Rappers have been making a significant splash in the Malayalam film industry, most recently with their standout performances in the soundtrack of Fahadh Faasil’s “Aavesham,” composed by Sushin Shyam. This soundtrack featured the talents of Dabzee, MC Couper, Malayali Monkeys, Hanumankind, and Paal Dabba, elevating the entire music experience of the film. Another notable instance was the soundtrack of Tovino Thomas’s “Nadikar,” which opened to mixed reviews but saw its rap tracks, such as MC Couper’s “Kireedam” and Baby Jean’s “Komban,” go viral. The song “Kuthanthram” from “Manjummel Boys,” a Sushin Shyam composition, has also received massive appreciation, crossing over 10 million views.
This trend marks the emergence of rappers as pivotal contributors to Malayalam cinema, with several composers like Jakes Bejoy, Gopi Sundar, Vishnu Vijay, Ajmal Hisbullah, Govind Vasantha, Rahul Raj, and Hesham Abdul Wahab integrating rap artists into their musical productions over the years.
Historically, Arjun Sasi and Joslee, also known as Lonely Doggy, were among the pioneering rappers who sang in Malayalam movies. Fejo, whose voice has now graced over 20 films, points out that rap was once limited to fillers, theme songs, and promo tracks. However, that perception is rapidly changing. Fejo attributes this shift to the growing popularity of the genre among teenagers and young adults, and the belief among some composers that rap can convey certain emotions more effectively. This, according to Fejo, provides an advantageous platform for rappers, allowing composers to introduce fresh soundscapes while reaching a broader audience.
Fejo first lent his voice in “Maradona” for Sushin Shyam and has since made his mark in films like “Naradan,” “Ranam,” “Arattu,” “Athiran,” “Operation Java” (with ThirumaLi), “King of Kotha,” and “RDX.”
MC Couper highlights that the gap between traditional film music and rap is narrowing due to the emergence of proficient rap musicians and the superior quality of their music, which has opened new avenues for this genre. According to Couper, earlier rap and hip-hop tunes were mostly associated with stylized sequences in movies. Today, the global popularity of hip-hop is mirroring itself in Malayalam music.
Couper is known for hits like “Neeyetha” (from “Naradan”), “Thalatherichavar” (from “Romancham”), and solo tracks like “Super Sebastian” and “Anjaalum Pathaalum” from “Purusha Pretham,” for composer Ajmal. He recounts how the song “Neeyetha” was revised to fit the needs of the film and how hip-hop was prominently used in the main soundtrack of “Purusha Pretham.” Couper has also sung for Bijibal in “Vadakkan,” which was showcased at the Cannes Film Festival’s Marché du Film Fantastic Pavilion this year.
Rappers are now transcending their genre limitations, as illustrated by Dabzee’s track “Illuminati” in “Aavesham” and “Vatteppam” in “Mandakini.” Couper mentions that artists can showcase their versatility while retaining their unique identities as rappers. Fejo supports this sentiment by noting his diverse contributions, such as the reggae track “Thannathaan” (from “Naradan”) and the country pop genre “Ullasamo” (from “Ullasam”).
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Dabzee emphasizes that working in playback provides opportunities to explore new genres. He refers to his viral success with “Manavaalan Thug” from “Thallumaala” and mentions that film singing is a collaborative effort that pushes him to improve his craft. Dabzee’s filmography also includes tracks in “Jackson Bazaar Youth,” “Pulimada” (where he composed and wrote “Mada Trance”), and “King of Kotha.”
Baby Jean speaks about the challenging journey from indie to mainstream, describing the painstaking work of writing, composing, singing, recording, and marketing music as a solo artist. He views singing for films as a means to gain attention and recognition for indie artists, enabling them to introduce their independent work to a broader audience. He is also venturing into acting with a role in Khalid Rahman’s upcoming untitled movie.
Singer-composer Neha Nair, who, alongside Yakzan Gary Pereira, scored the tracks for “Nadikar,” acknowledges the director’s intent to feature rap to complement the rockstar persona of the lead character. She praises Baby Jean’s unique vocal style in “Komban” and highlights the collaborative process with MC Couper on “Kireedam,” inspired by his compelling lyrical contributions.
Sushin Shyam details his selection process for the indie artist lineup in “Aavesham,” ensuring the tracks aligned with the songs’ genres. He credits Jithu Madhavan’s specific vision for the film’s musical direction, avoiding typical melodies or rap tracks. The selection of artists like Tamil rapper Paal Dabba for “Galatta” and Dabzee for “Illuminati” was driven by the unique vocal qualities needed for each track.
Sushin also notes the growing importance of lyrics in rap music, highlighting how audiences are increasingly drawn to the lyrical content. He cites “Mathapithakkale” from “Aavesham,” co-written and performed by MC Couper, as an example where the collaboration resulted in a compelling narrative.
Vishnu Vijay expresses his enthusiasm for working with more hip-hop artists, recognizing the current openness to various music genres. However, Fejo points out that not all rap tracks achieve recognition, particularly if the associated movie underperforms.
Despite the growing popularity, Couper warns of potential saturation in the genre. He points out that rap’s self-empowering and often unsubtle nature might not resonate universally but believes breaking patterns can lead to broader acceptance, which is evident in the current trend.
In conclusion, rappers are no longer peripheral figures in Malayalam cinema. They have become central to its evolving musical landscape, bringing diversity, dynamism, and a new wave of creativity that resonates deeply with contemporary audiences.
