I was completely stunned. I couldn’t say a word—I was overwhelmed, excited, nervous… everything at once. But within minutes, he made me feel completely at ease. That’s the thing about his aura—it’s calm, welcoming. He makes sure you’re comfortable.

We often hear the phrase “light at the end of the tunnel”—a small reminder that hope still exists. But when that light turns real, when it becomes something tangible and life-changing, it feels nothing short of magical.

For Alexandra Joy, the young vocal powerhouse behind AR Rahman’s latest chartbusters, that magic was real. After years of relentless pursuit—traveling over 2,000 kilometers to chase her dream of music—she reached a point where she nearly gave it all up. And just then, the Mozart of Madras himself, AR Rahman, stepped in with a phone call that changed everything.

In this exclusive conversation, Alexandra opens up about her vulnerable journey, the turning point that saved her path, and the thrill of collaborating on one of the year’s most anticipated films—AA22.

You’ve landed back-to-back opportunities with AR Rahman sir. How does it feel, and where’s your head at right now?
I feel truly grateful right now. Honestly, I never imagined I would get this kind of opportunity. To be part of something like this and to learn from it—it’s been beyond anything I expected. I’m especially thankful to AR Rahman sir for trusting me and believing in my voice. It means a lot that he saw something in it—something worth nurturing. He has this incredible ability to bring out the best in a singer, and I feel really lucky to have experienced that. I’m just deeply, deeply grateful.

Your first song as a lead singer was Lavender Neramae, composed by AR Rahman sir. How did that come about?
The thing is, it all happened really quickly. I think it was just about a week before Lavender Neramae released I had gone in to sing because sir was experimenting with different voices. That’s when I recorded the track.

I didn’t get to meet AR sir directly at that time because the recording was handled by Sarath Santhosh. So even though sir really liked it, I wasn’t sure if my version would make it to the final cut.

Honestly, up until the release, I didn’t even know the song carried my voice. So when it came out, it was such a surreal and happy surprise. I had genuinely enjoyed recording it—it’s a beautiful melody, and AR sir’s composition has so much soul. I remember just vibing with the song in the studio, completely immersed in it.

You mentioned earlier that you’re not classically trained, and your voice carries a modern, husky, almost sensual tone. Do you think that’s what drew Rahman sir to you? Especially since Lavender Neramae had a few classical touches to it. What do you think made him choose you for that track and then follow it up with Sugar Baby in Thug Life?
I actually grew up singing a lot of pop music. I come from a Christian background, so classical singing and choir performances were a big part of my early life. Western music was always there from the beginning, it felt natural to me.

I was especially drawn to old-school contemporary pop, and that became my comfort zone, my forte. I always imagined myself sticking to that style. Then, one day, a friend of mine happened to share my voice with AR sir. And as it turns out, at that time, he was looking for a Western-style singer. So it all aligned in the most unexpected way.

What was it like to get a call from one of the greatest musicians in the world?
It was right after I completed the course at AR sir’s music institution. That phase in my life was really low. I wasn’t in the best headspace. I was filled with uncertainty about music, about where things were headed. You know how it is—if you don’t make something happen in this field, it can feel like you’re not going to make it at all.

I even had conversations with my parents about leaving music behind, going back home, and trying something else. I just didn’t see a way forward. And that’s exactly when sir called me. It was that same month. I had no idea I’d be meeting him in person, let alone in his studio.

The moment I walked in and saw him sitting there, I was completely stunned. I couldn’t say a word—I was overwhelmed, excited, nervous… everything at once. But within minutes, he made me feel completely at ease. That’s the thing about his aura—it’s calm, welcoming. He makes sure you’re comfortable.

He asked me about myself, and I told him I had also done my bachelor’s in hotel management. He was surprised. He said, “Why hotel management? Music is going good for you!” And that one moment—him encouraging me, telling me not to have second thoughts—meant everything. He told me I had potential, and that belief gave me something I hadn’t felt in a long time: confidence.

That night, I was still very underconfident, but as I started recording for him, something shifted. I began to see that I could actually do something with my voice, with my talent. He came into my life as a guiding light when I needed it the most. And that changed my perspective completely.

You mentioned Rahman sir gave you a path just when you were about to change course. But going back—when did it all begin? When did you first realize you were a good singer and decide to pursue it as a career?
Music has been part of my life for as long as I can remember, starting with singing in church. My mom’s side of the family is deeply musical, so the influence was always around me. Self-taught at first, I’d sing at church events and local programs, slowly growing in confidence. By the time I was 13 or 14, I knew I wanted to pursue music full-time. But in India, most training focused on classical and Carnatic styles, while I was drawn to Western music. Searching online led me to KM Music Conservatory, AR Rahman’s college. I promised myself I’d join after 12th—and in 2018, I moved to Chennai to begin my journey there.

Before recording your first standalone song for Rahman sir, you spent two years working with his team. What was your role during that time?
AR sir was working on an international project and needed a Western vocalist—that’s how we first met. He liked my voice and began recording me for multiple projects. Most sessions were scratch versions, as he often experiments by blending Western styles with Indian ragas. Even if my takes don’t make the final cut, they guide the creative direction. Being part of his process—exploring textures, voices, and moods—has been an invaluable learning experience.

We got to hear your voice once again in the much-anticipated project AA22. Can you take us through how that experience unfolded for you?
Being part of AA22 was such a great experience. I was really grateful to be called by Sai Abhayankar—he’s someone I truly admire, and working with him was effortless and inspiring. The project itself was massive, and I honestly didn’t expect to be part of something on that scale, especially with Deepika Padukone involved. Singing for Deepika in the video was literally the best thing. Recording the teaser vocals was all about tapping into the right emotion, and I’m glad Sai Abhayankar and Atlee Sir trusted me with that space. Hearing it all come together in the final cut felt really special.