As the sacred four-day Chhath Mahaparva gets underway across India on Friday, November 13, 2026, millions of households from the banks of the Ganga in Patna and Varanasi and the Gomti riverfront in Lucknow to the Yamuna ghats in New Delhi and coastal stretches in Mumbai are immersing themselves in one of the country’s most revered spiritual traditions. Dedicated to Lord Surya (the Sun God) and Chhathi Maiya, Chhath Puja is celebrated for its extraordinary emphasis on ritual purity, ecological gratitude, and grueling 36-hour nirjala fasting observed by vratis (devotees). Yet alongside the fragrance of freshly prepared thekua, glowing earthen diyas, and colorful bamboo baskets brimming with seasonal fruits, there is one unmistakable element that signals the arrival of the festival across every neighborhood and railway station: the soulful, timeless voice of veteran playback and devotional singer Anuradha Paudwal.

Why Anuradha Paudwal's Voice Is the Soul of Chhath Mahaparva

Every year, contemporary singers and film composers release fresh festive tracks ahead of Chhath Puja, adding modern arrangements to the celebration. Even so, ask any devotee walking toward a river ghat before sunrise, and they will tell you that Chhath Mahaparva feels incomplete without Anuradha Paudwal’s classic Bhojpuri and Maithili hymns. Recorded decades ago, her renditions remain the undisputed emotional and spiritual anchor of the festival across Bihar, Jharkhand, eastern Uttar Pradesh, Delhi-NCR, and among the global Indian diaspora.

What makes Paudwal’s Chhath repertoire endure across generations is its rare blend of classical vocal discipline and unvarnished folk authenticity. Rather than over-embellishing traditional melodies, her crystal-clear diction, gentle emotional restraint, and deep reverence allow the ancient folk lyrics of Purvanchal and Mithila to shine naturally. When her voice echoes from community loudspeakers at dawn and dusk, it instantly transforms bustling riverbanks into spaces of shared stillness, nostalgia, and collective faith.

Kaanch Hi Bans Ke Bahangiya and Argh Ke Ber: Songs of Sacred Preparation

At the top of every Chhath playlist stands Kaanch Hi Bans Ke Bahangiya, arguably the most recognizable folk song associated with the festival. Steeped in ritual symbolism, the title refers to a bahangi—a traditional shoulder-mounted bamboo yoke used to carry two suspended baskets (daura) loaded with puja offerings from the home to the river ghat. Crucially, the song specifies kaanch hi bans (freshly harvested, raw green bamboo that has never been used for any other purpose), reflecting the strict rules of sanctity governing every item touched during Chhath. As male family members take turns carrying the heavy bahangi barefoot while ensuring the sacred offerings never touch the ground, this beloved hymn captures the spirit of family service and shared devotion.

Equally moving is Argh Ke Ber, a deeply evocative traditional Bhojpuri devotional track centered on the defining ritual of Chhath Puja—the offering of Arghya. Standing waist-deep in cool river or pond water holding brass vessels filled with water and raw milk, devotees gaze toward the horizon as family members pour offerings over bamboo winnowing trays (soop) laden with sugarcane, coconuts, bananas, ginger, and thekua. Paudwal’s serene rendering of Argh Ke Ber mirrors the quiet intensity of that sacred communion between the fasting devotee, the flowing water, and the life-giving Sun God.

Uga Ho Suruj Dev, Adit Manaila, and Marbo Re Sugwa Dhanush Se

During the fourth and final morning of the festival—known as Usha Arghya—thousands of families gather along misty riverbanks long before daybreak, shivering in the November chill as they wait for the eastern sky to brighten. In those anticipatory pre-dawn moments, Uga Ho Suruj Dev Bhel Bhinsarwa resonates across virtually every ghat in India. Translating to an earnest plea asking Lord Surya to rise as dawn breaks (bhel bhinsarwa), the song voices the collective prayer of devotees completing their 36-hour fast without water, turning cold morning air into warmth and spiritual relief the instant the first golden rays touch the water.

Another indispensable gem in Paudwal’s collection is Adit Manaila, a traditional hymn rooted deeply in both Bhojpuri and Maithili devotional culture. In regional folk parlance, Adit—derived from the Sanskrit Aditya—is a respectful, affectionate name for the Sun God, while Manaila signifies invoking, pleasing, and celebrating the deity through heartfelt prayer. With its soothing, rhythmic cadence, Adit Manaila is frequently played in homes during Kharna preparations as families gather to cook sacred kheer and rotis on earthen stoves.

Completing the essential five is Marbo Re Sugwa Dhanush Se, a charming narrative folk song that illustrates the tender care devotees take to protect puja offerings from impurity. In the song’s lyrical story, a devotee notices a green parrot (sugwa) hovering near a freshly harvested bunch of bananas (kera) earmarked for Surya Dev’s prasad. With playful urgency, the devotee warns the parrot away so the fruit remains untouched until it can be offered at the ghat—a poetic reminder that during Chhath Puja, even nature’s creatures are part of the sacred dialogue between humanity and the divine.

Quick Guide to Anuradha Paudwal's 5 Must-Listen Chhath Classics

As Chhath Mahaparva 2026 unfolds over the coming days across Patna, Varanasi, Lucknow, Ranchi, New Delhi, and Mumbai, these five evergreen melodies by Anuradha Paudwal will once again bridge distances between cities and ancestral villages—reminding listeners that true devotion needs no ornament beyond sincerity, gratitude, and faith.