Though Nigam expressed his deep affection for Kannadigas, many found his comparison offensive and ill-timed, particularly in Karnataka, where linguistic pride and cultural identity hold significant importance
Published May 02, 2025 | 7:44 PM ⚊ Updated May 02, 2025 | 7:44 PM
“Kannada, Kannada—that’s why Pahalgam happened”: Sonu Nigam’s remark triggers outrage
Synopsis: Playback singer Sonu Nigam sparked outrage during a concert at East Point College in Bengaluru after likening a fan’s request for a Kannada song to the attitude behind the Pahalgam terror attack. Though he acknowledged his love for Kannada, his remark triggered backlash online, with many accusing him of disrespecting the language and culture, while some defended his intent
Playback singer Sonu Nigam has stirred a storm on social media after comments made during a college event in Bengaluru, where he appeared to liken a fan’s request for a Kannada song to the circumstances behind a terrorist attack in Pahalgam, Jammu and Kashmir.
The incident took place at East Point College during a live concert, where a fan from the crowd reportedly asked Nigam to sing in Kannada.
While initially acknowledging his deep connection with the language, Nigam’s response quickly turned controversial.
“I have sung songs in all languages, but the best ones I have sung are in Kannada. Whenever I come to Karnataka, I come with a lot of love and respect. You have accepted me like family,” Nigam said.
However, he followed it with a contentious remark: “I started singing Kannada songs before he [the fan] was even born. This kind of attitude — Kannada, Kannada — this is why the Pahalgam attack happened. At least see who’s in front of you before making such demands.”
While Nigam clarified he held deep love for Kannadigas, many saw his comparison as inappropriate and offensive, especially in a state with a strong linguistic identity.
The reaction online was swift and divided. Several users slammed the singer for “disrespecting” the language and community.
Twitter user @Kanagalogy posted, “Look at this shameless Sonu Nigam ridiculing a fan for requesting a Kannada song and blaming languages for terrorist attacks… blaming Kannada for everything has become a trend among these Hindi chauvinists.”
Look at this shameless #SonuNigam Riduculing a fan for requesting him to sing a Kannada song in Bengaluru and Blaming Languages for the Terrorist attack.., off-late its become fashion to blame Kannada for these Hindi jihadis for everything.
When u have no seed to question the… pic.twitter.com/pw2w9vjj8h
— Prathap ಕಣಗಾಲ್💛❤️ (@Kanagalogy) May 1, 2025
Arun Javgal echoed similar sentiments, writing, “When asked to sing a Kannada song, he brought up a terror attack in Kashmir. What does that have to do with Kannada? Why is it so hard for North Indians to respect Kannada in Karnataka?”
He added that Karnataka’s contributions to the nation, including military funding, were significant and deserved respect in return.
Few days back Dhruv Rathee insulted Kannadigas. Now Sonu Nigam has done the same.
At an event in Karnataka, when asked to sing a Kannada song, he refused and brought up a terrorist attack in Kashmir. What does that have to do with Kannada?
Why is it so hard for North Indians… pic.twitter.com/OHbZkKh4cE
— ಅರುಣ್ ಜಾವಗಲ್ | Arun Javgal (@ajavgal) May 1, 2025
On the other hand, a section of fans defended Nigam. Hemanth Shaiva tweeted, “I grew up listening to Sonu Nigam and still do. No one can question his love for Kannada. He has contributed more to Kannada music than many others. He was simply asking us to stay united.”
I grown up listing to Sonu Nigam Songs and Still Continuing…, No one can question his love towards Kannada, He has contributed more than the Olatas to Kannada, He just told to stay united, I stand with Sonu Nigam 🙌❤️ pic.twitter.com/opaGjQKL4T
— Hemanth Shaiva (@HemanthShaiva) May 1, 2025
The controversy has reignited debates around linguistic respect, regional identity, and cultural sensitivity — especially amid growing calls in Karnataka for greater recognition of Kannada in public and national discourse
(Edited by Ananya Rao)