Once upon a time, Bollywood was on a generational run, with iconic films, dance sequences and music. Its music could make you cry, dance, fall in love and experience a heartbreak you’ve never endured. Lately, though, it has started to rely on remixes, recreated melodies and the nostalgia of music from the 1980s and 1990s. It lacks originality and soul in its lyrics and music.
For decades, Bollywood has been the centre of India’s popular music industry. A movie song could turn an unfamiliar singer into a household name, and dominate weddings, college festivals, radio stations and television countdowns.
Bollywood offered singers, composers and lyricists an unparalleled platform to reach audiences far beyond the traditional boundaries of a music industry.
Even music-based reality shows operated within this ecosystem. Singing competitions revolved around recreating popular film songs, with contestants earning recognition by recreating the works of established playback singers. While these shows helped discover talent, they also reinforced the idea that Hindi film music was the ultimate destination for aspiring singers.
A new front emerges
That relationship appears to be changing. Exciting conversations are emerging from outside the traditional film industry. Songs from reality shows such as Hustle and I-Popstar are finding audiences on social media.
The shift raises an important question: has Bollywood lost its position as the primary engine of popular music in India? Well, it looks like it has. And reality shows, where you have to write your own songs, are taking up the space.
The growing popularity of Hustle offers an interesting starting point. The rap reality show, which recently concluded its fifth season, has created a space for independent hip-hop artists to experiment with their sound, language and storytelling. Tracks such as Harmeet’s ‘Nadaan Patta’ and ‘Apna Apna Aasman’, Why So Kai’s ‘Payback’ and ‘Dammit Rabbit Teeth Wala’, DFlacko’s ‘Bharr Bharr’ and ‘Dwarka Mor’, and SickLot’s ‘Mona Lisa’ have cemented their place across social media platforms, becoming soundtracks for transition reels and other forms of short-form content.
I-Popstar, too, provides a space for singers, songwriters and artists working across different musical styles. Performers such as Gargi, Nishant Mukta and Markio Tanaldo have created original bangers such as ‘Chaar Khapeeter’, ‘UP Wali Ladki’, ‘Bombay Ki Rani’, ‘Chal Pada’ and ‘Mehboob’
These songs are travelling beyond the context in which audiences first encountered them. Viewers may discover a track while watching an episode of Hustle, but its life does not end with the performance. The audience takes ownership of the music, giving it new meanings and dramatic picturisation. In this environment, a song does not necessarily need a star or a film to reach listeners.
That freedom can be especially appealing to younger listeners, who increasingly discover music through algorithms, online communities and social media recommendations rather than through films alone.
Ultimately, the rise of Hustle and I-Popstar indicates a more decentralised music culture. Bollywood is no longer the only gateway through which artists can reach the mainstream.
Views are personal.
(Edited by Insha Jalil Waziri)