Kozhikode boasts a rich history of musical traditions. The city once thrived with a vibrant community of music enthusiasts who appreciated a wide range of genres—from Hindustani classical to theatrical compositions. What set this community apart was its members’ passion for diverse musical styles and songs. Music clubs became popular in Kozhikode at the beginning of the twentieth century, as early as the 1920s. These clubs operated in the evenings, hosting music and drama performances on the vacant upper floors in commercial buildings, while the shops functioned downstairs.
The clubs flourished in the southern areas of the city, such as Kuttichira, Parappil, Kundungal, Thekkumthala, Idiyangara and Halwa Bazaar, serving as cultural hubs for the local community. The main commercial centres like SM Street, Silk Street and Big Bazaar typically concluded trade activities by 2 pm, providing those interested in music plenty of time to gather and enjoy concerts and musical events. While the rest of Kerala had yet to discover such musical events, Kozhikode already had a thriving concert scene.
The most popular among the music clubs was the Brothers Music Club, founded by Constable Kunju Mohammad and dramatist K.T. Mohammad. Others included Salt Muhammed Koya’s Everest Music Club, Postman Syed Bhai’s Evening Club, Chembukandi Hassan Bhai’s Hindustan Club and Archie Hutton’s Hutton’s Orchestra. Brothers Music Club and Hutton’s Orchestra engaged in friendly competitions, called Music Evening, held at the Young Men’s Christian Association (YMCA). As the two clubs contested against each other, fans were left in a quandary, having to choose between their favourite musical groups.
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Kozhikode music clubs played an instrumental role in fostering local musical talents. M.S. Baburaj, noted music director of the Malayalam film industry of the 1950s and 1960s; Kozhikode Abdul Khader, a playback singer of 1950s; and Mappilapattu (a Muslim folk song genre) singers Nallalam Beeran and S.M. Koya are some of the prominent singers who have emerged through the clubs. The clubs primarily featured the tabla and harmonium, with the sitar, sarangi and dilrupa brought in by musicians who came from outside Kerala. Popular musicians included tabla players such as Abu Ustad, Bichamu, Lawrence and Usman; violinist Nohan; and harmonium players Vincent Master and S.M. Koya. Each club was equipped with these instruments and small performance stages. The clubs would also hold grand annual concerts at the Town Hall.
Inside the Town Hall. (Picture credits: Joseph Rahul.)
These clubs invited not only local singers but also singers from North India, whose concerts or mehfils drew large crowds. Ustad Sadaqatullah, Bangalore Abdul Razak and Gul Mohammad sang ghazals, qawwalis and thumris. These events also provided valuable experiences for local singers. Wealthy merchants, driven by their love for music, often sponsored singers from outside the state. Notable visitors include Jan Mohammad from Kolkata, Mangeshkar Rao from Mangalore and Sarath Chandra Marata from Mumbai. Shyamji Sunderlal, an eminent businessman, was renowned for his musical patronage. He regularly invited singers from the clubs for concerts at his residence. These gatherings were held under the light from Petro Max lamps and featured local delicacies such as Sulaimani chai and Kochikoya (a unique dessert made from rice flakes, coconut and jaggery). The warm hospitality offered to visiting musicians and singers by the local community even led some of these artists to settle in Kozhikode, thus contributing to the boom of the mehfil culture in the city.
The audience at these mehfils included people from all walks of life, such as labourers, goldsmiths, writers, coolies, theatre workers and businessmen, with social distinction fading in their shared appreciation of music. The night concerts, dubbed the ‘darbar’ of the common people, were characterised by the reverberating sounds of the harmonium and tabla, accompanied by the beedi smoke-filled air. Exceptional performances often brought on passionate responses from the audience, with gifted singers even receiving gilt necklaces as a token of appreciation. The women’s parts in duets were usually sung by men, as women did not participate in stage performances. Singers were able to dedicate themselves to the song with the enthusiasm and interest of the admirers who sit on the grass mat holding the rhythm on their lap.
Abdul Khader. (Photo courtesy: Public domain, via Wikimedia Commons.)
The 1980s marked the beginning of the decline of these music clubs. The influx of immigrants and the widespread availability of tape recordings transformed music enjoyment into a more personal experience. As a result, many club spaces were repurposed into carrom clubs and tuition centres. Today, the once-thriving music club scene has nearly disappeared. Only a few institutions remain, such as Ghazal Dhara, the Usman Memorial Art Center and the Kozhikode Abdul Kadar Foundation. Ghazal Dhara was established in 1984 by a group of music enthusiasts, including Najmal Babu, Latif Sterling, Cowboy Siddique and others, with the objective of reviving the traditional mehfil culture. Following the passing of Baburaj and Abdul Khader, the music clubs fell into inactivity. Its inception was marked by the unveiling of photographs of Baburaj and Abdul Kader at the Town Hall, accompanied by a musical night dedicated to their songs, inspiring efforts to rekindle the old club culture. The Usman Memorial Art Centre was founded in the 1990s to honour the legacy of tabalist Usman and to revive interest in the percussion traditions of the past. However, both Ghazal Dhara and the Usman Memorial Art Centre had their share of struggles, with their activities nearly ceasing during the Covid-19 pandemic.
In the four decades since the decline of Kozhikode’s music clubs, the landscape of engagement with music has changed dramatically, with vast music collections made available online, allowing on-demand listening as opposed to live performances of the past. While performers of the past prioritised audience entertainment, many contemporary artists seem focused on financial gains. The intimate concerts of yesteryears have been replaced by elaborate stages that has significantly widened the gap between the artist and the audience. Today’s singers have a larger-than-life persona, far removed from the average person, who fondly remember days they could share tea and conversation with singers in close, personal settings. However, while the vibrant music club culture of Kozhikode has faded over time, its memory continues to resonate in the hearts of devoted fans.
