By News18
Anusha Mani is no stranger to reinvention. For over a decade, she has mesmerized audiences across Bollywood, Kollywood, and Tollywood with her unmistakable voice—a voice that can flit effortlessly between the playful rebellion of Gulaabo, the raw intimacy of Dev D, and the massy exuberance of Chennai Express. But to call her just a singer would be reductive. Anusha is a storyteller, a seeker, and now—an actor who dares to embrace a whole new language of expression.
Discovered by Shankar Mahadevan, her big break with Johnny Gaddaar was more than just a launch—it was the beginning of a rich, multilayered artistic journey. Since then, her voice has soundtracked everything from adrenaline-fueled action to tender heartbreak, and yet, each performance has carried an emotional fingerprint uniquely her own.
Today, with Hai Junoon, Anusha steps into the world of acting—not as a celebrity cameo, but as an earnest, wide-eyed debutant. It’s a brave move, especially in an industry where being “versatile” often comes with invisible boundaries. But Anusha isn’t chasing labels or applause. She’s chasing truth—whether it’s through a perfectly modulated note or an unguarded moment on screen.
What makes her story compelling isn’t just her accolades or discography—it’s the grace with which she evolves. Whether she’s navigating the cultural nuance of a Tamil melody, writing her own lyrics, or crying on cue in front of a camera, Anusha carries a rare mix of humility and boldness. She doesn’t pretend to have all the answers. What she has, instead, is an unshakable sense of self—and an openness to growth that many artists never allow themselves.
In this candid and vulnerable conversation with News18 Showsha, Anusha reflects on her transition to acting, her early days with Shankar Mahadevan, the beauty and brutality of vulnerability, and what it means to sing—and live—with authenticity. She opens up about the emotional difference between a recording studio and a film set, the art of listening deeply, and why Savera defines her far more than any playback hit ever could.
She speaks not just as a performer but as a woman learning to protect her empathy, honor her creative instincts, and break free from the boxes the world so often tries to place her in. In an era where many chase virality, Anusha Mani chooses vulnerability. She chooses truth. And in doing so, she reminds us that art—whether sung, spoken, or acted—is always at its most powerful when it comes from a place of fearless honesty.
Here are the excerpts:
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Hai Junoon marks your official acting debut. What emotions did you carry on set that were entirely different from stepping into a recording studio?
The biggest difference between Recording studio and a set is the sheer number of people working together in collaboration. The sensory overload of seeing so many people around was difficult to deal with initially. After the first few days of Shoot, I learnt to block the noise and focus on myself and my character. Recording Studios are quiet and peaceful. Few people around, and you have the liberty of taking your time to get things right. The biggest emotion that I had to keep aside Was my inhibitions.
As someone known for emoting through voice, how did it feel to now have your expressions, body language, and silences speak for you?
Acting in some sense is similar to singing in that, we also use body language and silences during singing knowing when to breathe and how much to give between lines while singing a similar to acting. Facial expressions, emotions, and voice modulation is used in singing and acting is why people say that singers make for good actors. Obviously, the craft is very different and the skills required are different, but they do interject in a big way.
Did your years of playback singing inform your acting process in any way—or did you have to unlearn anything to become camera-ready?
What made it easy for me Was that I had no expectations or inhibitions going into this. I did not overthink, try to over analyse, and just tried to have a good time. It helps when your career and life aren’t dependent on something, it takes the pressure off and that helps you focus more on the job. I felt like the stakes were higher in singing, and I had nothing to lose in acting is why I went into this process easily.
Were there any moments on set where you instinctively approached a scene as a singer first, rather than an actor?
It helped to play a singer in the show, the scenes where the characters were singing and I was hearing them sing and supervising and reacting to the music was obviously second nature. The process felt easier because I had to play somebody who I am in real life. Although there weren’t that many scenes for me to play as a singer, they came the most naturally to me.
Acting often demands vulnerability. Was there a moment while filming Hai Junoon that felt emotionally raw in a way even music hadn’t prepared you for?
They were quite a few tough scenes for me to do as Newcomer especially when I had to cry my eyes out or be extremely confrontational in the scenes. Singing does not prepare you in any way to do scene like this. I have somehow never had a problem being vulnerable and raw, it’s something that comes naturally to me, and that probably helped in baring my emotions in front of the camera.
Looking back at your first big break with Johnny Gaddaar, what do you remember most about that time—were you wide-eyed, fearless, or both?
I got Johnny Gaddaar the day after I played my demo to Shankar ji, and I was a nervous wreck. I barely slept all night, went to the Studio shivering, completely clueless and petrified. I don’t think I’ve ever been this nervous, but also insanely excited. All I knew was that I had to give it my all. Being in the presence of such a legendary artist like Shankarji was very intimidating and exciting, but he made the process so easy and seamless. My gratitude for that experience is immense..
You’ve collaborated with legends like Shankar Mahadevan—what’s one lesson from those early days that still guides your choices today?
It’s important to really listen is what I have learnt over the years. To really pay attention, to take cues, to really absorb what people around you want from you at work. As artists, sometimes we are so eager to deliver., That we forget that we need to really listen before we can deliver. What I also learnt during that time and to this date is how kind and humble Shankarji is, and how well he treats fellow musicians and artists, no matter what their calibre is.
