Jul 24, 2026 10:30am IST
Raj Shekhar on Collaborating with Yash on ‘Toxic’: ‘He’s Very Clear About What He Wants, Yet He’s Very Collaborative’ (EXCLUSIVE)
Raj Shekhar believes in writing songs that balance emotional depth with poetic simplicity. After penning the romantic track “Tum Ho Toh” from “Saiyaara,” the lyricist reunited with composer-singer Vishal Mishra for the intense “Tabaahi” from Yash’s “Toxic: A Fairy Tale for Grown-Ups.” In this conversation with Variety India, Shekhar opens up about writing lyrics that explore emotions beyond the visuals, collaborating with Yash and director Geetu Mohandas, sharing a writers’ room with lyricists from across Indian cinema and his long, creative partnership with Vishal Mishra.
The last time you and Vishal Mishra came together, you gave the audience the soft, romantic track ‘Tum Ho Toh’ in ‘Saiyaara.’ This time around, ‘Tabaahi’ is all about raw emotions and intense passion. What kind of brief did you get to write it?
The journey of this song began after the tune had already been composed. Vishal Mishra, who is both the composer and singer of the song, called me and said, “I’ve composed a really beautiful tune. Come over, listen to it, and I want you to meet someone.” When I got there, Yash was present along with director Geetu Mohandas. I loved the tune on my very first listen. Even without any words, the melody itself carried an incredible intensity and fire. At that stage, the only word that existed in the scratch version was “Tabaahi.” I visited the editing room and watched portions of the film. That’s when I truly understood what the song needed to say and what emotional space it had to occupy.
One thing we were all absolutely clear about was that we didn’t want the song to simply subtitle or describe whatever was happening on screen. Instead, we wanted the lyrics to explore a deeper emotional layer, something that the visuals alone couldn’t express. The song’s sound itself is very primal and unapologetic, so we tried to reflect that energy in the lyrics as well. I also felt that this perfectly reflected the mindset of the character Yash is playing. He has that rebellious outlook, and we wanted the lyrics to embody that spirit.
You mentioned that Yash and Geetu Mohandas gave you a brief. Was there anything specific they wanted you to focus on?
When you’re working on an intense song like this, the brief is never just, “Write this.” That’s not how it works. I tell people, “Just keep talking to me.” We spoke at length about the song. Yash was clear that the song should strengthen the bond he already shares with his audience. The lyrics shouldn’t feel like they’re talking about some abstract, distant world that people can’t relate to. He wanted them to feel emotionally accessible. And he’s incredibly collaborative. Very clear in what he wants, yet extremely open to ideas. That’s something I learned from working with him. He told me he wants me to retain two of my qualities. He said, “You don’t get stuck in big words. The world you create out of simpler words is special, and you should always retain that. Secondly, even when someone tells you that this is good, you keep saying, ‘I can do better’; that restlessness is very good for any artist.” He is a very, very sharp man. I have met very few people who are as sharp as he is. I told him that when this film ends, I think I will miss him and these conversations.
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You had interesting interactions with other lyricists while working on this album.
Yes, the one thing I'll always remember about writing this song is that it felt like we were all in a group study session. In one room were Kannada lyricist and filmmaker Yogaraj Bhat, Telugu lyricist Ramajogayya Sastry, Tamil filmmaker and lyricist Vignesh Shivan, whose wife, Nayanthara, is also part of the film, and me. The four of us represented different languages, but we'd spend time together, eat together, chat, pause work to listen to songs, and Yash would also join us.
It genuinely felt like a group of students preparing together, except that each of us would eventually write the exam in a different language. That cultural exchange was fascinating. Writing “Tabaahi” truly felt like sitting in a room full of students, all learning from one another while creating something together.
You and Vishal Mishra have worked together extensively over the years. How has your equation evolved?
I think we've been collaborating since 2015. It's been a wonderful journey, and we've only come to understand each other better with time. As a relationship becomes older and deeper, it also becomes more transparent. I can tell Vishal quite openly if I don't like something, and he has the same freedom to tell me if he feels a lyric isn't working.
The relationship between a lyricist and a composer is built on an extraordinary amount of trust. When you're in a music room, whether you're the composer or the lyricist, you're constantly exposing your most vulnerable self. You're presenting ideas that may be incomplete, flawed, or even wrong. You're showing a side of yourself that the other person could judge at any moment. That's why trust becomes so important. You have to know that the other person won't judge you, that they'll support you, just as you'll support them. That trust is essential between a composer and a lyricist, and we have that trust and understanding.
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