The song begins on a lively bright note with a hip hop beat along with male rap vocals.

The wicked catchy shehnayi piece pattern from 0.06 to 0.14 & 0.55 to 1.00 was similar to the wicked catchy shehnayi pattern in terms of 'overall desired effect' from 0.13 to 0.19 & 0.39 to 0.51 in JHALAK DIKHLAJA REMIX from AKSAR.

Himesh's alaap to catch the sahi sur from 0.14 to 0.15 is of great cause.

The underlying peppy beats have a remix effect.

The energetic chants in between 0.18 & 0.23, 1.54 & 1.59 depicts that da crowd is up for it.

Himesh's lines RAMI-YE (high note sufi rwak twist) at 0.25 & 0.27, AAO RE (catchy, awesome tonal quality) from 0.29 to 0.30 & 1.05 to 1.06, KARI-YE (high note sufi rwak twist) at 0.33, 0.35, 1.09, 1.11, 2.01, 2.03, 2.09, 2.11, 6.45, 6.47 & 7.25, CRICKET (terrific high pitched emphasis) at 0.36 & 1.12, 2.12 & 7.28

The high note sufi-rwak twist in RAMI-YE & KARI-YE has a faint resemblance to high note sufi-rwak twist from 0.18 to 0.19 & 5.08 to 5.09 in VADA TENU from AKS, keeping the adjustment of difference in tempo of both lines in mind.

The quick tabla beat pattern from 0.38 to 0.40, 1.14 to 1.15, 2.14 to 2.15 & 7.30 to 7.31 gives sahi desired effect.

The simple well structured lines from 0.40 to 0.55, 1.16 to1.32, 2.16 to 2.31, 5.02 to 5.10, 6.52 to 7.07 & 7.32 to 7.28 have a feel good hummable mass appeal and the JHALAK DILHLAJA styled shehnayi piece provides great intermittent effect.

The energetic chants HAAI in between 1.16 to 1.32 & 2.16 to 2.31 depict that the audience are having a full blast out there in the stands.

A feel good string instrument tune plays from 1.32 to 1.35

From 1.36 to 1.51, the male vocals are feel good welcoming on a simple yet effective tune, with emphasis on YAAAA (feel good twist) from 1.45 to 1.46 and the beat pattern in good sync gets the listener's foot tapping halke se.

Himesh's arrogant feel lines COME ON TOSS from 2.06 to 2.07 give sike.

The whistles from 2.09 to 2.15 & 7.25 to 7.38 enhance the vibrant peppy mood.

Traditional peppy beats play from 2.31 onwards followed by characteristic passionate emphasis Jayesh Gandhi croons from 2.36 to 3.03

Household name Jayesh Gandhi's line HEJIREEE-EEEE (prolonged desperation feel abrupt up twist with echo effect) from 2.37 to 2.39 is similar to his line LUT JAUN-UUUU (prolonged desperation feel abrupt up twist with echo effect) from 3.26 to 3.28 in LUT JAUN from KARZZZZ.

The feel good chorus lines from 3.04 to 3.20 along with intermittent grand trumpet are very simple in tune.

The lines from 3.20 to 3.22 have humour element.

Himesh's lines from 3.40 to 3.52 & 5.32 to 5.43 have traces of his sufi-rwak composition style.

Whether a Himesh fan understands Gujarati or not, they are going to immediately associate with the typical characteristic SUFI-RWAK PATTERN of OOOO (catchy off-da-hook croons) from 3.52 to 4.00 & 5.44 to 5.51 which are similar in terms of overall pattern of OOOO croons from 0.19 to 0.38, 1.22 to 1.30 & 2.00 to 2.09 in TERE BIN CHAIN NA AAVE from KARZZZZ. Welcome home!

The harmonium pattern from 4.04 to 4.06 is similar to harmonium pattern from 4.15 to 4.17, 5.04 to 5.07, and in between 5.25 & 5.40 in WAADA TENU UNPLUGGED from AAP KA SUROOR, followed by computerized Jayesh Gandhi croons from 4.06 to 4.12

The lines from 4.14 to 4.45 are sung with feel good vocals along with grand trumpet and rhythmic traditional folk beats.

The quick remix beat effect at 4.53 & 6.19 is great.

The lines from 4.54 to 5.02 & 6.20 to 6.27 are likeable.

The gyan chants along with beat skips in sync from 5.10 to 5.13 are followed by a bazz guitar and some more gyan involving the link of god with cricket.

From 5.52 to 5.59, the traditional free-flowing dholak beats and a traditional folk tune plays.

The lines from 6.12 to 6.19 are sung with feel good vocals explaining the ups n downs in cricket linked with share bazaar unpredictability.

Himesh's lines, RAMIYE-EEE (awesome twist) from 6.29 to 6.30, HASI-YEEE (prolonged delayed subtle feel vocals) from 6.33 to 6.35.

The audience vocal effect HAAAI in between 6.30 & 6.35 signify a chill pill emotional reaction due to curiosity outta a silly moment of success or failure.

Jayesh's line WOOOO (awesome computerized feel good vocals) from 6.42 to 6.44

This subtle mood gets again lightened up from 5.40 onwards.

The jingle effect in between 7.10 & 7.15 is likeable.

From 7.48 to end, a subtle string instrument plays followed by energetic sike giving arrogant feel Himesh croons HOWZ THAT that remind of sike giving arrogant feel Himesh croons ON DA FLOORZ from 0.13 to 0.14 in MEHFOOZ from APNE.

Highlights of this song:

1. Himesh's sufi-rwak vocals with emphasis on his household catchy off-da-hook sufi rwak emphasis croons from 3.52 to 4.00 & 5.44 to 5.51 which is the real highlight.

2. Energetic vocals HAAI, male rap at start, feel good chorus, jayesh's passionate emphasis croons including feel good computerized.

3. The peppy underlying remix beats, hip hop beats at start, traditional rhythmic folk beats, grand trumpet, whistle effect, feel good string tune, bazz guitar, JHALAK DILKLAJA REMIX styled wicked shehnayi and VADA TENU UNPLUGGED styled harmonium piece.

If this song can be noticed enough, then Himesh could expect an offer to compose for a future inaugurated Ahmedabad team in the IPL.

The two other Gujarati styled songs that come to mind are AAYA RE from CHUP CHUP KE and THAARE VAASTE from SHAKA LAKA BOOM BOOM, if the music arrangement is imagined to be traditional folkish along with Gujarati vocals/lyrics.

Overall, this song achieves its purpose as the hummable uncomplicated tune with a good dose of orchestration should be on the audience's lips.

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