In India, Bhakti (devotional Hinduism), unlike more orthodox and exclusionary Brahminical ritual-based practices, emphasizes singing devotional songs and poetry as a primary way of connecting with the divine. There are various Bhakti performative traditions. In this paper, I examine how devotional music in India has entered a new realm: music festivals. These festivals are becoming important venues for devotional singing and have facilitated the expansion of Bhakti into a new social space among the urban elite, who do not necessarily subscribe to the tradition's ritualistic aspects. Beyond being featured in music and cultural festivals, the rise of dedicated devotional music festivals calls for an analysis of how Bhakti music functions within this new context. These festivals showcase a range of musical styles and attract a more elite audience than traditional Bhakti traditions typically reach. Most of these festivals are expensive and affordable only to a few. The paper explores the changing contours of devotional music in this new context, including duration, textual intelligibility, language, and new forms of cross-cultural collaboration. As music festivals grow in popularity among performers, I will analyze the strategies employed by artists and curators to make Bhakti renditions in these festivals distinct from traditional forms. It will also examine how Bhakti music adapts to appeal to this new audience and aims to position itself as an aspirational space for the upwardly mobile social class, which finds these festivals meaningful for refashioning their elite and culturally rooted identities.