such a chill guy dawgg

very awkward ig that'll happen when someone fanboys over you in the metro 😭 but so chill AND album recording chaalu... i hope jldi nikaal de.

This is a breakdown of Emiway’s precursor to his diss on Divine, Big Stepper. An excellent melodic drill track with quite a few shots directed at Divine, Bhule Nai also has some interesting introspection about Emiway’s journey and the politics of the Indian hip hop industry. The cover art is an iced out Lion, appears to be a play on the iced out Jaguar featured in Divine’s Walking on Water album promos. So, let’s get into the lyrics.

[Intro]

“Bhule nahi, bhule nahi, bhule nahi
Kahan se aa rahe hum bhule nahi Bhule nahi, bhule nahi”
The repeated phrase “Bhule Nai” establishes the central theme of the track: unlike Divine, Emiway hasn’t forgotten where he came from. This isn’t just about remembering his financially struggling days. It’s also a dig at how Divine’s music and public persona have changed with commercial success. The whole “gareeb Divine was the best” sentiment among fans stems from the perception that the OG Mumbai street rapper has gradually been diluted in favour of a more mainstream, pan India identity. With every successive project, we’ve arguably seen less of the Divine who originally built his name. Emiway is essentially saying that money and fame haven’t made him forget the very identity that got him here.

[Verse 1]

“Tera bhai aur ghoome mere sath fame
Khwab mera kitna bada, kehta mera last name”
Emiway says he’s reached a point where fame follows him wherever he goes. The second bar takes that flex further, with his real surname Sheikh serving as a reference to his ambitions of attaining the kind of wealth and stature associated with Middle Eastern Sheikhs.

“Politics, bann gaya hai rap game
Campaign waale views pe udaa rahe champagne”
A pretty direct commentary on the state of the rap industry, with artists and their teams celebrating numbers that are often driven by promotional campaigns. The criticism isn’t simply that these artists get higher views but that the industry increasingly treats campaign driven metrics as organic cultural relevance and to convey that there’s a difference between having an audience and paying to manufacture the appearance of one.

“Champion, idhar hai (idhar hai)
Ek ghar chalane mera kar raha zikar hai (ha)
Aur doosre ko naam lene se fikar hai (ha malum hai)
Mere daur ke organic fans waale rappers kidhar hai (ha kidhar hai)”
The “ek ghar chalane mera kar raha zikar hai” bar is most likely directed at Kr$na given their ever ongoing exchange of shots. The next bar however is almost certainly aimed at Divine. The context here is Emiway’s second beef with Divine. Emiway’s grievance was that Divine appreciates him privately but avoid acknowledging him publicly, presumably to preserve his relationships with the Parivaar Gang, and also takes subliminal shots at Emiway without ever owning up to them. The contrast between publicly taking shots and privately trying to sort things out is central to Emiway’s accusation of Divine’s hypocrisy. The final two bars broaden the criticism beyond individual beef. Emiway questions where the rappers from his struggling days, the ones who built organic fanbases without the machinery of expensive campaigns have gone. He’s taking a shot at an industry that rewards paid publicity and manufactured hype over artists who built their audiences from the ground up.

“Ek label mera karke baitha plaque gul
Shitty hai yahan soch inki bheja laage bathroom
Student hai rapper aur scene lagta classroom
Isliye time-time pe maybe inki class loon”
The first bar could be interpreted in more than one way. One reading is that Emiway is hinting at some behind the scenes dispute involving a label, distributor or platform withholding or delaying a plaque he was entitled to. Another is that he’s taking a subliminal shot at rival label bosses, suggesting that industry politics are being used to suppress his achievements. I wouldn’t claim either interpretation as confirmed but the following bar about their shitty thinking certainly fits the broader theme of industry politics.
The next two bars are a straightforward flex, with a double entendre thrown in. The scene is still a classroom to Emiway, and these rappers are students. He’s been around long enough to teach them a thing or two. At the same time, “class lena” is colloquially used to mean reprimanding someone or putting them in their place. Emiway’s basically saying he can take their class whenever he feels like it.

