Best Ever Lists

10 Best Indian Music Videos of 2023

From KING’s grand introduction to his album ‘New Life’ and Mali hunting for game to Chaar Diwaari’s violent but funny tale and Gauley Bhai’s reality check, here are our favorites this year

In 2023, India witnessed a lineup of sensational music videos that stole the spotlight. From catchy tunes to stunning visuals, these videos brought alive the pulse of Indian music.

Let’s dive into the realm of sound and visuals as we unveil the top ten music videos that rocked the charts and painted vivid stories across screens nationwide.

Chaar Diwaari, Gravity – “Violence”

If we had it our way, there would be multiple Chaar Diwaari music videos in this list, because singer, rapper and producer Garv Taneja is also the director behind his freakishly good singles like “Barood.” This year has clearly been Chaar Diwaari’s most artistically creative yet in terms of releases and his collaboration with Mumbai rapper Gravity on “Violence” takes the cake. The rappers turn into hot-headed men in pursuit of a woman (whose wedding they later crash) in the hilarious, hectic video that matches the frantic pace of the song. There are cameos from those familiar with the Diwaari universe and New Delhi-bred artists, easter eggs and punches thrown together in the chaos that only Taneja can perfect as an artist and filmmaker, with help from Vaibhav Yadav and Tushar Ronak. – A.T. 

Chirag Todi, Dot. – “Spiced Lemonade”

Ahmedabad-based guitarist and composer Chirag Todi teamed up with New Delhi-bred artist (and actor) Aditi Saigal aka Dot. on the jazz-funk offering “Spiced Lemonade.” In the clip for the track – directed by Hawwa – Todi and Dot. are seen performing the song amidst a vibrant atmosphere while actor Santana Roach (whom you may now know as Dot.’s co-star in the Netflix film The Archies) also makes appearances on screen as she dances her way through quirky sequences. — D.B. 

DIVINE, Armani White and Karan Kanchan – “Baazigar”

DIVINE’s album Gunehgar has entered desi hip-hop lore already, but special mention goes to the video for “Baazigar,” which not only blended Bollywood nostalgia with Indian rap, but took it a level ahead by featuring American MC Armani White. DIVINE – who worked with Karan Kanchan on the song – brings White to his sheher for a high-energy visual directed and written by Reema Maya at production house CATNIP. Mob bosses, animation and rap heavyweights combine for a power-packed storytelling treat. – A.T. 

Anchit Magee – “This Is Our Life”

Noida singer-songwriter Anchit Magee’s delightful music video for his indie-rock track “This Is Our Life,” directed by Aditya Rahul, features Chirag Chaturvedi, Tanya Gulati and Harshil Tewatia, embarking on a whimsical journey to combat an alien invasion. Magee’s infectious indie-rock sound is complemented by the playful on-screen narrative, blending humor and creativity seamlessly. The light-hearted direction captures the essence of the track. — D.B. 

Gauley Bhai – “Aunty Ko Tato Bagaicha”

Experimentalists Gauley Bhai also have a filmmaker in their midst, with vocalist and violinist Veecheet Dhakal directing the video for their Nepali song “Aunty Ko Tato Bagaicha” (Aunt’s Warm Garden). With metaphors of hypnosis and intoxication, the visual draws from the reality of the young residents of the Teesta region who are faced with changes in the name of urban development and national integration, as written in the script and storyboard by Angarika G. The Teesta Troupers – a real-life collective of rappers and songwriters – take on roles of friends who head out on an adventure and encounter a monster. Director of photography Eric Chandra Shrestha and the team capture a visual that balances documentary-style observations with full-blown fantasy, in a bizarre, beautiful and thought-provoking way. – A.T. 

Irfana – “Sheila Silk”

Kodaikanal-bred rapper Irfana’s scorching song “Sheila Silk” came with a striking video which accompanied the song quite well. In the clip, Irfana performs the track while also showcasing her dance skills across a black backdrop. Directed by Sisnu Raj, the video sits perfectly with the impactful beats of the song. — D.B. 

Hanumankind, Parimal Shais – “Go To Sleep”

Bengaluru-based rapper Hanumankind is reigning as India’s top English hip-hop artist and he started strong early in 2023 with “Go To Sleep,” with go-to beatsmith (and fellow Malayali) Parimal Shais. The video too brings in one of his favorite filmmakers, Bijoy Shetty, for a rager of a narrative that pays an abundant homage to the novel Fight Club and its movie adaptation. Metaphors for insomnia, artistic ambitions and vulnerability abound in what is a turbulent video that doesn’t dial down on the intensity. – A.T. 

Komorebi – “I Grew Up”

Directed by R. Venkatraman, New Delhi singer-producer Tarana Marwah aka Komorebi’s otherworldly clip for her enchanting song “I Grew Up” is a visual treat. Utilizing [3D software] Unreal Engine, the result is a perfect fusion of the tangible and the fantastical. This cutting-edge approach offers a groundbreaking experience that blurs the lines between reality and the unreal. The intersection of technology and creativity elevates the music video to a new level of immersive storytelling, in which Komorebi is seen performing the song in her grand outfits. — D.B. 

Mali – “Semi Automatic Butane”

Chennai-bred and Mumbai-based singer-songwriter Maalavika Manoj aka Mali’s video for her angsty synth offering “Semi Automatic Butane” has been directed by Naman Saraiya. Shot at the barren yet striking landscape of Jawai, Rajasthan, in the clip Mali is seen taking on the persona of a badass and driving a jeep through the desert with a toy gun, alongside her bandmate, guitarist Apurv Isaac aka Lala and fellow singer Aria Nanji. — D.B. 

KING – “Crown”

Album introductions are not the easiest to nail, but KING does it with a fiery intent on “Crown,” the intro to his long-anticipated album New Life. Bijoy Shetty takes on directing duties, with what seems like a tip of the hat to hip-hop auteurs like Kendrick Lamar in terms of a visual language, but also playing around with cues about KING’s past personas and how they’re all ended so that he can march on with a new identity, complete with choirs, crowds to hype him up and rock braggadocio. – A.T. 

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