Tamannaah Bhatia has once again embraced the spotlight with her latest dance number, “Nasha,” from Ajay Devgn’s Raid 2. Following the massive success of Stree 2’s “Aaj Ki Raat” last year — a song that not only showcased her dance prowess but also significantly contributed to the film’s commercial triumph — the expectations from her new outing were understandably high. However, while “Nasha” does carry a certain visual appeal and energetic flair, it falls short of recreating the magic of her previous performance.
Composed by White Noise Collectives and penned by Jaani, “Nasha” is vocally powered by Jasmine Sandlas, Sachet Tandon, Divya Kumar, and Sumontho Mukherjee. The song has a pulsating beat structure that attempts to push the tempo, aiming for a club-friendly resonance. Visually, Tamannaah dominates the screen, executing choreography that is sleek and synchronized, albeit reminiscent of her moves in “Aaj Ki Raat.” The similarity between the two songs, especially in terms of styling and dance language, blurs the line between reinvention and repetition.
Interestingly, Riteish Deshmukh — who portrays the antagonist in the film — is seen as a silent observer in the sequence, alongside veteran actor Govind Namdev. Their presence lends a narrative subtext to the song, although it doesn’t necessarily elevate the engagement. While the attempt to embed the number within the story is evident, its integration feels more like a stylized break rather than a compelling narrative necessity.
Item numbers, historically, have been more than just cinematic embellishments. They have served as cultural touchpoints, often defining the tone and recall value of a film. Over the years, their function has gradually shifted, and while some continue to strike a chord, others struggle to leave a lasting impression. “Aaj Ki Raat” was one of the rare instances where the song was not only well-crafted but also embedded meaningfully into the storyline. It had a spark — a combination of sensuous appeal and measured restraint that didn’t tip into excess.
“Nasha,” in contrast, feels slightly muted in its ambition. The beats are contemporary, and the production is polished, yet it lacks a distinct signature. The choreography, though sharp, does not explore new ground. Tamannaah’s screen presence remains strong, but it is let down by picturisation that does not capitalize on her full potential.
What “Nasha” manages to deliver is a reminder of Tamannaah’s enduring appeal as a performer who can command attention in high-energy song sequences. However, for audiences who expected a follow-up that could rival or even surpass the benchmark set by “Aaj Ki Raat,” the song may seem like a missed opportunity. In today’s evolving cinematic landscape, where songs are expected to do more than just entertain — to resonate, to linger — “Nasha” checks some boxes but doesn’t quite leave an indelible mark.