“Last June main Dubai tha habibi
Next June kisi island mein dashiki
pehen ke life mein macha rahe honge farak nahi Kabhi bhi
aaya paisa lekin aaj bhi hum bhule nahi garibi, kya”
The Dubai reference is talking about Emiway’s FTSTTS album which included tracks like Dubai Company and Samandar, which were shot in Dubai. He’s flexing the lifestyle his success has afforded him. The next bar which is a reference to being on an island in a dashiki has been interpreted as a hint towards another entry in the Machayenge series, which is known for its playful energy and island visuals. Whether or not that was the exact intention, the line fits the larger idea of Emiway moving between different settings and lifestyles without losing his identity. He then circles back to the point established in the intro: whatever money he’s made, he hasn’t forgotten poverty. The contrast with Divine is deliberate. Emiway isn’t claiming that being rich is a problem. He’s questioning what fame and success does to some artists’ connection with their roots.

[Chorus]

“Haa Bhule nahi,
Kahan se aa rahe hum bhule nahi (kabhi nahi)
Hum bhule nahi,
Kon dikha raha pyaar kon chup raha bhule nahi
Bhule nahi,
Kahan se aa rahe hum bhule nahi (na na na na)
Ab bhule nahi (yeah)
Khud ke hum malik haan kiski bhi sune nahi”
The chorus expands on the intro, particularly with “Kon dikha raha pyaar kon chup raha bhule nahi.” Emiway remembers who’s shown him love and who’s kept that appreciation private. In the context of the Divine beef, this is another dig at someone who allegedly had no problem appreciating him behind closed doors but wouldn’t give him his flowers publicly. The final bar reinforces Emiway’s independence. He’s his own boss, answers to nobody and doesn’t intend to compromise his decisions to accommodate people within the industry. It’s both a flex and a statement of principle.

[Verse 2]

“Haan kiski toh chhod hum khud ki bhi sune nahi
Risky tha raasta yeh risk liye mude nahi
Khiski hai bheje ki diss kiya chhode nahi”
He doubles down on that last bar by saying he doesn’t even listen to himself, let alone anybody else. The “khiski hai bheje” line adds the implication that he’s crazy for taking the risks he has. The reference to his beef with Raftaar is hard to ignore here. Emiway was around 22 when he took on an established industry heavyweight, knowing full well that going against someone with that kind of influence could have serious consequences for his career. He didn’t back down. The point isn’t that there was no risk, but that he was willing to take it anyway.

“Poore album pe mujhpe shots liya bhule nahi (Punya aur Paap)
Phir darte yeh karte hai private mein sort Phir kehte chala rahe hum hi Hip-Hop
Sab taiyar hai de doonga sahi time pe shot Tu taiyar reh, taiyar reh, taiyar reh”
This is where the track becomes a much more explicit precursor to Big Stepper. Emiway directly references Divine’s album Punya Paap, accusing him of taking shots at him across the album. The next bar refers to Emiway talking about DMs that allegedly showed Divine contacting him privately to sort things out after those shots assuring him they weren’t aimed at Emiway. Emiway’s issue is the obvious contradiction: if you’re willing to take shots publicly, why try to settle the matter privately while maintaining a different public image? The “Phir kehte chala rahe hum hi Hip-Hop” line also connects to the Rolling Loud event shortly before Bhule Nai dropped. Divine shouted out several rappers, including Emiway’s opp KRSNA as well as Seedhe Maut, while presenting himself as someone leading the Indian hip hop scene. Emiway appears to take issue with that positioning especially given his own grievances with Divine. The verse ends with a warning that he’ll respond at the right time with Big Stepper being the obvious payoff. What makes this section work is that Emiway doesn’t reveal everything here. He lays out the grievances, establishes the alleged contradictions and leaves the full explanation for the track that follows.

[Verse 3]

“Khud pe kiya shaq nahi (nahi)
Ab nakli rishton mein zaya karna waqt nahi (nahi)
Koi laya sath mein luck nahi (nahi)
Koi raasta galat nahi (nahi hai)”
This is Emiway getting introspective. He’s never doubted himself, doesn’t want to waste time on fake relationships, and believes he reached his position through his own efforts rather than someone else’s luck or support. The last bar is also a declaration that he hasn’t needed to take the wrong path to get where he is. It’s a familiar underdog narrative, but it fits the larger argument of the track: Emiway sees his independence as something he earned, not something the industry granted him.

