Thriving Underground Electronic Music Movement in India: Boundless Prospects Ahead?

Thriving Underground Electronic Music Movement in India: Boundless Prospects Ahead?

India's Underground Electronic Music Landscape Evolves and Thrives

India, known for its rich cultural heritage, has been making a significant impact on the global electronic music scene, albeit often overlooked in the international limelight. The country's unique sound, deeply rooted in its diverse culture, has propelled India's underground electronic music scene to become a thriving ecosystem.

The transformation of the scene, which began in the early 1990s with a handful of passionate artists, has been remarkable. Today, globally renowned artists tour the country, and many Indian artists have garnered international recognition. A few record labels continue to push new sounds from the subcontinent, and homegrown festivals now compete with some of the world's best.

In an interview with some of the most influential promoters and artists shaping the future of India's electronic music, insights into the evolution of this scene, its challenges, and its potential were shared.

The Scene's Genesis

To truly appreciate the momentum behind India's underground electronic scene today, it's essential to remember the hardships faced by the early pioneers. Arjun Vagale, one of India's pioneering electronic artists, recalls a time when the underground electronic scene was practically non-existent. "A handful of DJs and collectives worked against all odds to slowly build the counterculture during the early 90s, and that led to a significant shift in how electronic music is perceived today," he notes.

Vridian recalls the period between 2007 and 2013 when urban cities were dominated by a thriving live scene. "In terms of house, techno, and other forms of alternative/underground music – it was just the first few at this time (Midival Punditz, Jalebee Cartel, Bhavishyavani, BLOT!, Kohra, DJ Ivan, Sunny Sarid, etc.)," he explains. Many of these artists held residencies at clubs like Elevate, Kuki, Manre, and Ivy in NCR, while organizing their own parties with unique identities like Cyber Mehfil by The Punditz and Moar Disco by BLOT!.

Pradhumn Ranawat from Maushi offers a comprehensive perspective on this evolution: "Back in the early 2000s, it was still a taboo among many, but the foundation was laid due to persistent promoters and venues back then keeping it going. By 2015, that narrative had changed." He describes how the scene was gradually growing with improving quality – sound, lights, decor, and the overall experience – before the pandemic brought everything to a halt.

Post-COVID, the landscape has witnessed an unprecedented boom. "That sudden stop to a culture driven by youth is the reason the scene just blew off post-COVID," Pradhumn explains. "Sure, there was an overflow – more events than ever, not all great – but the past few years helped filter things. It's not easy to survive in this industry, one bad event can sometimes shut down a company."

Film, an artist and curator who has played a pivotal role in shaping Delhi's electronic music landscape, confirms this post-pandemic surge: "The venue attendance is back to pre-pandemic numbers, and there are way more DJs than before, owing to streaming." Far from seeing this as problematic, Film notes that there are "definitely a huge number of people coming out for Electronic Music gigs more than ever."

DIY Culture and Community

The collaborative nature among the community helped establish and nurture the scene, particularly in Delhi. Film credits several key players: "I have been very fortunate to be surrounded by like-minded people when the scene was fairly ripe, and pretty much the MO of the day was to DIY and figure it out."

This DIY ethic remains a cornerstone of India's electronic scene, with Pradhumn revealing that "most of the organizers don't come from an event management background." This can lead to "a lack of business understanding," but he adds that's "not necessarily a problem as long as you're asking the right questions and actually looking for answers."

Technological and Infrastructural Challenges

While the expansion of India's electronic music scene has been significant, technological and infrastructural challenges persist. High import duties, currency exchange rates, and limited local resources make equipment considerably more expensive for Indian labels and promoters.

Kohra, founder of Qilla Records, highlights these challenges: "We don't have any pressing plants in India, and if we do use a plant in Europe, we have to pay VAT above the cost price, which we cannot claim back as an Indian outfit. If this weren't enough, the heavy import duties don't allow for us to bring our stock back into India either." This forces labels to keep their stock in Europe and use third-party companies for shipping, "This eats into our profits and also takes the cost of the record high."

While the production has improved over the past few years, sound systems remain a particular pain point. "Promoters and festival organizers will shell out massive amounts to book headliners and other international artists but not put even 5% of the budget towards the sound – which is a shame," Kohra observes. He emphasizes that sound quality is fundamental: "The sound systems are the highlight of any music event – this doesn't only go for electronic dance music but any sort of music."

Pradhumn views these things with a different perspective: "High-quality sound and lighting are definitely accessible today, but not affordable for most promoters. Lack of good tech vendors means higher prices for good products." He adds that production infrastructure is improving but still has "a long way to go. Right now, only a few players can afford to go all out consistently, and that limits how fast the scene can grow on a broader level."

Financial Sustainability

Financial sustainability is a significant hurdle for new artists and promoters. Vridian advises his students at Global Music Institute that "there is more than one way to monetize music," suggesting they pursue various avenues like sync licensing, audio for games or videos, or even jingles.