You’ve lent your voice to a diverse range of soundscapes—from Dev D’s grittiness to Chennai Express’s mass appeal. How do you modulate your emotional register to match such drastically different musical moods?
Emotions really come from the lyrics, first, and then the Melody and arrangements. It’s also what the music composer wants and expects for the song. The best way to approach a song is to really pay attention to the lyrics and what one is trying to say through the song. If you understand the meaning of the song, the emotions follow.
What does it mean to you when people still associate you with “Gulaabo”? Does it feel like a blessing, or is there a desire to constantly move beyond it?
I take a lot of pride in being associated with Gulabo. It changed my life for the good in many ways. That said I was also the lazy Lamhe girl once, and I’ve given many other big songs. An artist always wants to be known for more and beyond and not be boxed .as I keep evolving and growing. I hope that these terminologies will keep changing. Truth be told an artist can never be fully satisfied with anything, so yes, I want to be known for more and beyond.
Having worked across Hindi, Tamil, and Telugu cinema—how has that multilingual experience enriched you as an artist?
I love languages, I love exploring the different sounds that come phonetically from different languages and to be able to string words in a song that is alien to me is a beautiful experience. To sit with the language supervisor to understand the meaning and pronunciation and then fit it into a metre of a song is a really fun process. It boils down to learning something new and the excitement that brings along. I have always loved singing in different languages, and I sometimes think that I sing better in languages other than Hindi.
Are there any linguistic or cultural nuances that particularly challenged you—or changed your perception of music-making in India?
Music making as a process is similar, no matter where you go, it’s why music is called a universal language. No matter what part of the world you come from, Music will always bring people together, Music will make bonds in a way that nothing else can.
As a lyricist and a singer, you understand both words and voice. Do you approach lyrics differently when you know you’re going to sing them yourself?
As someone who loves paying attention to lyrics, it doesn’t matter whether I’m listening or singing, words hold as much meaning to me. Like I said, understanding what the song means and what is being portrayed in the song is the key to doing justice to the song. Often in today’s day and age, people don’t pay as much importance towards language words and pronunciation, and I think it’s detrimental to songwriting.
Do you feel your voice has ever typecast you into a certain “zone” musically—and if so, how have you fought to expand that image?
The songs I do in my independent space, really defines me as a singer more than any playback, and that is unfortunate . My single Savera, for example, is, according to Me is the perfect representation of who I am as an artist but I am known by people for other songs that are more popular. I do think singers get typecast like actors do, and it is a matter of time or luck to be able to break away from that.
In a time when vocal processing and digital manipulation are common, how do you hold onto authenticity?
Learning music is key. A lot of artists shoot in the dark without understanding what the basics of Music is. I don’t claim to be the most knowledgeable because there’s always more to learn in music. No matter how deep you go, understanding the basics of Sur and Taal is mandatory. It’s unfortunate that a lot of artists skip the basics of Music and dive into the professional world.
You’ve now added ‘actor’ to your already rich résumé. What is something that acting has given you that music never quite did?
Acting has taught me to be fearless, to become a student again, to trust myself again, and the biggest lesson of all is to never say no before trying it once. Music is my first and forever love, and it shall remain that way, but acting is showing me new facets to myself that I never knew existed.
How do you define creative reinvention at this stage of your career—what fuels the desire to try something completely new?
It’s never Too Late to learn something. It’s never too late to try something new. It’s never too late to reinvent yourself. It’s never too late to dream a new dream. We have been boxed by society to do certain things at a certain age and stage of your life, and it’s important to break out of it and away from it. As long as you’re able and capable of working learning , growing and evolving gives you joy and purpose in life, and that’s all that matters.
Is there a song you’ve sung that, in hindsight, feels like it had foreshadowed this new phase of your life?
Like I said, acting was never on the table, it was never my dream and it came at a time when I was ready for it. I don’t think any song has led to this. I don’t think any single moment has led to this. I am a firm believer of destiny, and I believe that it happened to my life when I was ready to receive it, and when I could’ve been my best at it.
When you look back at your journey—across melodies, languages, and now mediums—what part of yourself have you had to protect the most?
My need to see the good in everybody. I need to look out for everyone around me and the sense of responsibility. I feel towards the people around me. I have learnt the importance of having boundaries, self preservation, and realising that not everything is my problem And that not everyone needs my shoulder. It can be exhausting, hyping everyone around you, and not feeling that being reciprocated by the same people.
What does artistic freedom mean to you today—has it changed from when you began?
Today Music looks very different in our industry than what it was when I started 20 years ago. So many independent artists, artist owned labels, self publishing, and many other ways to put your music out. That soundscape of music has changed drastically, so many genres are being appreciated and loved by people, and this is really what artistic freedom means. Yes, with that comes compromises on the quality of music from time to time, but that is the listeners responsibility to bring good music and art forward.
What’s one story—personal, musical, or now cinematic—that you still haven’t told, but deeply want to?
The stories I want to tell are through my songs and now my acting . Any other kind of story is irrelevant to the world, and it’s for me to hold onto.