Irshad Kamil chooses an interestingly contrasting mix of phrases as well in his lines, presumably to go with the wacky fusion on the musical front. More 90s ARR throwback happens when the flamenco guitars kick off the proceedings in Toofaan Si Kudi (so happy to see Santhosh Chandran’s name against this one, having been a huge admirer of the ace guitarist – sample this, this and this to get a quick idea as to why), and it is indeed the guitars that turn out the highlight of the infectious song, even as A R Rahman appears to be having a lot of fun throwing in surprise percussive elements like dhols, ghatam, edaykka(!) and even manjira towards the end.
Little Little is a worthy addition to that list – Hiral Viradia’s entry is just brilliant (that hiccup is an inspired touch) only wish she had a longer portion though, she sounds very promising. I remember a twitter thread once ( unable to find it now found it thanks to phanishankar), listing various instances where ARR has worked wonders with the delayed introduction of the second singer in a duet. The arrangement is delightful – a bit bummed though that the clarinet from Sax Raja does not make another appearance after a corker of a solo early in the song. I have never been a big fan of Dhanush’s singing, but this is a song that is pretty much down his alley and the man makes it work quite well (although I might have been still happier with another singer 😀 ).
At one point in its second half, Little Little bursts into a profusion of kuthu beats, and the mind went back to a similar transition in the gem that was Strawberry Kannae/Aankhein (I would really love to see Dhanush break into a dance à la Prabhudeva here!) – the composition does pretty much sit in the same quirky, laid-back zone, except with the drunk-romantic theme.
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