The Best Indian Songs of 2024

From hitmakers like Anuv Jain and Sai Abhyankkar to rising North East talents like Markio Tanaldo and unmissable songs by Hanumankind and Shreyas and Kratex, here are our top singles of 2024, in alphabetical order.

(Honorable mentions: Prateek Kuhad – “I’m Someone New,” Kamakshi Khanna – “Love Is Not A Fucking Game,” Peter Cat Recording Co. – “Suddenly,” Bloodywood – “Nu Delhi,” Baby Jean – “Kaayi,” Gooth – “Family Jewels”)

Anuv Jain – “Jo Tum Mere Ho”

In the vault for a live and road-tested live for a while, singer-songwriter Anuv Jain’s “Jo Tum Mere Ho” was hotly anticipated and yearned-for by fans. He dropped it even as his 2023 song “Husn” was blowing up and becoming one of India’s most streamed songs. If there’s a secret sauce to Jain’s success, simplicity and earnestness is definitely a key ingredient, as he proves on this tender love song. Where the likes of Ed Sheeran can become one of the world’s most popular artists with a guitar, loop machine and his voice, Jain has arguably led with a similar directness and given Indian pop exactly what it needs, drawing from early 2000s heroes like Lucky Ali while adding modern touches.

Dhanji, Circle Tone – “Keh Do Ki Ye Jhoot Hai”

“Abhi toh pahunche bhi nai bhay!” Dhanji yells out at the start of “Keh Do Ki Ye Jhoot Hai,” which eventually found a place on Ruab (Director’s Cut). With a swaying hook by vocalists Tshering Bhutia, Jananta Juri and Meera Desai, there’s an accessibility that only someone like Dhanji and producer Circle Tone can orchestrate, with saxophonist Harmish Joshi in tow. At every refreshing turn that desi hip-hop takes, Dhanji is there, leading the way.

Ditty – “Money”

Bird sounds and whistles, forest-like enchantment color singer-songwriter Ditty’s song “Money,” part of her EP Skin. Always one to sing with an intent to stir people into thought about their daily lives and machinations of the current world, she sings, “There will be things money won’t buy.” It ends around the three-minute mark, and gets very real – the bird calls are replaced with buzzing chainsaws and the strike of axes, elephants harrumphing, destruction and a sad trumpet takes over. “Money” is a foreboding reminder of how it’s getting increasingly too late to dissuade humanity from the pursuit of just material wealth.

Hanumankind, Kalmi – “Big Dawgs”

One of the myriad million-odd responses that “Big Dawgs” got was that it wasn’t even Hanumankind’s best song in his catalog. Yet, here it is absolutely changing his trajectory, making him the biggest rapper from India. With producer Kalmi’s ominous, larger-than-life production, Hanumankind’s personality has never shone brighter. With the likes of A$ap Rocky in his corner and Project Pat himself, HMK’s still got plenty in his arsenal and his best is yet to come. It’s like he says, “Prophesize a profit when you know what’s comin’ next.”

Inga – “Oooh Lady!”

Bengaluru/Mumbai artist Inga walks the fine line between primal and elegant when it comes to her songwriting. “Oooh Lady!” feels like one of those songs that can captivate an entire club right from the first strum of the ukulele to her commanding vocals. Like something hopped up on Sixties flower power, Inga sings of open hearts, constellations and thighs punctuated by the playful “Aha!” She sings, “Between here and heaven, we are fine.” Indian indie really was missing a folksy, bewitching voice like Inga and we’re better off for it. 

Markio Tanaldo – “Mera Koi Na” 

If some of the biggest playback singers can find their way into year-end charts, Markio Tanaldo could put some of them to shame. His second single “Mera Koi Na” is an emotional dedication to his late father.  He’s grandiose, grief-ridden and his hair-raising Hindi vocals are aided by the guitar and production chops of Haggai Rongmei and Takar Nabam, who make sure Tanaldo can fill arenas one day, if he wants to. 

Sai Abhyankkar, Sai Smriti – “Aasa Kooda” 

Tamil pop found a new star in Sai Abhyankkar. Seemingly effortless and breezy, with lyrics by Sathyan Ilanko and featuring vocalist (and sister) Sai Smriti, “Aasa Kooda” gave a voice to all those unsure lovers to shoot their shot. After last year’s head-turning debut with the single “Katchi Sera,” it’s two in a row for Abhyankkar. Of course, he’s got big backing with the label Think Indie, but it doesn’t take away from his genre-blending approach to take Tamil pop in whole new directions. It’s a guaranteed dancefloor banger, with the added elegance of Tamil poetry. 

Shreyas, Kratex – “Taambdi Chaamdi” 

Speaking of dancefloor bangers, right when producer Kratex’s house beat starts off “Taambdi Chaamdi,” we knew we were in for a ride. It goes to a different level when Shreyas Sagvekar’s charismatic, resolute voice takes the mic, introducing India to Marathi lexicon like never before. Added points for if you saw the video first, because hearing that “Lakalakalakalaka” hook to creator and actor Manish Shetye aka Lord Manish’s now-iconic moves made for one of the most fun-loving visuals of the year that you can’t (and shouldn’t) have escaped. 

W.i.S.H. – “Lazeez”

Indian girl pop that wants to capitalize on the K-pop model? There’s more to it than what meets the eye. W.i.S.H. teamed up with composer-producer Mikey McCleary and producer Yüva to introduce themselves to the world with “Lazeez.” Co-composed by the group’s Ri aka Riya Duggal, W.i.S.H. flitter between hip-hop, pop and electronic, with a message of empowerment served with plenty of masala. With lines like “You want me back now [that]I got hot,” it gave everyone from K-pop stans to the Indian mainstream something to take a bite of. The food metaphors were clearly favored, even in the video. You may watch the choreography but then there’s Zo in a tub full of makhana, Sim is wearing a dress made of either pasta or flat noodles, Ri has cotton candy hair and Suchi has a head full of red chilis. Indian pop just got more loud, bright and compelling than ever. 

Yelhomie – “Is India My Home?”

Manipuri hip-hop artist Yelhomie spoke his piece like few other artists in the country on “Is India My Home?”, from the perspective of hundreds of thousands of residents of the paralyzed state in North East India. Poking at the conscience of a nation that is constantly being asked to choose sides instead of coexisting, Yelhomie proves that all you need is a mic and a beat to talk about rampant injustices plaguing the country across lines of nationhood, religion, caste and pretty much any other identifier we can find.