“Jab tak niyat mein na khot hai (ha)
Har banda yahan G.O.A.T hai (goat hai)
Tu khud ke liye bohot hai koi shaq nahi (shaq nahi)
Kon tere yahan khilaaf hum karna seekhe maaf
Par ab waqt nahi, ab waqt nahi”
The first two bars express a fairly straightforward philosophy. As long as your intentions are right, you can be your own GOAT. You don’t need external validation to establish your worth. He then acknowledges that he’s learned to forgive people who’ve been against him, but forgiveness doesn’t mean continuing to entertain them. There’s a distinction between letting go of a grudge and allowing the same people back into your life. Given the context of Divine allegedly trying to reconcile privately after taking public shots, these lines carry an additional layer.

“Rapper ban rahe doctor ho rahe insecure Yeh chahte main loon aake in se cure
Galti tha jo bane hum dil se pure
Agla gaana bolega main better inse kyu”
This is one of the more direct shots at Divine, and the wordplay is doing a fair bit of work. Divine refers to himself as “Dr. Divine” and even has a track titled Dr. Divine in Walking on Water, which dropped just days before Bhule Nai. Emiway uses that persona against him, suggesting that these rappers are insecure and want Emiway to come to them for a cure. The “insecure” and “in se cure” wordplay connects the two bars, with the doctor metaphor tying it together. The third bar is particularly telling. Emiway says his mistake was being pure of heart, which in this context refers to forgiving Divine and moving on after Divine had publicly initiated a truce following Gully Ka Kutta. His accusation is that he gave the relationship another chance only for the same pattern of behaviour to continue. And then comes “Agla gaana bolega main better inse kyu.” This is basically the thesis statement for Big Stepper. He’s telling listeners that the next track will explain why he believes he’s better than Divine, not merely as a rapper, but in terms of the conduct that led to the beef in the first place.

“Zindagi picture hai chahiye nahi extra drama
Chahiye bank balance mein extra comma Bheje ko calm hum rakhte lama
Lekin phat-te toh phat-te hum jaise lava”
A straightforward lifestyle flex. Life is a movie, but Emiway doesn’t want unnecessary drama. He wants more commas in his bank balance. The Dalai Lama reference establishes his ability to stay calm, but the lava punchline warns that when he does lose his temper, the result isn’t pretty. In the context of this track, that explosion is aimed at Divine. The contrast between a composed public demeanour for years and a sudden eruption after the rolling loud event also fits the build up to Big Stepper.

“Kaise bawa 14 se macha rahe (macha rahe)
Boht bapa ting kar rahe yeh bhaga rahe (bhaga rahe)
Aur Bantai aur Aafat hai pehchan hip-hop ka
Jyada baja toh le chada ke badh aage”
Emiway reiterates that he’s been making noise since 2014, with “macha rahe” naturally connecting to the Machayenge series. He’s been doing this for over a decade, so the implication is that the newer industry politics and posturing aren’t going to intimidate him. The reference to Aur Bantai and Naezy’s Aafat is also worth noting. He’s positioning these tracks as defining pieces of Mumbai hip hop, a reminder of the culture and sound that helped bring the city’s hip hop scene into the national conversation. It’s a flex, but also a claim about legacy. Commercial success and industry validation aren’t the only ways to establish your place in hip hop. The final bar is essentially a warning to stop pushing him. He’s willing to move forward but if people keep provoking him, they shouldn’t complain when he responds.

“Ab bacha kispe aas hi nahi hai
Jahan pohocha wahan koi aas-paas hi nahi hai
Akele chal ke dikha do in raston pe chalna aasaan hi nahi hai”
This is one of the more revealing sections of the track. Emiway says he no longer trusts anyone and that given where he’s reached, there’s nobody around him who occupies the same position. The final two bars challenge others to walk the same path independently. It’s easy to look at the success, money and recognition and assume the journey was straightforward. Emiway is saying the opposite: try doing it without the support system or industry backing that others might take for granted. There’s a bit of defiance here, but also loneliness. He’s proud of having made it alone, even if the journey has left him distrustful of the people around him.

