Rating – 6
Music Director – Vishal Bhardwaj
Lyrics – Gulzar
Film Director – Vibhu Puri
Film Release – 28 November 2025
The Gustaakh Ishq (2025) soundtrack is a masterclass in “old-school” romanticism, reuniting the legendary duo of composer Vishal Bhardwaj and lyricist Gulzar. Released under the Zee Music Company label, the album serves as the soul of director Vibhu Puri’s poetic drama starring Vijay Varma, Fatima Sana Shaikh, and Naseeruddin Shah. The 5-track collection is characterized by its “Kucch Pehle Jaisa” (like before) aesthetic, focusing on Urdu shayari, tender melodies, and a slow, deliberate pace that evokes the nostalgia of 80s–90s cinema.
| Song Title | Singers | Music Director | Lyricist | Rating |
|---|---|---|---|---|
| Ul Jalool Ishq | Shilpa Rao, Papon | Vishal Bhardwaj | Gulzar | 7 |
| Aap Is Dhoop Mein | Arijit Singh | Vishal Bhardwaj | Gulzar | 8 |
| Shehar Tere | Jazim Sharma, Himani Kapoor | Vishal Bhardwaj | Gulzar | 5 |
| Hum Fanaa | Javed Ali, Ali Brothers | Vishal Bhardwaj | Gulzar | 5 |
| Chal Musafir | Armaan Malik | Vishal Bhardwaj | Gulzar | 6 |
| Ul Jalool Ishq (Solo) | Papon | Vishal Bhardwaj | Gulzar | 7 |
“Aap Is Dhoop Mein” is the soul-stirring centerpiece of the Gustaakh Ishq (2026) soundtrack, celebrated for its “innocence and old-world warmth.” Composed by Vishal Bhardwaj with poetic verses by Gulzar, the song is a masterclass in minimalist romanticism, designed to evoke the nostalgic atmosphere of 1990s Old Delhi. The track features a tender, breathy delivery by Arijit Singh, who utilizes a wide emotional range—moving from soft whispers to powerful, resonant notes that capture the fragile nature of first love. The arrangement is predominantly acoustic, featuring a delicate piano melody interwoven with soulful violin swells. A subtle tabla rhythm enters during the second verse, grounding the song in traditional Indian semi-classical roots. The composition follows a slow, deliberate tempo that emphasizes “the silence between notes,” allowing Gulzar’s intricate Urdu wordplay to take center stage. Unlike contemporary pop tracks, it avoids electronic layers, relying instead on organic orchestral textures and a “sepia-toned” sonic palette that mirrors the film’s poetic and period-accurate aesthetic.
