Tanishk Bagchi Raises Royalty Concerns Over Saiyaara Title Track; Yash Raj Films Responds

When Tanishk Bagchi posted his royalty complaint on 19 July 2026, the spotlight shifted onto the very mechanics that keep Bollywood’s hit songs alive.

Bagchi, 45, is no stranger to the industry’s glitter, having scored recent chart‑topper hits. In a brief social‑media message, he disclosed that the royalty he received for the Saiyaara title track—co‑composed with Faheem Abdullah and Arslan Nizami—was roughly ₹8 lakh. He called the sum “peanuts” in light of the song’s millions of streams and views across platforms. The post vanished within hours after Yash Raj Films (YRF) issued a clarification that all contractual payments had been made and that royalties were being distributed per the agreements signed by all contributors.

Saiyaara premiered theatrically on 18 July 2025 and soon became a commercial juggernaut, grossing more than ₹5.79 billion worldwide. Its soundtrack, released by YRF Music on 4 July 2025, features seven tracks from a roster that includes Mithoon, Sachet‑Parampara, Tanishk Bagchi, The Rish, Vishal Mishra, Faheem Abdullah and Arslan Nizami. Bagchi’s track, the film’s title song, quickly rose to the top of streaming charts, cementing its status as the soundtrack’s flagship.

In the original post, Bagchi explained that he had poured significant time and effort into the song’s production—from composition and recording to arrangement and post‑production. He added that a large portion of the fee he received for the project went toward those production costs, leaving little for personal profit. The composer said he expected a track with such streaming traction to generate higher royalty earnings and that the experience had reshaped his view of the music industry’s royalty structures.

YRF’s statement, released the same day, emphasized that all contractual payments had been fulfilled. The production house clarified that royalties were being handled according to the agreements signed by all contributors. It noted that the Saiyaara title track was a joint effort among Bagchi, Abdullah and Nizami, and that royalties were to be shared equally among the three composers as mutually agreed.

After YRF’s clarification, Bagchi’s original post disappeared from his account. The composer has not publicly explained why the message was removed.

The dispute has reignited conversations around royalty distribution, composer compensation and revenue‑sharing models in India’s music industry. As streaming continues to reshape how artists earn from hit songs, the episode underscores the need for transparent and fair royalty mechanisms. The industry has seen a number of similar disputes in recent years, with composers and musicians calling for clearer contracts and better accounting of streaming revenues.

At present, YRF maintains that all dues have been settled and that the royalty arrangement for the Saiyaara title track follows the agreed terms. Bagchi’s public stance has highlighted the gap between the perceived value of a hit song and the remuneration that composers receive under current contractual frameworks. The situation remains a point of reference for ongoing discussions about fair compensation for music creators in the digital age.

The next steps are unclear. No further statements have been issued by either party, and the composer has not provided additional commentary. Nonetheless, the episode is likely to influence future negotiations between composers, production houses and streaming platforms regarding royalty calculations and distribution.