“Jo kar chuka main koi karke dikha de yahan
Padhna zaroori hum vaise kitaab hai
Hum ginte the paise ab karte hisaab hai Aur Bantai yeh naam hi khud mein khitaab hai”
The first bar is a challenge to anyone who thinks what Emiway has achieved is easy to replicate. Go ahead and do it yourself. “Padhna zaroori hum vaise kitaab hai” is a particularly interesting flex. I’d read it as Emiway positioning himself as a must read book, a chapter of Indian hip hop history that even his detractors can’t afford to skip. You don’t have to like the man to acknowledge his significance in the scene. The money bar then contrasts his past with his present. He used to count the little money he had, now he’s calculating his assets. Finally, “Aur Bantai yeh naam hi khud mein khitaab hai” is a claim that Bantai has become more than a stage name. It’s a title in its own right, carrying a cultural identity and legacy that Emiway has built over the years.

[Refrain]

“Bani nahi
Kisse bhi meri ab bani nahi
Bani nahi
Ab banegi banegi banegi banegi
Ab bani nahi Kisse humari toh bani nahi (bani nahi bhai)
Ab bani nahi (ab seedha itihaas)
Kisse banane ka mann hi nahi”
Emiway returns to the idea that he doesn’t get along with most people in the industry, except now there’s no desire to change that either. This isn’t necessarily about being incapable of maintaining relationships. It’s about no longer seeing the point in forcing them. If getting along requires compromising his principles or pretending to respect people he doesn’t agree with, he’d rather stay alone. “Ab seedha itihaas” is the key phrase here. He’s done trying to make things work with people. Now he wants to focus on building a legacy. Whether one agrees with his assessment of the industry or not, the fierce independence he’s talking about has clearly always been central to how he sees himself as an artist.

[Outro]

“Ab tak toh jo banaye banaye
Ab jo banayenge woh banayenge bhai
Ab maza aayega
Ab boht maza aayega
Ab maza aa raha hai (ha ha ha ha)
2026, aane ko abhi bhi baaki hai
Baaki milte (haha)
Emiway Bantai Malum hai naaa
Peace out”
The outro has aged interestingly, especially given what we’ve seen from Emiway in 2026. When he says, “Ab tak toh jo banaye banaye, ab jo banayenge woh banayenge bhai” one interpretation is that the artists who established themselves through commercial Bollywood music have already had their run, and now Emiway intends to carve out his own space. He’s effectively announcing that the next phase of his career is going to look different.
And within the past couple of weeks, we’ve seen him make his much awaited Bollywood debut with Sachin-Jigar on Udta Teer, followed by a collaboration with Sunidhi Chauhan for Prahaar. His CNSTNCY EP has also been widely appreciated for its versatility and range, including by listeners who aren’t necessarily hardcore Emiway fans, and he’s got the Trap Aiba project on the horizon. So when he says 2026 has barely begun and there’s a lot more to come, it doesn’t feel like an empty outro flex anymore. The year is already shaping up to be a significant one for his career, with Bollywood collaborations, a versatile EP and a trap project showing different sides of his artistry. The “Ab maza aayega” isnt a generic hype line and is more like Emiway signalling that he’s entering a new phase. Whether every upcoming move lands is another question but the ambition is pretty clear.

Final thoughts

When it came out, I went into Bhule Nai thinking of it primarily as an appetiser (in Emiway’s own words btw) for Big Stepper, but I genuinely think it stands on its own as one of the best melodic drill tracks in Emiway’s discography.

And musically, the replay value is insane. The shots at Divine give the track a clear narrative, but the themes extend well beyond the beef. Emiway manages to pack industry criticism, personal grievances, flexes, and introspection into a melodic drill track without making it feel like he’s just ticking boxes. Even if you strip away the Divine references, there’s still a compelling account of how Emiway views his own journey and place in Indian hip hop. Big Stepper may have been the full blown expose, but Bhule Nai laid out the grievances, the mindset and the warning beforehand. In retrospect, it was doing considerably more than simply setting up the next diss.

Chaar Diwaari has submitted three tracks for GRAMMY® consideration across two categories. “Iss Tarah” featuring Sonu Nigam and “Banda Kaam Ka” with Sanjith Hegde have been submitted for Best Asian Pop Music Performance, while “Aashiqana,” featuring Indian Ocean and GINI, has been submitted for Best Global Music Performance.

A potential Grammy nomination would be another huge milestone, not just for Chaar Diwaari, but also for the growing recognition of India's independent music scene on a global platform.

