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About Jasmine Sandlas

Jasmine Sandlas was born in Jalandhar, a city in the Doaba region of Indian Punjab known historically as one of the densest emigration corridors out of Punjab and into the North American and British Punjabi diaspora. Her family relocated to the United States when she was young, settling in the San Francisco Bay Area in Northern California, and she was raised inside the Bay Area Punjabi community — a Sikh and Hindu Punjabi diaspora concentrated through cities like Fremont, Union City, Hayward, San Jose, and the broader Tri-Valley corridor, with overlapping cultural ties to the Yuba City, Stockton, and Sacramento Valley Punjabi farming communities that have anchored Punjabi-American life since the early twentieth century. That bicultural upbringing — Jalandhar village Punjabi at home, California English in school, gurdwara kirtan on Sundays, West Coast R&B and hip-hop radio on the FM dial — shaped the vocal palette that has defined her career: a warm, slightly husky lower register that sits comfortably on Punjabi-folk material, the ornamentation vocabulary of traditional Punjabi singing techniques absorbed through gurdwara and family settings, plus the rhythmic and melodic phrasing of contemporary American pop and R&B production. She began releasing music in the late 2000s through the Punjabi-music label circuit, with her breakout Punjabi singles Lehnga Cholle and Muskaan circulating through YouTube and Punjabi-streaming radio across India, Canada, the United Kingdom, and the United States and establishing her as one of the few Punjabi-language female vocalists with mainstream commercial traction during the early Punjabi-streaming era — a notably male-dominated period of the catalogue. The 2014 Yaar Naa Miley collaboration with Yo Yo Honey Singh, recorded for the soundtrack of the Salman Khan vehicle Kick and produced inside the broader Honey Singh Mafia Mundeer collective that was reshaping Punjabi-Bollywood crossover at the time, was the breakout that pulled her from the Punjabi-music vertical into the Bollywood mainstream — the track ran at the top of Indian radio rotation for months, anchored the Kick film promotion, and became one of the most-streamed Punjabi-Bollywood crossover singles of the 2010s. Subsequent work expanded the catalogue across Punjabi singles, T-Series Bollywood placements, and independent collaborations: Gulabi Aankhen with Yo Yo Honey Singh, Booze N Blues, Sip Sip, Hello Hello, Adhi Adhi Raat, Don't Be Shy Again with Bali Sagoo and Gippy Grewal, the Illegal Weapon series with Garry Sandhu (the original Illegal Weapon single and the 2020 Illegal Weapon 2.0 Bollywood placement in the Varun Dhawan and Shraddha Kapoor film Street Dancer 3D, which remains one of her highest-streaming catalogue cuts), and a sustained run of Punjabi-folk-fusion and Punjabi-pop singles released through T-Series, Speed Records, and independent collaborations. She has worked with the dominant Punjabi-music labels of the streaming era (T-Series for Bollywood-aligned material, Speed Records and Saga Music for core Punjabi singles, independent collaborations across producers including Intense, Snappy, Preet Hundal, and Bob) and remains one of the highest-profile female voices in the Punjabi catalogue. She is widely credited as one of the artists who opened the door for the next generation of female Punjabi-pop vocalists, both by holding mainstream commercial traction inside a male-dominated industry through the 2010s and by demonstrating that an Indian-American Punjabi vocalist could anchor a Bollywood number-one without translating away from the Punjabi-language hook.

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