Thaman is once again facing heavy backlash lately, and it is not without reason. The problem is no longer about occasional misses. It has become a pattern. Taking up too many films, every year has clearly diluted his output. Loud background scores and ear-splitting volume are being mistaken for impact. Blasting speakers is not talent, and fans are openly trolling him for prioritizing quantity over quality. Many believe that if Thaman slowed down and focused on just three or four solid projects like OG a year, his music would automatically improve.
What is frustrating for audiences is that when he does regional films, the music sometimes clicks and even becomes popular. But the moment a pan India film is announced, he delivers some of the most forgettable songs and score. The songs feel lazy and templated. They are made only for noise and not emotion. Instead of creating excitement, the music becomes unbearable, especially for audience in theaters. This inconsistency has triggered widespread trolling, with people questioning whether he even takes these big projects seriously.
The worst damage, however, is coming from atrocious sound mixing. Viewers are walking out of theatres with headaches, irritated ears, and pure frustration. The background score is pushed to ridiculous levels where dialogues and lyrics are completely buried. This happened again with The Raja Saab and earlier with Akhanda 2. Many feel Thaman’s sound design made the theatre experience miserable. When not a single lyric is audible, backlash is inevitable.
In Raja Saab, even Prabhas fans feel there is no memorable song, no engaging background score, and no emotional lift. On top of that, the song placement and visuals feel outdated and poorly thought out. Instead of reacting defensively or blaming sound system in theaters, Thaman needs to accept the backlash, retrospect. and understand where it is coming from. If this unreasonably loud approach continues, Telugu audiences will keep rejecting his work, no matter how big the film is.