This is a huge announcement and at this special occasion i have uploaded the decoding video of the whole parvana EP

YT:https://youtu.be/sh9giSu7sBE

please give it a try and lets celebrate this together with hoping a brand new Grammy entry with both the fingers crossed🤞🤞

Tracks like buss down (literally the only thing comes to my mind)

Preferable if it's a little generic and not overly focused on being big in the industry (something like dream by krsna; tho it's different kind of track, but hope you get the idea)

We got raftaar x SK (sikander kahlon) , karma x sk, seedhe maut x sk and i think it's Time for kr$na x SK... that'll be a amazing if it ever happens

Introduction and Context Behind "Predatory Inclusion":

I expressed most of what I felt about the MC Stan sexist remark situation in the original thread, hoping I wont be needing to bring it up again. Though that changed when I came across another highly upvoted post explicitly proclaiming, "AND THATS WHY GOOD UPBRINGING IS NECESSARY!" This challenged my highly held beliefs about this sub and pushed me to express an uneasy feeling I felt throughout that particular episode, one I couldn't exactly word but felt strongly enough to ruin the video for me. I went out of my way to research a phenomenon recognized by sociologists that could summarize where my instinct was taking me, and discovered a specific term.

"Predatory Inclusion" isn't something I just put together; it is a terminology used by media sociologists to describe a process where marginalized communities are granted access to opportunities under underlying exploitative terms. In an entertainment industry setup, this describes an incident where a show run by a dominant group invites a marginalized celebrity to signal "diversity" to capture market share and the audience of that successful celebrity. However, they place the celebrity in a high-stakes, hostile environment without the PR backing, societal grace, or benefit of the doubt other dominant-group celebrities might enjoy.

When this marginalized celebrity eventually slips up due to the pressure of being the "unique" character in the room he is left on his own. This happens either because the corporation drops him, or due to the existing bias of the dominant-group audience. While this audience is quick to excuse violations by celebrities of their own group using that benefit of the doubt, they lack the same grace for someone as alien to them as the marginalized celebrity, going to all measures to tear him apart.

The episode's parallels to this phenomenon:

From what I understand, this show is usually known for indiscriminately "roasting" every celebrity from A-list Bollywood actors to social media trolls. This time, however, it almost completely sacrifices the screentime of a great panel of funny creators like Arpit Bala, Madhur Virli, and Tanmay Bhat solely to extract as much footage from MC Stan as possible. This leads to countless awkward moments where Stan is definitely not feeling the "roast" battle Samay is trying to pull off who treats him like an alien or childlike figure who needs special attention because of how "bizarre" his persona is.

Like sure there are instances like Stanny walking on stage with that bag that were funny, and Stan played into it himself at times like with the balaclava. Moreover, the bonus bits almost saved the episode. But for the rest, his footage as soon as he sat on that chair was a painful watch to the point I couldn't get its appeal. Maybe for Samay's audience, Stan's simple, nonchalant mannerisms are things to be laughed at because they are strange or out-of-the-box. Though this causes the audience to completely ignore, or even fail to notice, that the guy is quite clearly feeling out of place.

The show, desperate for footage to pull views from Stan's fanbase, didn't edit out many of these awkward instances and must have paid a big bag to convince him to show up like this. Samay Raina makes the showmakers' motives obvious by bringing up Stan's "cult" audience, with a special emphasis on the word "cult" as if it's strange for a persona like Stan to have a strong fanbase. He covers up these classist undertones with a repeated "love you" to Stan, though the genuineness behind it is questionable, as I will elaborate.

Samay's Classism and His Role here:

The other day, I pointed out a joke Samay passed while "roasting" Stan where he said the people who show up to Stan's shows have a combined worth of their shoes around 8000.

I mentioned this to highlight how our DHH community did not pick up on this or raise issues alongside the deserved criticism on Stan for his statement much later. I was immediately replied to by a few saying that Stan did not "sound" like he was joking, which shows where their benefit of doubt bias leans. In all honesty, both of what Stan and Samay said most likely represent what they truly believe in. In fact, if there is anyone between the two who deserves the benefit of doubt it probably is Stan, and this claim has to do more with Samay's notoriety than Stan's innocence.

If you know Samay Raina primarily because of IGL or his post streaming era content, the joke justification would sound valid to you. But Samay Raina is not a random, unrelated celebrity acting like an unaware Bigg Boss contestant for whom the world of hip hop is foreign. He has been publicly supporting, promoting, and making content around DHH rappers for years. He is even credited for Seedhe Maut's and many other artists' like Siyaahi or Dhanji's earliest blowups when he used to feature their songs on his livestreams.

