One does not really expect great music from a situational comedy but there have been several instances in the past where films, driven by comedy, have carried chartbusting music. But, keeping in mind the kind of subject a film like 'Guest Iin London' has, one understands expectations, as far as the music is concerned, need to be kept in checked.
"Frankly Tu Sona Nachdi", a quintessentially filmy wedding song with some generous use of Punjabi words, opens with the sound of composer Raghav Sachar's favourite instrument, saxophone. The simple and hummable tune that effectively brings out the happiness prevailing in the situation in the film. Along with Tarannum Malik, Raghav does a good job behind the mic too. The lyrics (Kumaar) are catchy and add to the fun and vibrancy of the dance number.
Barring the 'jaaniya ve jaaniya' bit that has probably been added to give the song a sufi-sque touch, "Dil Mera" works pretty well as a breezy, upbeat romantic number that makes for a pleasant listen. Though one does not expect it to retain its popularity a couple of years from now, it has the potential to become popular prior to the release of the film. After "Baarish" ('Half Girlfriend') this song serves as a testimony to the fact that Ash King is working on improving his Hindi. Co-singer Prakriti Kakar pitches in with her icy cold vocals and the two of them lend the requisite romantic vibe of the song.
Raghav's favourite instrument saxophone plays an important role in "Daru Vich", his recreation of Taz's original song from 'Tum Bin' (2001). It is heard at multiple junctures in the song and has been used well to add some spunk. The rap portion written and performed by Arya Acharya does not work but the song does not disappoint as a whole. Raghav brings his own style and remixes the original track neatly. The choice of instruments/sounds is quite good too.
The last two tracks, composed by Amit Mishra, belong to different genres but fail to make any impression whatsoever. "Guest Iin London", the title track, uses chant-like sounds and relies on the lyrics (Amit Mishra and Navendu Tripathi) to evoke laughter. Despite elaborate arrangements and production, the lifeless tune makes it impossible for you to invest in it as a listener. It might work better with the visuals and in the context of a particular scene. Amit manages to bring out the devotional touch in "Rabba Meray Haal Da Marham", a qawalli, to the fore but the middling composition fails to engage you.
Raghav Sachar does quite well as a composer with two original compositions and one recreated track that keep one happy. The two songs by Amit Mishra (which are the last ones to arrive as well) play spoilsport and do not let the soundtrack become as fulfilling as one would have liked it to.