On many days, Krishna Kaul believes in relocations. The Delhi rap artist, much better referred to as KR$ NA, speaks like a chess gamer, explaining positions on a board– how to open, when to bait, where to trade, and the line he’ll stroll when the middle video game gets untidy. He’s not incredibly elusive; he’s purposeful. In the studio, he can stumble upon as peaceful, practically scheduled. On record, he’s exacting and surgical. And when the market spins up a storm around him, he draws on the only variables he can truly manage: the writing, the shipment, and the strategy. Even face to face, at the cover shoot, he brings the exact same composure– scanning the space, making a little modification, then locking back into focus like the next relocation is currently drawn up in his head.
It’s nearly as if he’s clear-eyed about what’s within reach and what isn’t. As he puts it, the only thing he can completely command is his own output. The reaction to it– “whether critics dismiss it, fans commemorate it, or the web chooses it apart”– will constantly run out his hands. The lesson he’s continued is that if you let outdoors voices determine the work, you’re no longer producing on your own or for individuals who truly get in touch with you. “Some individuals will constantly believe I make the worst music on the planet, some will believe I make the very best,” he informs Wanderer India“All I can do is concentrate on the procedure.”
That perseverance and detachment are the through-line of his profession. Talking to him over an hour-long call, it felt as if they were created in disappointment. When KR$ NA launched his launching album Sellout in 2014 with Universal Music, he thought it might be the start of a significant profession leap. The very first video made some sound, however when it came time to press the next single, the label balked. “I put all the cash I had from that offer into another video, and everybody stated, ‘Wow, what a great video,'” he remembers.” But then the label returned with a marketing prepare for 10,000 rupees on Facebook. I resembled,’ You need to be joking. ‘” He put his own advance into another video for the title track, just to discover the exact same absence of assistance. The inequality in between his effort and their support disappointed him. For 2 years, he hardly launched music.” It felt meaningless,” he states. “Whatever I made would come from them, and they weren’t going to press it. I was so inflamed with business that I stopped wishing to make anything.”
The paradox was that Sellout come to a time when English-language rap in India was only simply beginning to acquire exposure. He had actually developed an identity as one of the couple of Delhi MCs proficient in both English and Hindi, and his launching might have placed him as a leader. Rather of momentum, he discovered himself locked in an arrangement that left him helpless. In hindsight, he sees those 2 lost years as a refresher course in how the Indian music company in fact runs: majors aspired to sign rap artists, however they did not have the facilities and long-lasting method to support them. For a young artist who had actually currently been composing because the mid-2000s, it was a lesson that stung.
The break became a reset. When he returned, he attempted something various. Together with a good friend, he released Right Now Entertainment. It wasn’t developed to fall the market however to check a design: could a little, hip-hop– literate label take artists from absolutely nothing to the point where majors were required to take notification?” We didn’t have the cash to invest like a huge label. We comprehended rap, we understood how to find skill, and we might develop somebody from no to fifty. A significant might take them from fifty to 2 hundred.” No one wished to be the” guinea pig,” so KR$ NA put himself through the wringer initially. Within 2 songs, larger deals showed up. He quickly signed up with AK Projekts, which later on progressed into Kalamkaar, a label that ended up being a foundation of Delhi’s hip-hop scene.
What made Right Now Entertainment radical at the time was that Indian music still focused on Bollywood hits. There were no genuine designs for independent hip-hop labels. His concept of structure artists up, then partnering with majors for scale, was the sort of hybrid method that just ended up being typical years later on with attires like Kalamkaar, Gully Gang, and Azadi Records. In some methods, KR$ NA led the curve, however the pressure of running a label while likewise attempting to grow his own profession showed unsustainable. Ultimately, Right Now went inactive, however its plan foreshadowed the indie environment India now considers given.
Still, the course wasn’t direct. 2018 was a limbo year. “I didn’t understand which instructions to go,” he confesses. “Bombay’s scene was removing, Delhi’s wasn’t noticeable, and I was attempting to find out what would make me stand apart.” He put out a mix of sing-song cuts and sharp totally free verses. Both kinds discovered listeners, informing him there was area for duality. By 2019, he ‘d narrowed the lane and launched “Jaanta Kyun” with Deep Kalsi.
This Delhi– Mumbai divide taxed him. Mumbai had actually currently produced Divine and Naezy, artists whose stories were crossing over to traditional audiences and even Bollywood movies like Gully BoyDelhi, in spite of having a lively underground, did not have that exposure. For a Delhi rap artist like KR$ NA, the concern was existential: should he comply with the Mumbai design template or take a brand-new Delhi identity? His ultimate response was to double down on technical lyricism, the sort of bar-heavy rapping that Delhi audiences valued. That choice set him apart, even if it implied a slower path to mass acknowledgment.
