dholak, rebab, sitar, reflecting the ethnic classical music. The songs were sung by Sireesha Bhagavatula and Shahid Mallya, who were the playback singers for Qala (Tripti Dimri) and Jagan (Babil Khan). Mallya explained on his contribution to the film, saying "Qala let me tap into a space that was not explored by me on a commercial platform. Hence, singing for this film was like a golden opportunity that I could never have missed out on. Well, it could not have been possible if not for the support that Amit Trivedi gave me. So, I just want to thank him for putting his faith in me." Bengaluru-based musician Iman Das additionally provided vocals for two of the tracks in the film, following his friendship with Sagar Desai, who guest composed the soundtrack and background score. Songs Both Dutt and Trivedi inspired the picturization of the songs through her story narration, imagining how the sequences should be shot. The ballad song "Shauq" depicts the fruition of love between Qala's mother, Urmila Manjushree (Swastika Mukherjee) and Chandan Lal Sanyal (Samir Kochhar), an abusive singer-record executive, where Sanyal asks Urmila to grant her sexual favours in exchange for launching Jagan as a musician, to which Urmila obliges, that eventually led to the downfall of both Qala, Jagan and Urmi in the end. Trivedi exclaimed that Dutt drew a visual for the song, where the characters are in the boat at night and the Howrah Bridge is visible, adding "There’s an obvious 'O Majhi Re' influence over any boat song. It really helped me catch the mood of the situation." "Phero Na Najariya" is described as a "song of redemption for Qala" and "Nirbhau Nirvair" portraying the competition between Qala and Jagan. "Udh Jayega" is termed as an "imagery full of death and freedom", which plays after Jagan's death. Though it picturised the beginning of Jagan's downfall, it also had a sense of liberation and freedom. Analysing the music, Firstpost writer Deepansh Duggal considered "Ghodey Pe Sawaar" as a "sharp critique of overbearing heroes and male actors who normalised stalking in Hindi songs by violating the consent of the actress, often portraying it as harmless fun"; it was played as Qala's rebellion song against Sanyal, who forces her to grant him sexual favours. In the track, Trivedi used the accordion to the beats of a galloping horse — a hat tip to O. P. Nayyar's