Singer and actor Diljit Dosanjh recently voiced his stance against double standards when authorities directed him not to promote alcohol in his songs. Speaking at a concert in Ahmedabad during his Dil-Luminati India Tour, Dosanjh declared he would refrain from singing songs related to alcohol in Gujarat, acknowledging its status as a dry state.
This comment came as a response to criticism and a directive from the Telangana government ahead of his Hyderabad concert, where he was asked not to promote alcohol, drugs, or violence in his songs.
Dosanjh criticized the authorities’ focus on selective censorship, stating, “Even today I won’t sing any song about alcohol. It’s because Gujarat is a dry state.” However, he also pointed out the apparent double standards in such restrictions, questioning why Bollywood, which features countless songs promoting alcohol and endorses alcohol brands, remains exempt from similar scrutiny. “Bollywood has thousands of songs [on alcohol]. I have only a few. Even today I won’t sing those. It’s very easy for me to tweak the song. Even I don’t drink alcohol. Bollywood stars advert alcohol; Diljit Dosanjh doesn’t,” he remarked.
During his Ahmedabad concert, Dosanjh added another challenge to the government, stating, “Let’s start a movement. If all states declare themselves as dry states, from the next day, Diljit Dosanjh will stop singing songs about alcohol in live concerts.” He further declared that if a dry day was announced in any state on the day of his concert, he would refrain from performing alcohol-related tracks.
These remarks have sparked debates about artistic freedom and the role of censorship in music. Dosanjh also highlighted the irony of liquor stores being deemed essential during the pandemic while other establishments, including religious spaces, were closed. He said, “During the pandemic, everything was shut, but the liquor stores were spared. You can’t fool the youth.”
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Dosanjh’s response was not merely a defense of his music but also a broader critique of the inconsistencies in cultural governance. He underscored how authorities often overlook similar content from other sources while targeting specific artists. He noted, “If an artist comes from outside, they can sing anything, do anything, and there are no worries. But when an Indian artist sings, then you have a problem; you have to interfere.”
The singer’s stance has resonated with many fans, who applauded his refusal to back down under pressure. For Dosanjh, tweaking lyrics is a small price to pay for maintaining his principles. He stated, “Tweaking songs is very easy. I am not a new artiste, and I won’t feel helpless when asked not to sing a song. I will tweak the songs, and people will still enjoy it.”
Despite the controversy, Dosanjh remains firm in his commitment to addressing such issues head-on. By urging governments to act consistently and highlighting the broader societal implications of their directives, he has sparked a meaningful conversation about censorship, societal norms, and the power of music as a form of cultural expression.
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