Live music is finding a new audience in smaller, candlelit settings

With Candlelight Concerts, the idea of music is expanding to forts, tombs and churches

On a March evening, with the air carrying a hint of spring, Purana Qila, one of Delhi’s oldest forts, became the setting for an unusual concert: A sitar recital in the midst of hundreds of candles.

 

Led by Mumbai-based sitar player Megha Rawoot, who has jammed with Canadian musician Shawn Mendes and played informally with Ed Sheeran, the concert was organised by Live Your City-Candlelight, which has been hosting such events across some of India’s most recognisable heritage spaces and luxury hotels. The format marks a shift in the way concerts are understood. In contrast to large, standing concerts, these are seated performances in curated settings and with smaller audiences. 

Mumbai-based sitar player Megha Rawoot performing at Purana Qila in New Delhi

 

The parent company, Fever, launched Candlelight Concerts in the West in 2019, and brought the concept to India in mid-2024, with events in Mumbai and Delhi. It has since expanded to more than 25 Indian cities. “Globally, we have performances in 200-plus cities across more than 40 countries,” says Pranjal Begwani, India and Thailand Lead for Candlelight.

 

While the early concerts in India leaned heavily on western classical compositions, such as Mozart, Chopin and Beethoven, the programming has increasingly been localised. Rawoot, for instance, performed Nusrat Fateh Ali Khan’s rendition of Amir Khusro’s 14th century Sufi poem, “Chhaap tilak sab chheeni”, on sitar, besides contemporary Hindi movie compositions like “Kun faya kun”. “Fifty to 80 per cent of our programmes are currently localised,” Begwani says. “We have performed Kishore Kumar on classical instruments like a sitar or a sarangi.”

 

In Chennai, the company presented a Carnatic-themed show last year. Elsewhere, it has experimented with theme setlists based on popular culture. “We are looking to bring a few new candlelight IP variations into the India market – for example, Lord of the Rings, and Bridgeton,” Begwani says, referring to instrumental reinterpretations inspired by popular film and streaming series. The format remains non-vocal, the focus being on instrumental music.

 

Another difference is the audience profile in India, which has been broader than expected. While about 70 per cent of audiences globally are below the age of 40, the concerts in India have drawn attendees across age groups. Besides those in their 20s, “we have folks in their 70s and 80s attending,” Begwani says, adding that the gender split is nearly even. “It is one of those rare kinds of concerts where you see such diversity.”

 

The choice of venue plays a significant role in shaping the experience. Beyond conventional hotel settings, the company has increasingly turned to heritage structures and architecturally significant spaces. In Delhi alone, concerts have also been staged at the Mughal-era Safdarjung Tomb and the 16th century Sunder Nursery. Other venues across the country include Taramati Baradari in Hyderabad, the Lalitha Mahal Palace in Mysuru, Science City in Kolkata, and the Afghan Church in Mumbai. 

 

Rather than treat the venues as one-off locations, Begwani says the attempt is to try and forge a long-term sustainable relationship. For instance, the Afghan Church (officially, St John the Evangelist Church), which was built to commemorate the fallen soldiers of the First Anglo-Afghan War (1839-1842), now hosts these concerts once a month, he says.   

A concert at Safdarjung Tomb in Delhi

 

Hosting a show at historical sites, however, comes with its own set of challenges. Often, the first question is around safety. Candles, after all, translate to flames, and flames can cause a fire. Begwani laughs. “That’s literally the first line in my pitch… that the candles are flameless – LED.” They recreate the visual effect, while eliminating the risk of fire, he says.

 

There is also the matter of permissions and compliances that demand adherence to conservation guidelines. Purana Qila, for instance, is a centrally protected monument under the Archaeological Survey of India (ASI). So, extensive coordination is required with all relevant authorities, such as the ASI.

 

Alongside public concerts, the format has found traction in private and corporate settings. “We call it fuel for business,” says Begwani. Unlike ticketed shows, these are usually structured around a fixed budget rather than audience size.

 

For now, the focus remains on music. While Fever runs other immersive formats globally, such as a theatre-based experience, Candlelight itself is “purely and essentially” classical music, Begwani says, with limited additions such as pre- or post-concert dining at certain venues. A premium variant, “Candlelight Signature”, though, is in the pipeline for India.

 

As the format expands, its geographic footprint, too, is spreading. Beyond major metros, including Bengaluru, concerts are now being held in cities such as Jaipur, Lucknow, and Coimbatore, with further plans of expansion to the Northeast. “Shillong is one of the cities we are looking to launch in.”