Singer Abhijeet Bhattacharya has seemingly joined the ongoing debate surrounding Daler Mehndi’s controversial Uttarakhand concert. Without directly naming the veteran singer, Abhijeet took a stand against lip-syncing during live performances and assured his audience that he would never pretend to sing on stage. His remarks, made during a recent performance in Chhattisgarh, have now caught attention on social media.
Abhijeet Bhattacharya backs Uttarakhand Minister amid Daler Mehndi row
During his performance, Abhijeet addressed the audience and urged them not to accept artists who pretend to sing live. Referring to the recent incident involving Uttarakhand Cabinet Minister Subodh Uniyal, he said the minister had spoken the truth but was subsequently portrayed as the villain.
According to a report by Hindustan Times, Abhijeet made it clear that he would continue singing live regardless of how his voice sounded. “Main jaisa bhi gaaunga, kharab gaaunga, galat gaaunga, gala kharab rahega, thak jaaunga, besura gaaunga, lekin jo bhi gaaunga, live gaaunga,” he told the audience. He further promised that he would never cheat his fans by simply moving his lips to a pre-recorded track.
What is the Daler Mehndi lip-syncing controversy?
The controversy erupted after Uttarakhand Minister Subodh Uniyal interrupted Daler Mehndi during his performance at the Kunjapuri Mela. The minister questioned the singer’s performance and alleged that he was lip-syncing instead of singing live. He also claimed that Mehndi had been paid Rs 35 lakh for the event. The incident triggered widespread reactions from the entertainment industry. While Mika Singh and Anupam Kher came out in support of Daler, singer Sona Mohapatra raised questions about performers’ accountability towards audiences.
In an earlier conversation, Anupam Kher criticised the minister for publicly confronting the singer, arguing that the issue could have been addressed respectfully in private. Meanwhile, Abhijeet’s latest remarks have added another dimension to the debate, bringing the spotlight back on the expectations audiences have from live musical performances.