Film points directly to market saturation as a core issue: "It's just a function of more artists than venues, so the pie to make sustainable money is pretty less." His practical advice reflects the reality many face: "Hold your day job and if need be, get involved in all aspects of the business to have a rounded perspective."

While there are now more opportunities within the music industry beyond just making a living as an artist, the surge in interest hasn't been matched by an increase in well-paying roles. For most companies, profit margins remain thin, limiting their ability to offer competitive salaries. Moreover, essential benefits such as medical insurance, employee stock options (ESOPs), and other perks are still rare in the music sector.

Bringing International Acts to India

In a country where the purchasing power is significantly lower than that of the West, the high fees charged by international artists remain a persistent challenge for promoters and bookers. Film explains: "The high cost of touring due to sheer inflation all over the world has led to some challenges, plus the number of venues that do electronic music is still quite small." He adds that "the ticket sales & revenue are still pretty razor thin, especially if you don't have brands backing up your shows."

Pradhumn elaborates on how the post-COVID market disruption affected booking fees: "Over the past few years, especially after COVID, there's been a surge in new promoters and venues who were ready to overpay international artists with strong social media presence rather than skill-based artists, which really skewed the market. Fees went up across the board, and that made it harder for others to sustain things properly."

He sees a silver lining, however: "The good part is that things are settling down now. Artists and agencies are becoming more selective, they'd rather work with experienced promoters who can deliver a proper event, instead of just anyone with a big budget."

Pradhumn from Maushi highlights how ticket sales remain "one of the biggest challenges in the industry." He explains the complex dynamics at play: "At the grassroot level, people still don't buy tickets for club nights. And due to high competition, venues end up offering free entry, which keeps the whole guest list culture alive – and that just fuels the problem further."

However, he sees positive change in consumer behavior: "People are more receptive towards higher ticket prices now as long as they are getting an overall better experience. That's one of the reasons boutique events are on the rise. That mindset wasn't as common before."

Baltra at Maushi's Day Dream Holi

Gatekeeping and Opportunities

Discussions about gatekeeping – whether established players block newcomers or artists from different parts of the music industry from entering the scene – elicit strong responses. Film is particularly emphatic: "I have an absolute disregard for this term – gatekeeper. I find it interesting for people who have never ever put together an event to weaponize this as an excuse." His assessment is refreshingly direct: "In this country, you could literally walk up to a club owner, show them the numbers, and get things done. So there is no gatekeeping whatsoever."

He acknowledges that "cliques and crews exist, but it's mostly out of a comfort zone of working with people you trust and love," suggesting that perceived barriers may simply be natural professional relationships rather than intentional exclusion.

Vridian offers a more nuanced view, distinguishing between harmful and constructive forms of gatekeeping: "There are two types of gatekeeping. One is the toxic and insecure one, which denies merit and withholds the overall growth of everything. The other is simply quality control. SHOULD always exist, because the dilution of quality is already prevalent and tends to happen when things expand."

Building a Business in this Scene

In a country where government support for the industry is limited and much of it still operates in an unorganized manner, breaking into the scene and building a profitable long-term business can be incredibly challenging for new curators.

Pradhumn approaches the question from a business perspective: "It's definitely a tough industry, but anyone with the right vision and intent can break through." He points to a common misconception: "From the outside, it looks like a flashy lifestyle full of parties, which draws a lot of people in, but the reality is a bit more complex."

His advice for sustainability echoes Film's emphasis on consistency: "Having consistency is vital if you want to last in the long run. People start taking your brand seriously when they see you show up again and again with quality."

A stark difference between India's scene and those in Europe or the US is government support. Film explains this institutional gap but frames it within a broader cultural context: "Comparing this to India, where attending these kinds of events and festivals mostly runs on private equity and is catered as a luxury for the upper middle class, it's unfair to compare – but considering it has still pushed through despite the challenges, I have nothing to complain about personally."

Pradhumn explains: "Over there, events are seen as a legit part of the cultural and creative economy. Here, even though events generate massive revenue under the entertainment industry, they're still looked down upon by both the government and society."

He elaborates on the regulatory challenges: "Most of the rules feel like they're built to restrict rather than support." However, he remains hopeful that "with bigger concerts and more visible revenue coming in will make the govt understand the importance of better events infrastructure."

Talent: Never the Problem

India has made significant contributions to music, known for its distinct sound and its ability to cater to Western audiences while preserving its core values. Genres like Goa Trance and Acid House, which later went on to rock stages worldwide, were born in the country. Building on that legacy, today's Indian electronic artists are flourishing creatively despite persisting challenges.

Arjun Vagale proudly states, "We have a wealth of really talented artists in India, who are at par with anyone internationally. The only difference is geography!"

