Indie Unpacked: The Gamechangers Of Regional Hip-Hop 

The multilingual soundscape of India bolsters its regional hip-hop scene. From Bhojpuri to Meitei, languages are no barrier for the fiery collective of regional rappers, artists, and musicians. These artists fuse dialect, rhythm, and raw storytelling, channeling their roots into bars that hit as hard as they resonate. In this edition of Indie Unpacked, we spotlight the rising underdogs redefining Indian rap, one verse at a time.  

The Culturehood: “Poopaadam” 

A true love letter to Kerala’s burgeoning hip-hop scene, “Poopaadam” by The Culturehood is an effervescent blend of syrupy classical vocals, flowing verses, and a thumping UK drill beat. Featuring artists Mubasssok, MC Mac, and Lostricin, the track shuttles between gritty bars and nostalgic melodies, paying homage to Nineties rap style through its video treatment and costume styling. The production style is remarkably versatile, melding classical vocal belts with verses in English and Malayalam. Crafted by the young and restless, “Poopaadam” brings a fresh visual and sonic aesthetic, transporting listeners to memories of a familiar time. Even for those unfamiliar with the language, the beat and emotive production speak universally, making the track a standout cultural crossover. 

Shikriwal: “Real Baat” 

Shikriwal’s “Real Baat,” an asynchronous mix of sounds, pairs a dulcet saxophone with Bhojpuri rap, setting the tone for a track that’s as unexpected as it is captivating. Reminiscent of Tyler, The Creator’s Flower Boy, the song leans heavily into jazz influences, with Shikriwal’s saxophone skills oozing charisma. The looped, delicate piano melodies add a dreamy layer to the production, creating a surreal, almost immersive atmosphere. While mainstream media often paints Bhojpuri music as brash, perverted, or outlandish, Shikriwal flips the script, revealing the poetic soul of the language. Through poignant lyrics and unique composition, he places Bhojpuri hip-hop at the forefront, fusing folk, tradition, and personal identity in a way that breaks away from tired clichés. 

Naam Sujal: “Ankurit Moong” 

Audacious yet groovy, Naam Sujal’s “Ankurit Moong” is a satirical take on an artist’s relationship with virality, media, and the vices of social media. It captures Sujal’s feral urge to go against the grain and escape the exhaustive burnout matrix. He’s unapologetic, armed with an acid tongue that mirrors Doechii’s smooth flow, delivering verses that bite just as hard as they groove. It’s a track that hits like an espresso shot: Sharp, acerbic, and invigorating every sense. You won’t be able to sit still while listening. The impressive video production, led by Xxception and Sujal, elevates the experience, with visual nods to American Psycho, including the iconic bloodied shirt.  

Yelhomie: “We Outside” 

Fusing horse-clad warriors with a hard-hitting modern beat, Yelhomie’s “We Outside” is North-Eastern indigenous representation at its finest. The holler of Changvei Phulo echoes raw Meitei realness with urgency and defiance. Through the verses, Yelhomie calls out to all the naavas, a colloquial term used to describe men, to rise and take to the streets as the socio-political backbone of Manipur lies in shambles. An anthem against systemic oppression, the flow and cadence of the track are reminiscent of Kendrick Lamar’s To Pimp a Butterfly era, where personal is political. Unflinchingly authentic, “We outside” is unafraid to call out the wrongdoers, pushing out unfiltered narratives through sharp lyrics and a banging beat. As part of Naava Records, a collective pushing the frontlines of Manipur’s hip-hop scene, the track is a modern, youth-infused war cry. 

Raaj Babu: “Khatarnaak Zamana” 

Bhojpuri rapper Raaj Babu’s “Khatarnak Zamana” infuses an Arabic sample with hypnotic beats, setting the stage for what feels like the soundtrack to a retro Bollywood gangster film. The track builds with cinematic intensity, transitioning into a synth-laden, ominous climax. At its core, it’s a Bhojpuri hype anthem; old, atmospheric, and impossible to ignore. 

Bhadrankar: “Lafangey Parindey” 

“Lafangey Parindey,” the second track from Bhadrankar’s upcoming mixtape Chillati Khamoshi, is a potent blend of nineties R&B influence and Gujarati hip-hop. The Vadodara native lays bare his primal ideals for fame, money, and soaring to new heights, devoid of rules, laws, and restrictions. Yet, for all his skyward dreams, he remains unfailingly rooted, defiantly uninterested in Western consumerist markers of success. Bhadrankar comes across as suave, almost like the main character in his film. With lines like “Gulaabi kagaz se bas mera lagav,” his smooth flow and clever wordplay complement the rustic music video that feels as homegrown as it is cinematic. From the barber shops to the bylanes of Vadodara, no stone is left unturned in repping his hometown. The chorus is an earworm, immensely catchy and hard to shake. A multi-hyphenate, Bhadrankar produced, arranged, wrote, and even co-shot the track, laying his artistic soul bare. 

Kidd Mange Ft. Tsumyoki: “Up Next” 

Kidd Mange ft. Tsumyoki’s “Up Next” is a fiery testament to Goa’s rising hip-hop scene. Delivering verses with grit, fervor, and unmistakable hunger, Mange’s lyricism is laced with the raw energy—part J. Cole’s cadence, part Eminem’s intensity. Tsumyoki’s slick production holds it all together, pairing crisp beats with zealous trumpet instrumental. The music video, set against rooftops and winding bylanes, offers an intimate glimpse into the heart of the city, adding a cinematic layer of authenticity.  

Rajat Birla X Double A: “Loot” 

“Loot” is a single that captures duality, both sonically and emotionally. Part of the upcoming Lehar Chandigarh Mixtape, the track starts with high-octane verses before taking a sharp turn two minutes in, shifting into a more somber, introspective mood. Mirroring the narrative arc, the beat switch shows a vulnerable side that lies beneath the tough exterior of the artists. Producer Dev Ocean adds classical Indian elements, such as the tabla and sitar, crafting a vintage, Bollywood melody punctuated with bass. Rooted in the Lehar Cypher Movement, the track highlights the struggles of their people through rhythm, tone, and tenacity. 

Farhan Khan Ft. Mehtab Ali Niazi: “Ghar” 

Farhan Khan’s “Ghar” is a masterstroke in Urdu hip-hop; cinematic, vintage, and unabashedly romantic. Visually astounding and steeped in the aesthetics of a Sanjay Leela Bhansali period drama, the track has its own sonic trajectory, weaving heartbreak, melancholy, and longing into a cinematic soundscape. The video follows Alif, a young man who withers away as the love of his life, Laila, marries another man called Hamza.  Produced by Deetox, the track is a mix of Indo-Western fusion: Electric guitars, a tantalizing sitar riff, and a desi beat. Mehtab Ali’s sitar controls the emotional tempo with precision. Echoing the heartbreak and grandeur of timeless love stories, it elucidates upon the final act of love, which is to let go.