Richa Sharma is an Indian playback singer associated primarily with Hindi cinema. She is known for her command over Sufi, devotional and folk-influenced singing styles, and has worked across Bollywood, Punjabi music and the bhajan and qawwali genres. Her notable film tracks include songs from Slumdog Millionaire, Parineeta and Jab We Met.
| Name | Richa Sharma |
|---|---|
| Born | 22 August (Delhi, India) |
| Nationality | Indian |
| Occupation | Playback singer, devotional and Sufi singer |
| Genres | Hindi film music, Sufi, bhajan, qawwali, Punjabi |
| Languages | Hindi, Punjabi, Urdu, among others |
| Notable gurus | Pandit Hari Om Sharan (devotional training) |
Richa Sharma was born and brought up in Delhi. She received early training in classical and devotional music, and was mentored in the bhajan tradition by Pandit Hari Om Sharan, which shaped the spiritual character of her singing voice. She began her singing career performing bhajans and stage concerts before moving to film playback.
Sharma made her Hindi film playback debut in the 1990s. Composer Nadeem–Shravan gave her early film opportunities, and she gained wider recognition with songs in films associated with director Mahesh Bhatt's productions.
Outside film music, Sharma has built a substantial career as a bhajan and Sufi concert performer. She has released several non-film devotional albums and performs regularly at religious gatherings, jagrans and Sufi concerts in India and abroad. She has also recorded Punjabi music, including tracks linked with Punjabi cinema and stage shows.
Sharma's voice is recognised for its open-throated, full-bodied texture, suited to Sufi qawwali phrasing and high-pitched devotional renditions. Critics and music directors have often cast her for songs requiring spiritual intensity rather than light romantic numbers, which has given her a distinct niche in mainstream Hindi playback.
Richa Sharma is regarded as one of the few mainstream Hindi female playback singers whose primary identity is rooted in Sufi and devotional music rather than romantic film songs. Her crossover between filmi music, bhajan concerts and Sufi performance places her within a tradition of singers who bridge devotional stage culture and commercial cinema.