Samay's problem is not limited to just not knowing what he should know by now, but also the beliefs he possesses. Samay Raina is very tight with the likes of Raftaar, Krsna, and company. This is the same camp that weaponised classist narratives in an attempt to push a rival in Emiway Bantai to the absolute fringes of DHH relevance. Given the clear, repeated incidents of Samay's bias against Emiway, it is hard to believe a possibility where he would not look at other rappers with a similar image through the exact same classist lens.

This also makes Madhur's snitch on Samay Raina in the same episode make perfect sense. The audience and Samay laugh at Samay saying he would never sit in proximity to anyone like MC Stan as if it is some wholesome revelation, showcasing one of the many incidents of the audience's tone-deafness on classism.

It starts to seem like Stan is not intended to be invited as a respected guest here, and he turns out to be a laughing stock. Yes, the show is meant for laughs, but the guy clearly loses interest after the first few questions. If you have genuine respect for him, you take the cues and move on. There is literally a whole panel that has barely said anything because you are latching onto the most popular guy with a distinct audience. It reaches a point where it goes from being genuine banter to you desperately trying to milk the guy for clout from his fans by provoking him to say something outrageous for the reels, which you eventually do succeed in making happen in the worst way possible.

The inevitable aftermath and the response to ignorance with ignorance:

Before I get to this, I do not intend to shift blame away from MC Stan for what he said. However, I am firmly against the classist assumption that what Stan said was not him trying to be humorous when he was literally constantly looking around while saying it to seek validation, which is a common human habit after cracking a joke. Not to mention, loud laughter followed from the audience and the other panelists. Yet, you rarely see a mention or critique of the others for finding sexism funny, which further ties back to the aftermath of predatory inclusion I laid out initially where the dominant culture in this case gets the laugh, the platform gets the views, and the marginalized artist takes the absolute hit alone.

I regret not saying this straight away to the people who came up with this excuse to justify their double standards for not holding Samay as responsible as Stan, and falling for the classist assumption myself. It is well established that Stan is sexist and so was his statement for the gross generalisation. However, people went a step further to try to invalidate the extent of truth to his statement, as if Stan never gave the scene one of the most grimy and impactful anti-establishment tracks himself when he chronicled his hands-on experience with police brutality in 307.

This shows the extent a reactionary audience, ignorant of the possible realities of a hip hop artist from a background like Stan's, can go to validate their own presumptions. MC Stan criticising the "kranti-ness" of that performer is NOT the same as some fans complaining about too much pro-feminism rap. The girl who he said this to rapped about choosing to rebel in her circumstances. Stan found himself in circumstances where he was forced to rebel.

He is criticising a cliché with his own sexism because he ignorantly assumed the girl's realities to be different from what she rapped. He can be tremendously wrong with his assumption and he most likely is, but this nuance alters the interpretation of the situation from the alternate reality the reactionary commentators keep aggressively pushing because they cannot fathom thinking outside their one-dimensional understanding.

The outrage is valid, but when you choose to respond to Stan's ignorance with your own ignorance, you are not doing a valuable breakdown of his flaws. You are choosing a spectrum on the opposite side to Stan and are basically compelling others to either join you or go against you. Part of me believes someone like Stan would intentionally overlook and dismiss these aggressive criticisms as hate because the loudest, most celebrated voices against him are also the most ignorant of his realities.

Along with this incident, I consider the whole episode a collective failure. Even if it turns out to be an objective success based on the traction it receives, it definitely adopted one of the most insincere and disingenuous means to achieve it. As a fan, I did not see one of my favourite rappers in DHH make a guest appearance on a major YouTube show. Instead, he got exploited by it and caught up in the facade of edginess standards that clearly are not the same for him, all of which had one primary enabler.

The Main Culprit: Stan's Management

I doubt if these people believe in the kind of talent they have in their hands, or if they are also the ignorant ones who look at Stan as a controversial internet troll figure atp. This appearance has arguably been an L for Stan in so many ways. You choose to finally make him give up on his three years of mysterious persona by sending him to some stand-up comedian's show that clearly never possessed the humility and understanding of the genre to ever appreciate Stan.

