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Indie and hip-hop

For most of the last century, "Indian popular music" meant film music. That monopoly has genuinely broken — streaming let artists reach audiences without a film attached, and what emerged sounds nothing like playback.

Gully rap

Hip-hop in Hindi, Marathi and street Mumbai slang, made in the chawls and bastis of Mumbai from around 2010. DIVINE and Naezy are the origin point; the 2019 film Gully Boy was loosely built on their story and pushed the scene into the mainstream overnight. The content is what hip-hop content usually is — class, place, money, exclusion — and it lands with unusual force in a country with India's inequality.

Indie and singer-songwriter

Prateek KuhadQuiet English-and-Hindi songwriting; the artist who proved an indie musician could sell out halls in India
Indian OceanThe elders — fusion rock with folk and classical structure, going since the early 1990s
The Local Train, When Chai Met ToastHindi rock and cheerful English-Malayalam folk-pop respectively; both festival mainstays
NucleyaBass music built on Indian folk samples — the sound of a decade of Indian festivals
RitvizElectronic production with classical-derived vocal lines
Why it took so long

Film production houses controlled distribution, radio and money, and playback singers were contracted through them. There was no independent touring circuit and no way to be paid without a film. Streaming removed the distribution bottleneck, and the festival circuit — NH7 Weekender and its successors — supplied the stage. See film music for the system it grew out from.

Starting point

If you know only Bollywood, listen to DIVINE's Mere Gully Mein, then Prateek Kuhad's cold/mess, then anything by Indian Ocean. Those three cover most of the distance between film music and what young India actually has on in the background.

See also: film music and playback singing · punjabi pop · desi comedy: stand-up, sketch and the internet

Last updated: 2026-08-12

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