Came 2020. While much of the market went peaceful throughout lockdowns, KR$ NA sped up. “Some tunes we ‘d completed before Covid, others we taped terribly in your home,” he remembers with a laugh. “But we kept launching. The 2020 track ‘Quarantine’ was actually shot simply as the pandemic hit– that’s why I’m in a mask in the video.” Economically, it was a grim year. Absences, no brand name offers, no outdoors profits. Musically, it was efficient. Audiences were stuck at home, listening intently, and he kept feeding them product.
The pandemic exposed how delicate business side of Indian hip-hop still was. For stars, the disappearance of programs and brand name projects unexpectedly cut off their earnings. For smaller sized acts, it was a lot more ruthless: no locations, no celebrations, and no safeguard. KR$ NA confesses that while he handled to keep putting music out, it wasn’t a fun time economically. “We did a couple of brand name tasks, shot them ourselves in the house, however mainly there was absolutely nothing. It was a bumpy ride money-wise, even if the music itself was succeeding.” What conserved him was the captive audience. Streaming and YouTube numbers climbed up throughout the board in 2020, and rap artists who had brochures to lean on discovered their listenership broadening. For KR$ NA, it strengthened the value of consistency– if you had material all set, individuals would discover it.
That duration sealed his view on virality. For the majority of his profession, he didn’t have viral hits; what he had were tunes that developed gradually, collecting streams over months and years. He believes that’s better than a fast spike. “I was late to the viral celebration, and till the last number of years, I had no viral tracks. Tunes like’ No Cap’ or’ Hola Amigo ‘are still streaming greatly years later on. I ‘d rather have that than something that blows up and vanishes.”
It’s a position that likewise shows his technique: construct a brochure, not a minute. Viral popularity in India frequently originates from one-off tracks improved by Instagram reels or TikTok-like patterns, however a lot of those artists battle to construct on that momentum. KR$ NA, by contrast, indicate his discography as proof of durability. He chooses tunes that get gradually, keep streaming regularly, and discover brand-new listeners months or years later on. In his view, that’s how you sustain a profession in a market still finding out how to worth rap.
Strategic thinking is likewise the driving force of his cooperations. When he wished to attempt drill, for instance, he didn’t simply rap over the design template. “Indian rap artists simply rap truly quickly on drill beats. Drill has a particular cadence. I desired somebody from the U.K. to bring that. “That’s when KR$ NA gotten in touch with French the Kid, fulfilled him in London, and cut “10 Pe 10,” a track that sewed Delhi to the UK drill scene with ease. When he wished to bridge India and Pakistan, he related to manufacturer Umair.” Umair is a prodigy. I informed him, I desire you to produce this entire EP. It was suggested to reveal unity, not simply be another task. “
He likewise leaned into his visual impulses. With “Joota Japani,” a lively flip on Raj Kapoor’s “Mera Joota Hai Japani,” he understood right away the video needed to be shot in Tokyo. “I sent out the director referral images, described precisely what I desired. Japanese teams are effective, they move quickly, and it came out precisely the method I imagined it.” His interest in architecture and style bleeds into these choices. He frequently sees the visuals as he’s composing the tune.
Not every cooperation has actually been widely accepted. His worldwide link-ups, especially the multi-artist “Asian State of Mind” including Awich, Jay Park, Masiwei, and VannDa, drew enjoyment abroad however a warm reception in your home. “Outside India, individuals enjoyed it. Here, I believe listeners aren’t constantly open up to foreign languages yet,” he shows. Still, he sees them as important. “These tracks put us on the map worldwide. They make individuals take note of Indian rap in a larger context.” For KR$ NA, developing a brochure and chasing worldwide partnerships was just one side of the journey. Simply as crucial was discovering what not to chase after– releasing interruptions that might hinder the long video game.
Where numerous rap artists sustain themselves on dispute, KR$ NA has actually found out to move past it. His years-long diss cycle with Emiway Bantai belongs to his story, however he has no interest in reviewing it.” It’s been years. I’m not because area any longer. I wish to discuss other things. “Reports about stress with Seedhe Maut strike him as ridiculous.” We’ve done so lots of tunes together. I actually put out a video with them 2 weeks ago playing golf. Why would there be beef?”