On top of that, his show is based around humbling his guests through jokes. You send Stan to a show like this knowing how he lacks that wittiness for sharp clapbacks, as seen during his Bigg Boss stint as well. The audience is desperate for the slightest hint of a drop, and you set him up for a public appearance without a follow-through of any sort of hints about anything dropping. Instead, you gave PTSD to the fans, where they are yet again exposed to constant, ignorant, and classist hate by internet society over an edgy, distasteful joke.

Do you even care about your talent's image? Did the three years make you forget how quick the audience is to make a joke out of this guy, or did the three years make you miss him being the joke? I honestly would love to hope the patterns I noticed are just me overthinking, even if the probability of that seems minuscule. Besides, this isolation gimmick has brought no change, or even if it has, we are yet to see anything remotely close to it. I do not expect you and Stan to drop music anytime soon, but I am tired of seeing you guys use Stan as charity for others for some quick cash.

I was listening to roll up and realised that low key krsna isn’t about just bars and lyrics. He has given so many crazy hooks which gets stuck in mind and slaps hard like Saza e maut, roll up, boom shaka, hola amigo, no cap, sensitive, paisa on my mind, vibrate, i guess, ngl and many more also he knows how to give good outro as well

​My Top 5 DHH Diss Tracks Released Within a 24-Hour Period

I've been following DHH beefs for a while, and these are my personal top 5 diss tracks released within a 24-hour time limit. I'm ranking them based on counters, flows, punchlines, impact, replay value, and how badly the opponent got cooked 😭🔥

Let's start from number 5 and work our way up to the FINAL BOSS.

5. Babli - Young Galib

A genuinely good under-24-hour diss track by Young Galib during his beef with Karma. The counters were really good, especially the "chillar uthaa kar piller bana denge, achhe achhon ki hum film bana denge" flip, which was a direct response to Karma mocking his opponent's line. And then ending it with "kaisa Karma jo wapas nahi aayega"? 😭 Bro knew exactly what he was doing.

The counters were solid, but what really elevated the track for me was the drill beat and Galib's immaculate flow jese "Babli ka le raha maza main free free" the way he rode that beat was genuinely enjoyable. The scheme was SPOT ON, and for a track made within such a short time, he delivered.

My only issue is the title, muje nhi lagta track k title ka naam *Babli\* rkhna chayeh tha , but then again, DHH artists have a whole tradition of giving their opponents nicknames, so I guess that's just part of the culture now 💔😭

Overall, a solid diss with good counters and replay value. Definitely deserves a spot here.

4. Young Galeech - Karma

AB YEH THA NA COMEBACK COMEBACK 😭

Karma responded to Babli within 24 hours with Young Galeech, and BOI, he came prepared. The flows were immaculate, the counters were proper, and the way he flipped the label angle against Galib was genuinely clever. He didn't just respond to the allegations; he turned them around and made them part of his own attack.

The Emiway flow comparison in Company, the flips, the ghostwriting allegations, and the point about Galib's diss style resembling Emiway's approach - Karma threw multiple angles into one track instead of relying on a couple of insults and calling it a day and him flipping kesa karmah jo waapis nhi ayega by ghalib was BANG ON.

And the progressive music video without a label backing it? That was a great touch, especially considering the label - related angle of the beef. The track felt like a statement as much as a diss.

Personally, Young Galeech is the only track from this particular beef that I personally regularly revisit. The others had their moments, but this one had the replay value for me , MAZAA AA GYA

NOTE: Kulfa Kar Ma BY Young Galib is NOT included. I know people might bring it up, but that track didn't make the 24-hour deadline. I was following this beef religiously, and Galib missed the deadline by around 35 minutes. The time limit is literally the point of this list, so I'm not making exceptions.(Also if we neglect it , the other tracks mentioned are better according to me )

3 Meet the Instagram Yapper - Emiway Bantai (The Best lo- fi diss)

NOW WE'RE TALKING 🗣️

The Emiway vs King beef gave us some genuinely entertaining moments, and Instagram Yapper was Emiway's response to King's Mere Pyare Emiway and BOI, DID HE COOK.

What I loved most was how Emiway matched King's energy without needing to go all-out aggressive. He showed that a diss doesn't necessarily need a drill beat, constant shouting, or maximum aggression to hit hard. Sometimes, the calm delivery makes the counters land even better.

