The opening few bar with the chorus hums, mandolin and flute bits set you up for some quality fusion music, which it does turn out to be but not without reminding you of ‘Thee Thee’ from A.R. Rahman’s ‘Thiruda Thiruda’. The entire sequencing such as the quiet vocal portions bursting into rhythmic thanams backed by slap-bass is heavily reminiscent of the Rahman classic. The singers though do their bit delivering a genuine performance.

A lively duet that seems to be caught between Indian and Western worlds with some portions sounding carnatic before shifting to some pop-like moments. The orchestration too seems to make room for both symphonic arrangements and a generic dance groove. Naresh Iyer’s voice is distinct and it’s a tune that’s right up his alley and Anuradha Bhatt chips in with a sublime performance herself.

This is probably the only track on the album that is reflection of the film’s theme being based on traditional royal family. Gautam Srivatsa delivers a full-on classical tune without diluting it with any attempts at crossovers. The orchestration uses native instruments supported by the organ. The percussions keep the low end tight and buoyant hence making it a rather sprightly tune. The singers shine throughout the song performing with passion and conviction.

The kind of tune that’s not entirely uncommon these days in mainstream cinema - a connate bouncy folk tune with a sing-along chorus, in a hope that its catchy elements will find a way to grasp the listeners. The song also features a whole lot of conversational bits that’s duly responded to by the singer. No doubt MLR Karthikeyan is the man for such a tune and he doesn’t disappoint.

The album’s closer is a soft and melancholic melody with classical strains but delivered with a fusion-like packaging. The thanam’s are pretty but seem to be overdone a bit. The instrumental bridges and vocal interludes are well executed even if generic and Ranjit is highly impressive especially towards the end where he goes freestyle.