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Same here... Par mil ni raha tha

Sthaayi Prabhu daata sabana ke, na kare mana jeevana ghari pala chhina || Antara Jo tu chaahe anadhana lacchumi, doodha poota bahu teraa, vaako naama bhaja guru ka naama ||

Bhairav me niyaas ka sur madhyam hi h.. Agar pancham zyada lagayenge. To ramkali hone lagega...

Also Ulhas guruji told us in our talim that pancham nyas will make it sound Kaalingada. So automatically in raag bhairav to avoid it, the nyaas weight shifts to madhyam and dhaivat.

But instead on madhyam he can do this on धैवत using gandhar and madhyam in phrase ..when it revolves around madhyam it seems something different .😳

There are two things here , as per shastra bhairav is an uttarang Pradhan raag with dhaivat vaadi and rishabh samvadi , but the inherent lay of bhairav is a bit toned down due to the andolan of rishabh and dhaivat , so shuddha madhyam is used as a connecting swar to create the sombreness of the morning time and also it helps to maintain bhairav raga-lay as bhairav has an Avarohi Varna ( rag blossoms in a descending form ) ...infact there is a clear mukta Madhyam which is used in bhairav which is suggested which helps to create the dawn scenario ...exactly opposite is in ramkali where Pancham takes centrestage and rag laya is a bit fast and the meends of bhairav are toned down..Ulhasji being one of the staunch authenticity driven artist , the rag swarup is really well put forward