Amaal Mallik has thrust Bollywood’s music industry into another uncomfortable spotlight. In a blistering set of posts on X, the composer accused Tanishk Bagchi of copying the title track of Saiyaara, then widened the attack into a searing critique of originality, credit, and industry conduct.
He opened with a personal broadside, writing, “Dear Mr Remix & Destroyer of Originals 10 years too late but I will show the world your aukaad 🙂 You don’t deserve my mention also after all that has gone down, so please mera 2017-18 ka photos leke articles likhwana bandh kar Lala…Paid PR ka paisa tum label se kama chuke ho, but kharach galat jagah kar rahe ho…Phir mujhe har saal call karke, ya mere manager ke saamne mera bhai banne ka dhong kyu karta hai re tu…Such unmanly behaviour man…Sheesh!”
Check out his posts on X:
Amaal Mallik’S Saiyaara Allegation Takes Center Stage
At the heart of Amaal’s outburst was Saiyaara, the 2025 Mohit Suri directorial produced by Yash Raj Films. He alleged that the title track was taken from its original creators and used to secure Tanishk Bagchi’s place in the film.
Amaal wrote, “If I speak up about how you bagged the film #Saiyaara, and stole the song right under Faheem Abdullah & Arsalan Nizami’s nose to make Mohit Suri take you in the film, then you will know. They will out of respect not support me, but if they have the guts to stand up, they should release #SaiyaanMere & the world will know who actually made the song and kisne aise hi credit khaya.”
He then pushed the feud into even more volatile territory, writing, “Bhai break up mera bhi hua hai, woh dard dikhaake aur use karke picture mein ghusne ki bheek nahi maangta main bete. Should I mention what you have done to female singers and their lives, Me too nahi, Me Three ho jaayega tujhpar. Should I tell the world how you gave me a swear and asked me to leave certain films and songs cause you had bills to pay…..Stop crying now like a little bitch about royalties when I had told you & many others to be united, kept calling you time and again trying to explain to you, why the f**k you shouldn’t do #AashiqBanayaAapne & #Masakali. But you wanted to make the bucks then so fair enough, but I’d like to ask. @yrf is the clearest, most legal and easiest production house to work with and they won’t retaliate because of Mohit Suri’s intervention, the same man who got you to delete your petty post. You are composing for the next Yash Raj film but you have no gratitude for the money and effort spent by them to make your copied song Saiyaara a global anthem….Shame. You’re a bloody thief, your originals are also not originals, they are complete copies of Pakistani songs, some other composer’s stolen songs, folk melody lifts or just straight copies from even people’s YouTube covers…. You copied #Saiyaara from #HumnawaMere and out of respect Jubin Nautiyal had to keep quiet as he was part of the same film. For the sake of being your regular collaborator and also the singer of #Barbaad from the same movie, he didn’t raise a voice is my clear guess…Since he sang #RataanLambiyaan for you he and #RockyKhanna the composer of the pop song Humnawa Mere, kept quiet. But I won’t, and I should’ve shown the world your colours back in 2015. Bro/Sis. If you truly are a man, write against the same man you talk shit about in every party and every gathering. Mr Bhushan Kumar. You keep saying @TSeries owes you crores, then why go after #YashRajFilms , kyunki Bhushan Ji Music Industry mein bohot strong hold rakhte hai ? Tseries se tera kaam ruk jaayega isliye darta hai na sach bol. Yaha bhi bachne ke liye tuney post bhi delete kar diya….Kitni gaya guzra aur gandaa aadmi hai re tu. You couldn’t stand up for your own feeling and that shows what you are. Mard bano beta, Yeh Janani wali harkat na karo toh achha hai.”
Why This Feud Lands So Hard Right Now
This clash carries extra weight because Amaal is not an outsider lobbing random accusations into the void. He remains one of Bollywood’s more recognisable contemporary melody makers, with recent credits across film music and singles, and a career shaped by chart-driven romantic tracks. That standing gives his words a different charge. When a composer with that visibility publicly questions how a major film song was credited, the dispute stops being just another online spat and becomes a pointed flashpoint in the larger conversation around originality in Hindi film music.
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