Chinmayi Sripada Slams Dropped Hema Committee Cases: 'There's No Difference…'

News18

10-06-2025

Last Updated:
Singer Chinmayi Sripada spoke to News18 about her concert comeback, the toll of being a whistleblower, Hema Committee and why the system still punishes women for speaking out.
Singer, voice artist, and outspoken activist Chinmayi Sripada is in the spotlight as her voice has once again gone viral, this time through AR Rahman's Thug Life song, Mutha Mazhai. But while her songs trend and her vocals cross languages, Chinmayi continues to be shadowbanned in Tamil cinema—a fallout of her bold stance during the #MeToo movement.
In this candid, freewheeling interview, Chinmayi opens up about her chameleonic voice, the ongoing battle to reclaim her career, Hema Committee cases getting dropped, and why she'll never stop speaking up for survivors—even if it costs her everything.
Excerpts from the interview:
Q: You have done your first solo concert in Hyderabad. Are you planning something similar in Chennai?
I'd love to. I definitely wish to have a concert in Chennai. I hope the stars align and make it happen.
That's what people are saying, but I honestly don't understand algorithms or engagement. If I had, my life might've been better six years ago!
Q: You recently joked about a concert idea titled 'You Didn't Know I Sang This Song." That sounds… kind of perfect. People are currently surprised that many popular songs are sung by you.
Exactly! I feel like that's my entire discography. People are discovering that I've sung songs they've loved for years, and they're shocked. In a way, that's great. It wasn't a plan, but I think I just took the path that the song and the composition took–If it wanted a slightly different tonality or projection or a performance from me. I am glad I was able to deliver what was asked of me at that point. And therefore, I don't think they were able to connect all of these songs or from the same singer. Because after Dheivam Thandha Poove, somebody is listening to Sandipoma and then they are suddenly listening to If You Wanna Come Along, they are like: 'Okay, how can this be the same singer, right?'
Q: Some singers create a vocal signature. But you've chosen versatility. Do you see it as a strength or a challenge?
I think in a way, I am looking at it as a boon because I would rather surprise the listener. I like that game. I like keeping people guessing and surprising them at the end of it when somebody is like: 'Is this Chinmayi?' That's my thing.
Q: What's the one song people are most shocked to learn is yours?
Initially, it was Sahana. Then Sarasara Sarakathu, Mayya Mayya too. It keeps happening.
Q: What would you say is the Chinmayi voice? The one that represents you?
That's hard. Every song is a part of my voice. None of it is fake. If I need to sing husky, I can. If it doesn't work, I accept that. My job is to try my best and see if I can make it work.
Q: Have there been songs you've walked away from?
Yes. Once because the lyrics were vulgar. It was Tamil, and it felt too much. I just couldn't do it. I don't even remember the song now. And then once, when I was 18, someone was like, 'She has produced a hit too early. So let me put her in place.' I ended up crying and leaving the studio. I couldn't sing. These things happen. A lot of singers have such stories.
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Q: Let's talk about Thug Life. Did you expect that kind of viral reaction to Mutha Mazhai?
This isn't new. Even Dhee sang a song in Kadhalikka Neramillai, and it was performed by some other singer on a stage. It happens all the time. With Mutha Mazhai, I sang the Telugu and Hindi versions, so singing the Tamil version was natural. I already knew the tune, and I just read the lyrics and sang. I didn't think much about it. I was given a job, and I did it.
Q: How do you respond to comparisons between your version and Dhee's?
I don't know what to say. My entire career has been filled with many songs with multiple versions—male, female, happy, sad. I've sung sad versions, Shreya has sung happy ones. In Uyire, Harris Jayaraj had four of us singing one song! People are acting like this is new.
Q: You've worked with so many legends. Who influenced your singing the most?
I didn't grow up on film songs. But I loved Hariharan sir's ghazals. Asha ji's versatility. P. Susheela Amma's timbre. L. R. Eswari Amma's theatrics. Janaki Amma's ability to sing like a man, woman, and child in the same song. Yesudas sir's subtle sangathis. Chitra Amma's range. Sujatha ji's Netru Iladha Maatram—I heard it in a theatre and that was the moment I wanted to be a playback singer. And Hai Rama? That was the love of my life for years.
Q: Why do you recently only get the Telugu and Hindi versions of songs, but not Tamil?
How do I answer that? If I do, it becomes a speculation. Only producers and directors can answer. But that's been the story of my life for years. A sad thing. If a film is in Telugu, I would dub it in Tamil from Hyderabad. That's a different story. But, what they call a straight Tamil film… that has been few and far between.
Q: Is it because of the dubbing union ban? How does that work?
All the unions associated with Tamil films come under one mothership called Film Employee Federation of South India (FEFSI). They decide who should work and who shouldn't. Now, the dubbing union is headed by heavy weights like Radha Ravi, who also hold offices in other unions. That's how most heads are like–if one is a head in an union, he would hold office in others as well. When one union bans someone, it notifies FEFSI, which then sends notice to all unions to ban the person. If someone doesn't comply, they are also given ban threats. However, such actions are not taken against sexual offenders. If I do, then, they will hold it against me that I went to the police and filed a complaint. So, it is in the union by-law that I am not supposed to go to the police. So, basically, they tell me, they function as a different country.
Q: But how can a union have a bylaw saying you can't go to the police?
Exactly! That's what I've been asking. This is their system. It protects perpetrators and punishes complainants.
Q: So what's happening with your court case fighting this ban by the dubbing union?
I've gone to court asking to overturn the ban. I want my right to work back. People say it's useless, that they'll still shadow ban me. But at least I'll have a paper in hand.
Q: What about the big names and stars—can't they help you out?
It's not their problem to deal with. It's only the problem of the person facing it. If you're powerful, things are taken care of. If you're not, you're left to fight.
Q: In an interview you said, you are numb despite all the recent praises?
What has happened can't be undone. I don't think it can be reversed. It is like a severed hand that got reattached to the body. It will have scars.
Q: Your thoughts on cases reported to the Hema Committee getting dropped by police…
Malayalam actress Parvathy (Thiruvothu) has asked a pertinent question. The whole point of the committee was to protect the survivors, and she rightly questioned the safety in the police investigation. Why are Reema Kalingal and Parvathy's shadow banned? On the other hand, Dileep is getting promoted despite knowing he is a contract rapist. There is no difference between here and there. At least, there they had something like the Hema Committee, which initially gave me joy. Now, women there despite knowing something horrific has happened to one of their colleagues, go and rub shoulders with Dileep. Shame!
Q: Do you feel any peace that you have set a precedent in calling all these men out? Do you think that changed anything?
People talk about sexual abuse now. It's a drawing room conversation. I get DMs every day. Men are opening up. I saw a reel a couple of days ago of a man who was talking about being molested on a train. He had actually caught it on video. I said this is exactly what we are talking about. I've had adult men confide in me—saying they were molested by friends, colleagues. They ask if they should tell their wives. And I say yes. Women don't judge the way men often judge women. We listen. Survivors are recognising what happened to them. I think that's progress.
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