"K. Sridhar communicates all of the rasa with exquisite precision. Through his long alap – the statement of the theme – which unfolds with statuesque brilliance he communicates the dramatic tension through virtuoso atmospherics produced by playing with an almost startling pizzicato. His accenting is dynamic and conjures the dramatic tension of shadow and light as if glimpsed in the fabled forest prescribed by the raga. Pandit Sridhar’s Todi is subsumed by a pensive, mournful mood which is then relieved in the drut (faster tempo) part, by a festive piece, possibly to alleviate the heavy pathos in the earlier stages of rendering. The composition is sublimated in the extraordinary high caliber of his artistry and is perfectly moulded to embody the inherent pensive mood before being transmogrified into a wholly festive mood that celebrates the samskara (purificatory rite, so to speak) of this raga."
- Raul daGama, Jazzdagama.com, Canada, March 25, 2020
"If you've ever heard the music of Ravi Shankar or heard George Harrison playing sitar solos with the Beatles, then you've got a general idea of what Sridhar's music sounds like. Familiar yet exotic, undeniably spiritual and at times hypnotic, Sridhar's clear command of his instrument is evidence of a master at work."
- John Station, Wilmington Star News, USA, May 29, 2008
"...a real yogi of sound.".
- Alli Marshall, Asheville Mountain Express, USA
August 13, 2008
"The sound from the resonating strings of the sarod was
at times breath-taking."
- Joe Kahn, Classical Voice of NC, USA
"K. Sridhar executed magnificent interpretations (of the raga), obtaining in his music a perfect balance of melody, technique, and sentiment. The skillful concert was enjoyed to the maximum by around 1800 youth, adults, and seniors who jammed the cultural center."
- Adrana Aurioles, El Sol de Puebla, Mexico, May 17, 2006
"...favors meditative explorations over extroverted ragas.
- Peter Margasak, Chicago Reader, USA
April 1, 2005
"...suspended the room in an ocean of bliss."
- G.S. Hohendadel, L'Alsacien, France
May 4, 2004
"K. Sridhar's magnificent and enlightening genius comes to life on the sarod and combines with Anil Datar's touch on the tabla for an absolutely mesmerizing musical experience, not only for the ear, but also for the mind, heart, and spirit."
- The Independent, Durham, USA, Sept 15, 2004
"Sublime Strings:...a unversal tone language which can enchant even the most inexperienced listener...The subtle, meandering, and reverently appealing alaap eventually became pulsing and driving until all possible moods were revealed. It culminated with a ssurprisingly delicate interplay etween tabla and sarod."
- Kjeld Frandsen, Copenhagen Observor, Denmark, Sept 1, 2002
- Mark Jenkings, Washington Post, USA
March 25, 2002
"...makes you feel as if you've been transported
to an exotic mystical place."
- Lee Roberts, Wilmington Sun, USA
March 17, 2002
" Indian maestro K. Sridhar hunkered down over his sarod and quietly, ever so slowly, took the audience into another world... his exquisite use of grace notes eventually drew in percussionist T. Wakabayashi on tabla, and together they brought the raga to a dizzying climax."
- Japan Times, August 1994
"Sridhar, to put it simply, was the total embodiment
- Sarah Kim, The Queen's Journal, Canada
Oct 1, 1999
"He plays a beautiful, fierce and pure music."
- Jan Jacoby, Politiken, Denmark
Oct 29, 1991
"K. Sridhar is the Hendrix of the Sarod. While listening to his music one can close one's eyes and go on a journey to the outer limits of one's imagination...True Nirvana!"
- Ma Ariv, Israel, April, 1985
"Sridhar is as arresting a personality as his sarod play is captivating. At 34, he has behind him no less than thirty years of total devotion to music, not just as a craft, not just as an art, but as disciplined whole soul devotion of the Divine."
- Marv, Indian Express, Madras, March 26, 1982
" K. Sridhar may have the unusual distinction of being the only South Indian sarod player in the country but that is not his only distinction. He is a sarod player with very good tone, keen structural sense, and good grasp of the Ali Akbar idiom. He also has an eye to the dramatic possiblities inherent in the notes of ragas."
- Nilaksha Gupta, Times of India, Calcutta, July 1980