lease. In Bangalore, it’s the method the city is set out and the obstacle of area. The bigger lesson for us has actually been that we can’t let business pressure determine programs. If your working capital is under excessive tension, then every discussion ends up being about recovering cost, not about boosting the art. We wish to develop jobs where programs choices stay independent from business ones, so that we can keep forging ahead musically.

What were the most significant obstacles you didn’t anticipate over the last 10 years?

The anticipated ones were constantly there– financing, developing an audience, handling the unpredictability of the music company. The unforeseen ones pop up out of no place. I keep in mind the demonstration fiasco back in the early days, which you ‘d understand about from our very first interview. That example can thwart you totally, and you never ever see it coming.

In time I’ve recognized that the response is to construct a more robust company that can soak up shocks. It’s not ideal, however we’re arriving.

If you could curate a dream weekend lineup at The Piano Man, who would you desire?

If we’re talking from history, then Art Tatum would be right at the top of my list. Amongst living legends, Herbie Hancock– he is among the couple of left from the golden era of jazz. And after that, if we’re dreaming, Bruno Mars. It may sound not likely, however you never ever understand. Simply a couple of years back, Coldplay appeared in India unannounced, and all of a sudden the entire nation understood anything might occur.

Recently, India has actually seen a wave of huge worldwide shows. How do you see that shift impacting your area?

It’s extremely motivating. 10 years back, huge shows were uncommon. Now they’re all over, and individuals want to pay large amounts to attend them. That cravings for live efficiency assists everybody, since it stabilizes the concept that music deserves spending for. If individuals are open to that, they’re more available to strolling into a smaller sized place too.

What’s next for The Piano Man after 10 years?

2 huge things. Geographical growth. We wish to take The Piano Man experience to other cities, not simply to open more locations, however to incorporate the live music circuits of those cities. That’s how you construct a genuine environment.

Second, we’ve established our own artist and place management software application, constructed from 10 years of information and experience. We began with Excel sheets; now we have actually a totally tailored system that deals with whatever from setting to analytics. Over the previous year, the whole company has actually been worked on it. The next action is to open it approximately the broader market. The concept is to combine the expert side of live music– provide places and artists the tools they require in one location, and ensure that information streams throughout the community. That method, the market as an entire ends up being more expert and sustainable.