Nick, this is not classical music. This would fall under semi-classical genre called ‘sugam sangeet’, which means ‘easy music’ ☺️. This is a popular song, used in a film too, I think…she is prolly singing this on-demand in the concert. Typically, artistes present the first raga, and sometimes the second, and after that, take requests from the audience.  My opinion is that this is an average piece of singing by Kaushiki standards. That lad is her son, Rishith, who is on his way to becoming a formidable musician himself.

Btw, do you know that your face has the same features as Kala Ramnath? She is a violin virtuoso and she plays the Hindustani classical style.  Do a quick YouTube search, you won’t be disappointed 🙂

Also, you are brilliant at this.

1:01 she said, all the phones have come out, down all phones 😂

This is not a classical rendition, it’s a poetry (movie song) which has classical elements.

The young person is her son

Next Begum Praveen Sultana, epitome of North classical Indian.

19:02, these riffs are based on the raaga, so the notes are based on the scale of the raaga. In a classical song, they are not doing 'riffs' but rather exploring the raaga, though this is a ghazhal.

When you see something like "Raag Bhimpalasi" etc. in titles, it doesn't refer to the piece itself but to the concept of "Raga" (Sanskrit) in Northern and Southern systems of Indian classical music ["Ragam" (Tamil / Telugu), "Raag" (Hindi/Urdu)]. The term "Raga" roughly means "colour" or "palette". Some translate it to a "scale" but that is just the bare bones of a Raga: The sequence of notes in the ascent (arohana) and the descent (avarohana). There is much more such as key clusters / phrases of notes, the contours / inflections / ornamentations that are necessary / allowed for each note depending on the Raga and the context. It is more accurate to call each "Raga" a "melodic framework" that a composition belongs to.

5:40

Indian classical music is learnt orally through a guru shishya relationship (teacher student), so much of her vocal mannerisms, style and melodic phrasings are learnt from her father, ajoy chakraborty, who is also a famous classical singer.

If you look at her father when he was younger, they sing in very similar ways, of course now the two have diverged. If you are interested in listening to her father sing, you can look at the song 'Aye na Balam' also on the darbar channel. His singing, especially in that song embodies some persian and jazz influences.

That song is quite accessible for western ears.

There is an extraordinary singer S Janaki from south of India, she doesnt move hands of head. Sung over 90,000 songs in more than 4 languages. These hand or head movements is done by everyone in response to meaning of the song and the pitch - its mental feel

18:44 but there is minor and major variation in going up and down ...
Thank you master for reacting 🙏

Great to c u appreciate indian music it takes a special talent to understand such music

Kid sitting there is singer's son, himself a good musician too

She is showing feelings of the words by moving her hands. This is a love song

Your pronunciation of singer's name is perfect.👍

That young boy is her son; he learns songs from his mom, and he himself is very good in playing tabla, the percussion drum too

She is singing a love song. She says there is a beautiful lover and so am I. Naturally everyone is one with her with words such as that. All that sugary sweetness is all about the couple being together.😍🤩😇

She is singing a poem and her arms, hand, fingers and body movements are emotive expressions of the poem's words.

I don't think she uses a vibrato while singing, as Indian classical music does not have the concept of a vibrato, nor do I recall any Indian classical singers using vibrato. Kaushiki is an out-and-out classical singer, so it is improbable for her to ever use vibrato, even though this was a Ghazal-style song, and one of the greatest Ghazal singers, Jagjit Singh, did use vibrato.
Also, the kid in the last row is most likely her son, and he is probably there to get a feel of being up there on stage (Someone could correct me if I am wrong).

The names of the notes in the Hindustani and Carnatic systems are as follows:

In Carnatic:

Sa - Shadja "S" - Tonic - No variants
Ri - Rishabha - Three variants: Shuddha Rishabha ("R1" minor second), Chatushruti Rishabha ("R2" major second), Shatshruti Rishabha ("R3" minor third)
Ga - Gandhara - Three variants: Shuddha Gandhara ("G1" major second), Sadharana Gandhara ("G2" minor third), Antara Gandhara ("G3" major third)
Ma - Madhyama - Two variants: Shuddha Madhyama ("M1" natural fourth), Prati madhyama ("M2" augmented fourth / tritone)
Pa - Panchama "P" - Pure fifth (literally, "panchama" means "fifth") - No variants
Dha - Dhaivata - Three variants: Shuddha Dhaivata ("D1" minor sixth), Chatushruti Dhaivata ("D2" major sixth), Shatshruti Dhaivata ("D3" minor seventh)
Ni - Nishada - Three variants: Shuddha Nishadha ("N1" major sixth), Kaishiki Nishadha ("N2" minor seventh), Kakali Nishadha ("N3" major seventh)


In Hindustani:
Sa - Shadaj "S" - Tonic - No variants
Re - Rishabh - Two variants - Komal Rishabh ("r" minor second), Shuddh Rishabh ("R" major second)
Ga - Gandhar - Two variants - Komal Gandhar ("g" minor third), Shuddh Gandhar ("G" major third)
Ma - Madhyam - Two variants - Shuddh Madhyam ("m" natural fourth), Teevra Madhyam ("M" augmented fourth/tritone)
Pa - Pancham "P" - No variants (Pure fifth)
Dha - Dhaivat - Two variants - Komal Dhaivat ("d" minor sixth), Shuddh Dhaivat ("D" major sixth)
Ni - Nishad - Two variants - Komal Nishad ("n" minor seventh), Shuddh Nishad ("N" major seventh)

The letter in quotes indicate the modern way of writing the notes in rough notations (though learning from written notation is strictly discouraged as they miss the ornamentations and inflections applicable to the note in the context)

❤