When asked about rising talents, Vagale names several: "Oddible, Skeef, Audio Units, dotdat, Kolission, Innerworld, Film, Shaun Moses – to name a few!"

Kohra points to emerging collectives shaping the future: "It's an exciting time in India, there are so many new labels and collectives on the rise at the moment that it's a bit hard to keep track. A few recent ones that come to mind are Antariksh, ONNO Collective, and Padmini Records."

Closing the Gap with the World

As India's underground electronic scene expands, international recognition follows; however, barriers remain. Kohra notes that geographical challenges have diminished thanks to improved internet connectivity: "The world keeps getting smaller, and I don't see this as a challenge today, at least not anymore."

However, Pradhumn identifies another critical barrier: "Another big challenge is the lack of strong networks between countries. There aren't enough trusted agents bridging India with international circuits. So even when you reach out, you often don't get a response. Agencies don't know who to trust, and without those relationships in place, breaking through can feel impossible at times."

Film provides perspective on the comparison with international scenes: "First and foremost, it can't be compared. Nightlife in first-world countries (EU/US/UK) is kind of a necessity for people to blow off some steam and there is some considerable amount of institutional funding to protect the culture and most importantly recognized as something which needs to be protected." This stands in stark contrast to the Indian context, where events are "mostly run on private equity and catered as a luxury for the upper middle class."

Despite these challenges, Film remains optimistic: "We still have a long way to go as an electronic music scene that contributes globally, but I'm pretty positive that we will get there in the next decade or so."

Vision, Intent, and the Road Ahead

For emerging artists aiming to enter India's underground music scene, seasoned veterans have practical, experience-driven advice to share. Kohra notes, "The intention is the key behind any successful event. What are you doing and why – the style of music, choice of sound, decor, and artists do matter, but I think that is secondary, and it becomes much easier to navigate through if the intent is mapped out clearly."

For Qilla Records, challenges became opportunities: "Honestly, none of this would have been possible if the challenges didn't come our way." What began with distribution difficulties evolved into a comprehensive in-house operation: "Today, we have enough Indian artists to release music from, one of India's most exciting graphic designers working with us, international artists releasing and touring with us, as well as our own in-house mastering unit known as AudioSol."

Arjun Vagale's perspective encapsulates the philosophy that built India's underground electronic scene: "I always believe – a real artist will make do with whatever tools they have to make the art they want. 'Do or do not, there is no try.'"

Pradhumn shares Maushi's successful approach: "What worked was our intention to throw honest parties. Even with minimal production budgets, we always aimed to give people the best possible experience."

His early strategies reveal the grit required: "To counter the budget issues, we had to cut corners wherever we could, sometimes working 12-14 hours a day during those early years just to make things happen. But throughout that phase, we were constantly researching, identifying problems, and coming up with our own unique solutions."

India's underground electronic music scene has come a long way, overcoming numerous challenges along the way. The journey hasn't been easy, and artists and promoters have faced a wide range of obstacles. As the scene continues to evolve, striking a balance between commercial growth and artistic integrity has become increasingly difficult. Film's concluding statement captures the industry's resilient spirit: "We still have a long way to go as an electronic music scene that contributes globally, but I'm pretty positive that we will get there in the next decade or so."

The article features contributions from Arjun Vagale, Kohra, Film, Vridian, and Pradhumn from Maushi.

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[Article Tenant]

1. Arjun Vagale, one of India's pioneering electronic artists, remembers a time when the underground electronic scene was practically non-existent, and it was a handful of DJs and collectives who worked against all odds to slowly build the counterculture during the early 90s.
2. In the early 2000s, it was still considered a taboo among many, but the foundation for India's thriving electronic music scene was laid due to persistent promoters and venues keeping it going, as revealed by Pradhumn Ranawat from Maushi.
3. Post-COVID, the landscape of India's underground electronic music scene has witnessed an unprecedented boom, with Film, an artist and curator who has played a pivotal role in shaping Delhi's electronic music landscape, confirming that venue attendance is back to pre-pandemic numbers and there are way more DJs than before, thanks to streaming.
4. Besides streaming, DIY culture and community collaborative nature have been crucial factors in the evolution of India's electronic music scene, particularly in Delhi, with individuals like Film crediting several key players for their efforts in shaping the scene.
5. While advancements have been made in India's electronic music scene, technological and infrastructural challenges persist, such as high import duties, currency exchange rates, and limited local resources making equipment considerably more expensive for Indian labels and promoters, as pointed out by Kohra, founder of Qilla Records.
6. Pradhumn Ranawat from Maushi states that high-quality sound and lighting are accessible today but not affordable for most promoters, emphasizing that the production infrastructure still has a long way to go.
7. Financial sustainability is a significant hurdle for new artists and promoters, with Vridian advising his students that "there is more than one way to monetize music" by suggesting they pursue various avenues like sync licensing, audio for games or videos, or even jingles.

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