The stage at The Sacred Glades falls quiet for a breath. Then a single voice—clear, warm, utterly present—begins: Govinda, Jaya Jaya. Within moments, backing vocalists join in, kartals strike their sharp silver rhythm, a saxophone rises like incense, and what was silence becomes an architecture of sound. This is kirtan—sacred call-and-response chanting—performed by Radhika Das and an ensemble that moves with the precision of musicians who have practiced together, and the devotion of people who believe in what they're singing.
What unfolds over forty minutes at Medicine Festival 2026 is not a concert in the conventional sense. It is an invocation. The mantra at the heart of this performance—Govinda Jaya Jaya, meaning "The One who attracts the heart, mind and senses"—carries within it a Sanskrit etymology that speaks to the work of the practice itself. The word mantra derives from Sanskrit roots meaning "that which liberates and cleanses the mind." Repeated over time, with intention, mantra becomes a tool for what the tradition calls bhakti—the path of devotion and love toward the divine. It is, in its simplest form, an act of inner purification made audible.
What Does It Mean to Sing Govinda Jaya?
The names invoked in this performance carry specific meanings rooted in Hindu and Vedic tradition. Govinda—often understood as Krishna, the divine cowherd of Hindu mythology—refers to "One who attracts the heart, mind and senses." Gopala means "One who offers supreme protection and love." Radha Raman evokes Radha and Krishna, the divine beloved and the Supreme, and by extension, the relationship between soul and source. Hari translates as "One who takes away"—specifically, one who removes obstacles and suffering.
To sing these names in succession, as Radhika Das leads the gathering to do, is to orient the mind toward what these qualities represent: attraction to the divine, divine protection, the play of love between finite and infinite consciousness, and liberation from what binds. The melody itself—drawn from the album Heart & Soul by Kirtaniyas—sits in a register that allows the voices to blend and ascend without strain, creating a sonic environment where individual singers disappear into collective voice.
The Ensemble as Spiritual Technology
What makes this performance distinct is not Radhika Das alone, but the web of musicians supporting and expanding her voice. Ananda Monet provides backing vocals and plays kartals—small brass cymbals whose metallic brightness cuts through the texture like truth-telling. Daivī-kumārī and Shyamali Buddhdev add their voices and kartals to create a percussion landscape; Radha Sundari joins on kartals as well. Keli Woods brings guitar and piano, holding harmonic structure. Michael Goodey's bass guitar anchors the bottom end. Abhay Buddhdev plays mrdanga—a classical South Indian two-headed drum whose deep resonances pulse beneath the song like a heartbeat. Tadas Mickevicius's saxophone weaves through, sometimes answering the vocal lines, sometimes floating above them in counterpoint. Nayan Pankhania rounds out the ensemble on whompers, a percussion instrument that adds its own textural color.
This is not a backing band subordinate to a lead vocalist; it is an orchestra of equals, each musician serving the mantra itself. The result, mixed and engineered by Tabla Tom and filmed by Filmwork Studios, holds the technical clarity that allows each instrument to be heard while maintaining the unified emotional thrust of the performance. In kirtan, the instrument that matters most is the heart; these musicians are simply making that heart audible.
How Does Chanting Shape Consciousness?
The tradition that birthed this practice is ancient. Chants, prayers, hymns, and recitations of sacred texts appear across cultures and centuries—from Vedic India to Sufi ecstatic poetry, from Gregorian plainchant to Buddhist mantric practice. What they share is a recognition that the human voice, vibrated with intention, can shift internal state. The yogic sciences that underpin these practices suggest that each sound, each frequency, carries a corresponding effect on the nervous system and subtle body. Mantra is not metaphor; it is understood as literal technology—a structured use of vibration to move the mind from agitation and illusion toward clarity and direct experience.
When Radhika Das sings, "O Govinda, One who attracts the senses to a lifeless ordinary, Gopala, Divinity, who is the Friend of all, be my friend, attract me to lifeless, remind me I was born for more—not more riches in the material sense, riches of the soul," she articulates the inner aspiration that is the purpose of the practice. The mantra is not a prayer to an external deity, but a tuning of the mind toward qualities and dimensions of consciousness that the names represent. Through repetition and collective voice, the mantra works like a groove—a neural pathway worn smooth and deep through use, until the mind naturally settles there.
The Feminine Divine in Sacred Sound
Partway through the performance, the focus shifts. Radha emerges as the center. "Radha, the Feminine Divine, the Mother, Sacred Mother, teach me how to love the source of love. Teach me how to love the Supreme. Teach me how to love humanity. Ramana, the Supreme, who is playful, play on the playground of my heart." Here, the performance honors what many traditions recognize but not all center: the feminine dimension of the divine. Radha, in Hindu devotional poetry, is not merely Krishna's consort but the archetypal lover—the soul's longing for unity with the source. To invoke her name is to invoke both the capacity to love and the path that love opens.
Radhika Das, leading from the center of this ensemble, channels this lineage with both intellectual clarity and felt presence. The names she sings have been sung for centuries, yet in her voice they live now, in this moment, for these particular seekers gathered at The Sacred Glades.
The Closing Mantra: Return to Source
As the performance moves toward its close, the mantra shifts again. Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare; Hare Rama, Hare Rama, Rama Rama, Hare Hare. This is the Maha Mantra—the "great mantra" of the bhakti tradition, perhaps the most widely chanted mantra in contemporary yoga and kirtan spaces. Its simplicity belies its power: Hare (the energy or power of the divine), Krishna (the attractive power of consciousness), Rama (the joy or play of consciousness). Repeated sixteen times in succession, with pauses for breath, this mantra becomes hypnotic. The mind stops searching, stops thinking, and simply vibrates along with the sound.
In these final moments, the ensemble is locked into a groove that is both ancient and eternally present. The saxophone and drums interweave; the voices blend into something that sounds like a single instrument. The audience, if they have been singing along, has stopped being an audience and become part of the ritual itself. The boundaries between singer and listener, between individual and collective, grow permeable. This is the technology of kirtan operating at full capacity: sound as a vehicle for the dissolution of the separate self into the larger whole.
Where to go from here
If this performance moves you, the first step is to listen again—this time, not passively, but with participation. Kirtan is a practice, not a performance art form. It yields its gifts to those who sing, not those who only listen. You might seek out a local kirtan circle in your area; many yoga studios and meditation centers host them weekly. If you're drawn to the specific tradition this performance comes from, explore the work of Kirtaniyas and other contemporary kirtan artists who are carrying this lineage forward. Read about the names themselves—Govinda, Gopala, Radha, Hari—not as exotic terms but as invitations to parts of consciousness you may have forgotten. Consider beginning a simple daily practice of chanting, even if it's just five minutes. The mantra doesn't require belief; it only requires sincerity and repetition. Over time, if you return to it, the practice will return something to you: a quieter mind, a more open heart, and the lived experience that the traditions have long maintained—that sound, when used with intention, can genuinely transform us.
