A global musical alchemist and cultural agent provocateur.
—Songlines Magazine
The career of Sunny Jain is a celebration of cultural diaspora: deep-rooted tradition that ripples outward, changing—and being changed by—the cultures that it touches. He is a composer, drummer, dhol player, and thought leader.
In his first theatrical production, Jain brings his signature talent for creating immediate community, blurring the lines between performers and audience. Love Force draws on his autobiography and family history to dive into the concept of satyāgraha (which means “insistence or holding firmly to truth”). Coined by Mahatma Gandhi during his nonviolent protest against British colonialism in India, satyāgraha is both a theory and a method of enveloping the oppressor with compassion.
Called the “Hendrix of dhol” by Manchester Salon (UK), Jain is most known for founding the pioneering band Red Baraat, a frenzied fusion of bhangra, hip-hop, jazz, rock, and sheer, unbridled energy.
Recently, Sunny Jain played dhol with Ed Sheeran in his Netflix show One Shot, and he co-wrote and recorded the song “Ai Miei Amici” with Italian superstar Jovanotti. You might have also seen him acting as “Mr. Tambourine Man” in the Oscar-nominated A Complete Unknown, starring Timothée Chalamet.
Seating information: This performance is interactive and encourages the audience to be a part of the experience. This includes times for seating, standing, and even dancing, if you so choose. We realize that for some audience members, they prefer to remain seated through a performance. With this in mind, please choose any seat you'd like, but note that the front left section of the house is designated for those wanting to sit through the entire performance, knowing their view won't include other audience members at times standing in front of them. Please keep this in mind when you purchase your tickets.
The indefatigable drummer and dhol player Sunny Jain is an unrepentant maximalist – were he a visual artist, one imagines bright-hued paints splattered across his canvas, his floor, and perhaps his ceiling.
—The New Yorker
