Zohrabai Agrewali (1868–1913) was one of the most distinguished and influential vocalists of the Agra gharana during the late 19th and early 20th centuries. Born in Agra, she emerged as a pioneering figure in the nascent era of gramophone recording in India, leaving behind a powerful legacy that shaped the future of Hindustani classical music.
Her musical education was extensive and rooted in the traditions of the Agra gharana, where she studied under masters like Ustad Sher Khan, Ustad Kallan Khan, and the celebrated composer Mehboob Khan, who wrote under the pen name “Daras Piya.” To broaden her repertoire, she also trained in the semi-classical forms of thumri and ghazal with Ahmad Khan of Dhaka. This diverse training allowed her to achieve a rare mastery over khayal, thumri, and ghazal, a versatility that set her apart from her contemporaries. Her vocal style was particularly noted for its power and aggressive quality, a characteristic known as “Gavayya Dhang.” This formidable technique was reportedly honed during a period of self-exile, when she retreated from public life for intensive training with Ustad Sher Khan, re-emerging as a more potent and commanding performer.
Zohrabai’s career reached its zenith with the advent of recording technology. In 1908, she signed an exclusive and lucrative contract with the Gramophone Company of India, earning an annual fee of ₹2,500 for 25 songs. Between 1908 and 1911, she recorded over 60 tracks, many of which became best-sellers. Her recordings, such as the famous “Matki Mori Re” in Raag Jaunpuri, are cherished artefacts of this period. To assert her authorship, a common practice on early discs, she would end many recordings with a distinctive signature shout of her name: “Zohra Bai Agrawali!”
Her influence extended far beyond her own lifetime. Legends of the next generation, including Ustad Faiyaz Khan of her own Agra gharana and Ustad Bade Ghulam Ali Khan of the Patiala gharana, held her music in high esteem and were deeply influenced by her expressive style. Alongside her contemporary Gauhar Jaan, Zohrabai is recognised as a pivotal artist who represents the culmination of the tawaif (courtesan) musical tradition as it transitioned into the era of commercial recording.
Beyond her musical prowess, Zohrabai was also an accomplished Urdu poet, composing ghazals and elegies (nauhe), though only a few couplets have survived in later memoirs.
As she lived and died before the establishment of major national honours, Zohrabai received no formal awards. Her recognition has been largely posthumous, solidified by the reissue of her recordings in 1994 and 2003, as well as her prominent place in historical scholarship and exhibitions on early Indian music. Tragically, the neglect of her legacy is symbolised by the ruinous condition of her grave, a poignant reminder of how the memory of many great courtesan artists of her time has been allowed to fade.