In the heart of Pune, where rickshaws hum and monsoons drum soft beats on tiled roofs, there exists a space where silence listens before it speaks. That space is the studio of Shitalchandra Kulkarni—SCK to his fans—a room soaked in sound and lined with trophies that could shame an Olympic podium. Among Ibanez guitars, blinking lights, and sonic wizardry, I had the immense pleasure of sitting down with the man who turned a family legacy into a thunderous symphony of innovation.

The walls whisper history—awards from Austin, Tokyo, and Berlin; a father who once formed India’s first western-style orchestra; a son who now bends genres with a flick of a plectrum. SCK isn’t just a musician; he’s a movement. And today, he’s in the mood to talk.

CK, your journey is clearly a blend of legacy and rebellion. What’s it like growing up in the shadow and light of your father, Prof. Suhaaschandra Kulkarni?

SCK: Oh, it was dramatic in the best way! Imagine trying to sneak out to jam with friends when your dad’s recording a flute section for All India Radio next door. (laughs) But seriously, my father was, and still is, my guiding force. He founded Melody Makers Orchestra at 18, that’s like forming a start-up before you hit college! His blend of Indian emotion and discipline made music feel both sacred and revolutionary. He taught me that melody isn’t just notes—it’s intent. It’s no surprise that IMM, the academy he started in 1965, became my playground and eventually my platform.

You’ve been called India’s most awarded lead solo guitarist in this niche space of rock music in India. That’s quite the mantle! What was the turning point when you felt, “Okay, I’ve made it”?

SCK: (laughs) You never really feel like you’ve made it. You just learn to play through the imposter syndrome. But yes, winning the ‘Best Multi-Instrumentalist’ and ‘International Artist of the Year’ for my track Snatch It was surreal. That track was born during a late-night jam back in 2005, fueled by black coffee and just two guitars without much of tech that I  have today. I stitched sounds together like patchwork and boom, it connected across borders. But it was only when I saw Endless, my album, climbing streaming charts globally that I realised: maybe I am speaking a universal language.

You’ve got one foot in Digital and another in Analogue. From electric solos to acoustic journeys, tell us about this genre-jumping madness.

SCK: I like to think of it as a dance. Some days you want to waltz with a Stratocaster, other days it’s fingerstyle over a warm acoustic. Shitaletto (On The Toes), my upcoming acoustic release on August 1st, is a tribute to that dancer in me.. It’s like storytelling through strings. It’s my most intimate work so far, especially as it follows the 60th anniversary of IMM. It’s a nod to everything my father built, but it’s also me tiptoeing forward; quite literally on the toes. And yes, don’t worry; it still grooves. (winks)

We’ve heard tracks like First Passion, Move Your Butt, and Natural Understanding—all so distinct. Is this intentional genre-defying, or just the chaos of creativity?

SCK: Let’s say it’s a beautifully managed chaos. First Passion came from a deeply personal space—heartbreak, hope, healing. But then Move Your Butt? That was written on a dare. A friend challenged me to write a serious instrumental that makes people laugh and dance. And Crank It Up? That’s just my caffeine level turned into audio. I think each track is a room in my mind. Some are candlelit, others have disco balls and broken amps.

There’s so much drama in your music. But what about the drama behind it? Any unforgettable moments from your performances?

SCK: Oh boy. How much time do you have? (laughs) Once, at a Berlin showcase, I broke a string mid-solo, just as I was hitting the peak crescendo of Run for Cover. The crowd went silent. I switched guitars in five seconds flat, kicked back in exactly on the beat, and the crowd exploded. Another time, in Mumbai, someone fainted right during Endless. Turns out it was just dehydration, but I still like to claim it was the solo that knocked him out. Pure rock ’n’ roll!

You’ve been a long-time ambassador for Ibanez Guitars. How did that partnership begin, and what makes it click?

SCK: Ibanez and I? It’s like Lennon and McCartney—without the lawsuits. (grins) Jokes apart, Ibanez found me when I didn’t know I needed finding. Back in the early 2000s, they heard some of my underground recordings and reached out. Their guitars suit my sonic curiosity. I mean, where else can you go from blues bends to shred-heavy solos to ambient textures on one fretboard? It’s more than a brand—it’s an instrument that understands me. I am married to Ibanez and marriage mean loyalty.

With the 60th anniversary of IMM this year and so many accolades under your belt, where does Shitalchandra Kulkarni go from here?

SCK: Forward and maybe a little sideways. (smiles) Right now, I’m diving deeper into acoustic soundscapes. Also, working with young talent at IMM keeps me on my toes. There’s so much raw energy in this generation. I’m also exploring collaborations that merge Indian classical with rock;  imagine a tanpura flirting with delay pedals. And yes, I’m working on something orchestral again; it’s time to honour dad’s Melody Makers roots with a modern twist. Full circle, but with distortion.

As we wrapped up, I asked SCK if he’d ever consider writing a memoir. He smirked and strummed a lazy harmonic.
“Why write when you can shred?” he said.

Outside the studio, Pune’s evening traffic sang a strange symphony. But inside, the legacy of a father, the fire of a son, and the future of a sound all danced in sync. In a world chasing fleeting fame, SCK remains rooted in rhythm, strumming not for applause—but for meaning.

And come August, with Shitaletto, he’ll remind us once again: the greatest revolutions begin with a single note.

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