More than a year after first going public with her diagnosis, Alka Yagnik has said she is still grappling with a rare hearing condition that has kept her away from new work, even as offers continue to come in.

Speaking in a recent interview with NDTV, the veteran playback singer acknowledged the lingering impact of sensorineural nerve hearing loss, a condition she developed following a viral attack in 2024. She did not go into medical detail but was candid about its effect on her daily life and career.

“I am still suffering,” she said, choosing her words carefully. The admission reflects a prolonged recovery that has, for now, interrupted a decades-long recording career defined by consistency and range.

Yagnik confirmed that while composers continue to reach out, she has not been able to accept new assignments. The limitation, she suggested, is less about opportunity and more about the uncertainty that comes with the condition.

Her most recent recording remains “Naram Kaalja” from Amar Singh Chamkila, directed by Imtiaz Ali and composed by A. R. Rahman. Since then, her professional output has paused, marking a rare quiet phase in a career that has spanned generations of Hindi cinema.

Earlier this year, Yagnik was awarded the Padma Bhushan by the Government of India. When asked about the honour, she responded with characteristic restraint, saying such recognition is welcome whenever it comes.

The singer had first disclosed her condition through an emotional message on social media last year, describing a sudden loss of hearing as she stepped off a flight. At the time, she said the episode had taken her by surprise and required time to process.

In that note, she urged fans and colleagues to understand her absence and also offered a word of caution about prolonged exposure to loud sound and frequent headphone use, drawing from her own experience.

Yagnik’s voice has been central to some of the most recognisable songs in Hindi film music, including “Tip Tip Barsa Paani” from Mohra, “Ae Mere Humsafar” from Qayamat Se Qayamat Tak, “Chaand Chupa Baadal Mein” from Hum Dil De Chuke Sanam, and “Agar Tum Saath Ho” from Tamasha.

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For now, her focus appears to remain on recovery. There is no timeline for a return to recording, and she has not suggested one. The uncertainty sits alongside a body of work that continues to circulate widely, even as its voice navigates a difficult pause.