In the heart of London, inside a modest music school in Harrow, an unusual morning scene unfolds. Children barely out of nursery and retirees embracing second acts of life sit side by side, fingers poised on tabla drums, immersed in rhythm. At the centre of this intergenerational musical exchange is Jnanesh Kamath, a 32-year-old percussionist from Kochi, whose impact on the UK’s South Asian arts scene is both deep and wide.
Since arriving in the UK less than two years ago, Kamath has not just carved out a place for himself — he’s building an entire ecosystem for Hindustani rhythm and cross-cultural artistic expression.
A Rhythmic Journey
Trained in the Punjab Gharana under Shri Naveen Pai in Kochi and currently mentored by tabla maestro Pandit Yogesh Samsi, Kamath brings a profound classical sensibility to his craft. But he is no purist. His playing — rigorous and rooted — travels across genres, geographies, and generations.
In just 18 months, Kamath has clocked over 100 performances across the UK. From the grandeur of Bridgewater Hall in Manchester to intimate fusion gigs at London’s iconic 100 Club, his versatility is unmistakable. He’s accompanied luminaries like Pt. Rakesh Chaurasia, a double Grammy-winner, and collaborated with UK-based stalwarts like Ustad Kiranpal Singh.
“I’m building something, not just performing it,” Kamath told Kerala Link News. And build he has — with vision, intention, and rhythm.
More Than a Performer
Kamath’s day isn’t confined to the concert stage. He devotes equal energy to teaching tabla at institutions like PRSSV (Pandit Ram Sahai Sangeet Vidyalaya) and Chinmaya Mission UK, mentoring over 30 students aged 5 to 65.
His classes go beyond rote recitation of bols. He combines physical technique with theoretical depth, and encourages students — especially those from the diaspora — to connect emotionally with rhythm.
“Preserving traditional forms in a foreign land is itself an act of cultural resistance,” says Kamath. “But adaptation is just as vital. Art is political.”
Platform Builder: Reimagining the Arts
Kamath also serves as Content Manager at Advaitha Events Ltd, a London-based arts organisation known for innovation. Under his leadership, Advaitha has launched interdisciplinary projects blending Indian classical music with theatre, jazz, modern dance — and even food.
From immersive performances in abandoned churches to collaborative showcases for young South Asian musicians, Kamath is helping to reshape how the diaspora engages with its cultural roots.
“He’s not just creating events,” says a fellow curator. “He’s creating belonging — especially for younger Malayali and Indian artists who don’t see themselves in mainstream institutions.”
Going Digital, Thinking Global
Kamath’s influence is also expanding online, where his bite-sized tabla lessons and rhythmic analyses have begun to attract a global following. His dream? To develop digital archives and curriculum models that could feed into UK schools, music colleges, and beyond.
Despite the fast-growing recognition, Kamath remains grounded. “I’m still learning. Still listening. Still playing.” But one thing he’s sure of — “Tabla can be a bridge — not just between cultures, but between generations, too.”
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