photo: bollywood hungama · cc by 3.0 ↗Jubin Nautiyal was born in Dehradun, Uttarakhand, and built a classical foundation at Welham Boys' School before television exposure on The X Factor India led to a 2014 playback debut with Sonali Cable. Signed to T-Series, he became one of Hindi cinema's defining romantic voices across the 2010s and 2020s with hits like 'Humnava Mere,' 'Lut Gaye,' and 'Raataan Lambiyan,' a soft, unhurried tenor equally at home over acoustic ballads, EDM-tinged pop, and devotional bhajans.
Nautiyal has said flatly that 'Rafi sahib taught me to sing romantic numbers,' and it shows in his default register: an unforced, sweetly rounded tenor that never pushes for effect, letting a film ballad's melody carry the ache rather than reaching for vocal display.
listen forCue up Rafi's 'Chaudhvin Ka Chand Ho' and then Nautiyal's 'Tum Hi Aana' — both float a long, held romantic line at conversational volume, the voice staying warm and centered even as the melody climbs, favoring tenderness over power.
Nautiyal has called Kishore Kumar 'the voice of India,' and the influence surfaces as an easy, conversational warmth — a way of sliding between a hushed, almost spoken verse and an open-throated, emotionally unguarded hook without any strain showing in between.
listen forPlay Kishore's carefree glide on 'Mere Sapno Ki Rani' against the quiet devastation of Nautiyal's 'Humnava Mere' — different moods, same trick: the melody does the emotional work while the voice stays natural and unforced, never over-singing the line.
Nautiyal has said Nusrat Fateh Ali Khan's live recordings 'helped me prep for stage shows,' and years later he built a song, 'Dil Jisse Zinda Hain,' explicitly around qawwali phrasing — sustained, rising vocal lines and harmonium-and-tabla-driven builds borrowed from the qawwali tradition rather than the plainer film-ballad delivery he uses elsewhere.
listen forListen to the surging, repeated vocal cresting of Nusrat's 'Allah Hoo' and then the qawwali-flavored build in 'Dil Jisse Zinda Hain' — both stack a simple phrase over mounting percussion until the voice is riding pure intensity rather than melody alone.