With Dhurandhar, Jasmine Sandlas returns to the centre of the conversation. Tracks like Shararat and Jaiye Sajna carry her unmistakable voice, once again placing her within the landscape of mainstream film music.
But the story of how she got here begins far from recording studios and film sets.
A Childhood Rooted In Music
Born on 4 September 1985 in Jalandhar, Punjab, Jasmine grew up with an early instinct for words. She wrote poems as a child and gravitated towards school activities that involved music and performance.
Long before the stage, there was writing. And in that writing, the beginnings of a voice that would later define her music.
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A Move That Shaped Her Sound
At 13, she moved to the United States, growing up in Stockton, California. The transition brought with it a shift in language, culture, and environment.
Yet, even within that distance, her connection to Punjabi music remained intact. Over time, this duality began to shape her identity as an artist, one that moved between worlds, blending Punjabi lyricism with global sonic influences.
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Starting Independently
Her entry into music was not backed by an industry system. As a teenager, she recorded songs on CDs and shared them within local communities.
One of her early tracks, Muskan, marked the beginning. There was no roadmap, only a steady process of putting work out and finding listeners, one step at a time.
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Finding Her Voice
In an interview with Humans of Bombay, she said she felt vulnerable when she released Muskan, uncertain of how it would be received. Putting her voice out for the first time came with hesitation, without industry backing or a clear path ahead.
But the response created momentum. She continued to record, release, and circulate her work, gradually building an audience. As listeners began to find her, songs like Gulabi and Yaar Na Miley brought wider recognition, including in India.
With that recognition came evolution. Her sound expanded, shaped by both her Punjabi roots and her exposure to global influences. Tracks like Illegal Weapon, Sip Sip, Bamb Jatt, and Pinjra reflected that shift, positioning her within a space that moved across genres and geographies.
On Stage, Speaking Up
In February 2026, during a live performance in Delhi, Jasmine paused mid-set.
She had noticed harassment unfolding within the crowd. The music stopped. From the stage, she addressed the situation directly and called for intervention. She made it clear she would not continue until the women present felt safe.
The performance resumed only after action was taken. Videos of the moment later circulated online, capturing the incident as it unfolded in real time.
