Shah Rukh Khan’s much-anticipated film KING is at the centre of an unconfirmed musical handover. Reports cited by the Dadasaheb Phalke International Film Festival suggest composer Anirudh Ravichander has exited the project because of scheduling commitments, and the duo Sachin-Jigar are expected to take over both the songs and the background score. The makers have not issued a formal statement, so the composer credits should be treated as open.
That matters more than a routine crew update. On a star vehicle, music is usually one of the first public surfaces of the film: it arrives through teasers, title announcements and promotional edits before audiences see the completed picture. A change in the composer’s chair can therefore shift the sound of the campaign even if the screenplay is unchanged.
What is being reported
The broad claim is straightforward: Anirudh, who was earlier associated with KING, is no longer on board, and Sachin-Jigar are likely to fill the chair. Reports indicate Anirudh may have already presented Shah Rukh Khan with a theme track, and that theme could be reworked by the incoming duo. None of this has been confirmed by the makers, so the credits remain provisional.
A change at this stage can move in several directions. It may affect the songs, the background score, and how the film’s central themes are cut into teasers and trailers. But it is also common in large productions for scheduling to force changes; a composer switch does not by itself signal creative trouble.
Why the score is a marketing asset
For a Shah Rukh Khan film, music often becomes a recall device before release. A strong theme can anchor teasers, trailers and theatrical spots, giving audiences a sound to associate with the character. The background score also shapes the scale of action scenes, the tension in dramatic passages, and how emotional beats land.
In that framework, the reported reshuffle is not just a personnel note. It is a question of what KING will sound like when the campaign begins.
The Sachin-Jigar register
Sachin-Jigar bring a wide catalogue that moves between melody, dance energy and atmospheric arrangements. If they handle both songs and background score, KING could develop a more unified musical palette across its dramatic and action sequences. That remains an editorial possibility, not a confirmed creative statement.
What to watch for
- Official announcement of the composer team and final credits.
- Clarity on whether Anirudh’s reported theme will be retained, reworked or replaced.
- First released song or teaser cue, which will show the film’s actual sonic direction.
Until the production team speaks, the safest reading is that KING’s music team is in flux rather than settled. Readers following the project should weigh reports as leads, not as credits.
Source: Dadasaheb Phalke International Film Festival – DPIFF
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