Beef, media sound, even political commentary– all of it, to him, is a diversion. He acknowledges that fight rap and diss culture belong to hip-hop’s DNA, however in India, he feels it often ends up being the only lens through which outsiders see the category. “If individuals decrease the scene to simply disses, it misses out on the larger photo,” he states. A previous interview heading when declared he believed India needs to “stop consuming over Eminem.” He makes fun of the distortion: “What I really stated was, if you enjoy Eminem, cool– however likewise listen to the artists Eminem enjoys. Do not stop at one individual and anticipate them to cover every subgenre. Hip-hop is big.” And when it comes to topical rap? He’s finished with it. “Topical music passes away with the topic. No one appreciates all that shit now. I ‘d rather make something individuals can still play 10 years from now.”
This pursuit of durability isn’t simply individual– it mirrors how the Indian rap market itself has actually progressed.
When TuneCore released, he utilized it to self-distribute his music– something nearly unprecedented in India at the time.” People didn’t even understand what digital circulation was then. I was most likely the very first to utilize it here. “At that time, discovery was challenging. YouTube wasn’t substantial, internet penetration was restricted, and there were couple of courses to discover brand-new rap. Today, platforms and tools make it much easier to reach an audience.” It’s not about education– it’s about suggests. Now, if you’re skilled, you can disperse yourself. At that time, you needed to await a label to like your demonstration. “
This advancement– from a gatekept market to a more open one– has actually specified his generation. More youthful rap artists today can bypass labels totally, something KR$ NA might just imagine when he was beginning. It’s why he highlights consistency and catalog-building: with more gain access to comes more competitors, and the artists who withstand are the ones with depth, not simply a single viral hit.
Durability likewise comes with pressure, and handling that psychological expense has actually been its own journey. He confesses he’s delicate by nature, however has actually taught himself to disentangle feeling from action. “Sometimes you believe absolutely nothing will occur with a tune, and it blows up. Often you believe it’s a safe bet, and it does not move. The result is never ever in your control. The procedure is.”
When he requires to step far from everything, he leans on golf. He initially played as a kid however let it go, just to go back to it a number of years back. “When rap became my full-time task, I understood I didn’t have any other enthusiasm. Golf provided me that. On the course, I’m not considering anything however the video game. It looks sluggish, however it’s mad mental.” Golf, he states, is the unusual location where he can turn off totally. “As a rap artist, you do not. have off days. Even when you’re not composing, you’re still considering it. Golf forces you into today. It’s just about the next shot.”
He likewise considers how to return. “I’ve thought of developing facilities for kids who wish to tape however do not have resources. Something useful, where they can simply come and make music. That’s been on my mind.”
From there, the aspirations broaden. His 2023 jobs, Far From Over and “Time Will Tell,” were compact, firmly curated bursts. Came Yours Truly in 2025, his most enthusiastic task yet: fifteen tracks, Mass Appeal’s participation, and functions from Delhi to the UK. “It’s suggested to be a body of work individuals can review. It’s not about going after patterns.” Satisfying Nas through the Mass Appeal connection was an individual turning point, and he means desiring more partnerships that raise Indian hip-hop on a worldwide phase.
In numerous methods, Yours Truly was the conclusion of years of purposeful technique. It integrated the catalog-building of his independent years with the scale of an international collaboration. It likewise positioned him in a family tree of Indian rap artists reaching outside, placing Delhi rap not as a side story however as part of a broader South Asian hip-hop story. For KR$ NA, international link-ups aren’t simply experiments– they’re part of the very same long video game he’s been playing given that the start.
All of this makes him intentional about what follows. “I understand what my listeners like, however I likewise wish to experiment. Now, I’m figuring out what my next noise ought to be.”
Spending quality time with KR$ NA, something ended up being clear: what follows is something he will not hurry. He appears to understand his listeners, however he likewise understands the worth of surprise, of evaluating brand-new circulations and grabbing brand-new areas. His profession up until now has actually been specified by persistence and accuracy, and his aspirations now extend beyond himself– to developing facilities, international outreach, and providing Indian hip-hop the presence it is worthy of. It appears like the long video game is still in play, and for KR$ NA, the next relocation is constantly the one that matters most.
Directors: Peony Hirwani & & Shamani Joshi
Creative & & Executive Producer: Dushyant Tak
Stylist: Rushi Honmore
Styling Assistant: Jhanvi Khatwani
Production Manager: Lakshay Malik
Art Directors: Dushyant Tak & & Rushi Honmore
HMU Artist: Kajal Saroj
VFX: Ayan Khan
Video Team: Parth Khalodia & & Suraj Seksaria
Production House: Dushyant&& Co.
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