Kinari’s New Album Addresses ‘Negative Experiences Within Her Community’

If transgender rapper Kinari’s debut album Kattar Kinnar is a representation of who she is, the artist is also clear that you can’t be quick to categorize her. “I do not see myself [as] acting on behalf of any community,” Kinari says over an email interview.

She points to how “Baahar” (produced by New Delhi’s Faizan) off the 12-track album is among the strongest examples of how the album addresses “negative experiences I have had with my own community.” On “Baahar,” Kinari raps, “Tabhi Lage saare kinnar nirday / Kisiko na farak mare dusre ghar k” (That’s why all transgenders seem cutthroat/ Nobody cares if someone from another house dies).”

Underscored by gaana percussive elements, samples from Hindi film dialogs that are all about empowerment and the unmistakable snarl that goes “Rrr” across Kattar Kinnar, the album also brought the reveal that Nasbandi, the producer of most tracks is Kinari herself. If there’s a point to prove, it’s that Kinari can stand alone. “Hiphop culture se anaath mai” she raps on “Asli Girlpower,” powered by Tamil Nadu-origin beats. Unfiltered, unfettered and rapping in a way that fits right into desi hip-hop but also offers an entire gamut of lyrical themes rarely explored, Kinari speaks with Rolling Stone India about the making of her debut album, moving on from her previous moniker Finsta, and intersectionality. Excerpts:

Rolling Stone India: How did Finsta become Kinari and what sparked this evolution?

Kinari: Kinari is derived from the word ‘kinnar,’ which represents the third gender. I essentially made a feminine version of ‘kinnar’, which Kinari is supposed to be. In terms of why I changed my artist name, it’s just that I felt that I outgrew Finsta. The music I make now is truer to who I am, and ‘Kinari’ is part of that, because I’m really proud to be a transwoman.

How long was Kattar Kinnar in the works? What was the first track to be created for the album project?

I started working on Kattar Kinnar early in 2023. ‘Feminine Plural’ was the first track I made for it. I performed it live at my first-ever Meetha World [gig series] at Khoj Studios in July.

Meetha World is a trans-centric dance party that I curate and sometimes DJ at—putting on parties where trans people (as well as anyone who turns up!) can feel free to dance and celebrate. I also sometimes play unreleased tracks at Meetha World, and we’re having another edition at the Beer Cafe in Cyberhub on June 8th.

At the core of this album, there are messages of intersectionality, which is really important and perhaps lacking in Indian music right now.

For me, intersectionality is woven into rap. I’ve been listening to rap since I was pretty young, and if you see how it started as a genre, it’s really eclectic and democratic. In cyphers and freestyles, one person starts rapping, and others can join in with beatboxing and other lyrics.

You don’t have to have the professional qualifications often required in other musical styles to get into rap. It embraces everyone, and you can be yourself without pretending. Gaana music (from Tamil Nadu) has this quality too, and I’ve been listening to it for ages. In rap, you don’t have to have an acquired taste or speak and look a certain way, and I find that this essence reveals itself in my lyrics, too.

Another thing that got picked up once the album came out is that Nasbandi is actually your producer moniker, so you produced most of Kattar Kinnar. How did you navigate between being a producer and being a rapper for this album?

For me being rapper and producer both is like cooking with spices you have grown by yourself. It feels more organic than using someone else music. Most rappers in India prefer to import music from foreign YouTube channels and I think this is why they cannot make music that truly appeals to Indian taste. We have not realized the potential. And if you look at gaana music in TN, the same person often is singing, rapping, and playing drums. Maybe it takes a longer time to make music this way, but efficiency has never been my purpose. My purpose has always been to capture the sounds in my heart, whether through words as rapper or through music as producer.

Some of my favorite songs on this album really fit right in with everything that’s going on in desi hip-hop right now, while adding the dimension that it comes from the lived experiences that many in hip-hop may not even be aware about.

Is this album’s chief concern about awareness and claiming space as a trans rapper and for other LGBTQIA+ artists?

I do not see myself as LGBT rapper anymore than these men see themselves as ‘male rapper’ representing ‘male community.’ I do not see myself that I am acting on behalf of any community. I am faithful to my truth, my God, and my loved ones, even when others do not find my faith convenient for their political aims.

How was the Delhi launch show for the album? What has it been like becoming a fixture in this hyper testosterone-powered Delhi hip-hop scene?

The album launch party was on March 3rd, and it was a fantastic night. Khushi Shaikh, who is one of my biggest influences, performed a phenomenal mujra set that not only captivated the audience but also the staff at Nehru Social. The room was packed; everyone was screaming, some people were video-calling family members, and so many people came up to me afterwards to thank me for giving them an opportunity to see her live in a mainstream venue. By the time I came on stage, the atmosphere was already electric, and it was clear that the whole room was ready to be transported.

That being said, while March 3rd was special, I’ve found that despite Delhi’s often aggressive reputation, or however skeptical others can be, as soon as I have a mic in my hand, I’m able to turn the tide my way. Being a transgender artist in Delhi is hard because being transgender in Delhi is hard. But as long as I remember why I’m in the game – to make music- I don’t need the wider industry to control or celebrate me.

You also released a lo-fi version of the album; what do you feel lent these songs to that lo-fi treatment?

The first time I sent the demo for ‘Madhuri’ to my manager, he listened to it while in the metro, which is the perfect place to listen to any of the tracks on the album since it’s so heavily influenced by the concrete jungle that is Delhi. He texted me back immediately, going on and on about how much he loved it, particularly the drums and also remarked that a lo-fi version would be sick. The idea kind of caught fire in my mind, and it just made a lot of sense to try to figure out which other songs in the album could also work. And also I love to hear my own voice in lower pitch, I think it sounds sexy.

What’s in store for the album launch tour that’s coming up?

I’m so thrilled about this tour, mainly because we’re kicking it off in Chennai! So many of my musical influences stem from Tamil films, music and culture, so getting to perform in my home state means a lot to me. We’re also going to Bangalore, Mumbai, and Pune, and each show will feature some fantastic rappers with whom I’ve wanted to work for ages! My album launch show featured a transcendent mujra performance by the legendary Khushi Shaikh, so we’re raising the bar for each stop on the Kadva Sach Tour!