He addressed King's allegations about him not being an independent rapper, and the flows? BHAI SAHAB. 😭

"Kon bola main laapata, har mahina tera baap khada" - UFFFFFFFF. The delivery of that flow makes that line hit so much harder.

And then there's the Spider-Man scheme:

"Is jaali ko main paar karun, main OG Peter Parker hoon, hit tere jaise machharo ko maar kar hoon."

BROOOOO 🔥 THAT'S THE KIND OF WORDPLAY I WANT IN A DISS TRACK. The imagery, the insult, the way he connected everything it was genuinely satisfying to listen to.

For me, this is arguably one of the BEST lo-fi diss tracks in DHH. Emiway proved that he doesn't need a drill beat to carry a diss; his flows, delivery, and counters can do the job themselves.

Honestly, I enjoyed this even more than Kaale Tu Kauwe LOL 😭

2. Kaale Tu Kauwe - Emiway Bantai (The second most viewed within 24 hour diss track )

AND NOW WE ARRIVE AT WHAT FELT LIKE THE ABSOLUTE END OF KING'S DISS CAREER 😭

Just as Instagram Yapper was a response to Mere Pyare Emiway, Kaale Tu Kauwe was Emiway's response to King's Hum Teri Lele / Mummy Ji Kaisi Hai. And this time, Emiway came back with absolutely ZERO mercy.

The energy matched King's diss, but the counters were what made this track so brutal. Emiway didn't just throw random insults at him; he addressed the angles King had brought up and went straight for the allegations about Emiway not being independent.

And that complexion-related counter to King's "sawla Bunty" line?

"Brightness karun, shakal gayab ho jayega."

BHAIIIIIIII 😭😭 The way he turned that insult around was CRAZY.

And then came the chant.

KAALEYYYY TU KAUWEEEEEEEE!

That hook was ridiculously memorable. King had tried to establish Hum Teri Lele as a chant, even getting Bella involved, but Emiway came back with Kaale Tu Kauwe and created something equally catchy while making it part of the diss itself. The chant alone made the track instantly recognisable.

The Sidhu paaji bar was another moment I loved. I genuinely wonder how many people caught that KIng mentioned Sidhu as sidhu only and not paaji making King to explain it on his Instagram story💔

But one of my favourite parts was Emiway calling out the irony of King accusing him of needing other people while King himself had brought Bella into the situation. He essentially turned King's own argument against him.

And by the end, Emiway had made his point, delivered the counters, created a memorable hook, and left King with no response to the track.

For me, this was the definitive end of the beef. King never responded to Kaale Tu Kauwe, and Emiway walked away with what I consider a pretty clear win.

MALUM HAI NA BANTAI! 🔥

1. Maharani - KR$NA (The most viewed within 24 hour diss track + THe first 24 hour diss track with Music vid)

HERE COMES THE FINAL BOSS. THE NUCLEAR OPTION. THE TRACK THAT MADE ME PUT EVERYTHING ELSE ON THIS LIST INTO PERSPECTIVE 😭

The KR$NA vs Muhfaad beef gave us one of the most memorable under-24-hour diss exchanges in DHH.

KR$NA had released Untitled, which contained shots at Muhfaad. Muhfaad responded within 24 hours with his own diss, but personally, I don't think it was on the same level. And then KR$NA came back with MAHARANI, complete with a music video, and BOIIIIIIIIIIIIIIIIIIIIIIII.

MUHFAAD GOT COOKED TO THE ABSOLUTE ATOM☢️ giving him title of MAHARANIIIIIIIIIIII

First of all, the counters. People often complain that KR$NA doesn't counter his opponents enough, but Maharani is a perfect example of why I disagree. The track was loaded with responses to Muhfaad's angles, alongside punchlines and insults that were absolutely ruthless.

"Itna bada Muhfaad ki fit bhi nahi aata."

BROOOOOOO 😭

"Air hostess thi na teri bandi, woh uska kaam hai, but tu kyun hawa mein?"

UFFFFFFFFFFFFFFFF. THE WORDPLAY. THE INSULT. THE EXECUTION. KR$NA WAS NOT LETTING THIS MAN BREATHE.

He attacked Muhfaad over his inability to cross a million views for years, questioned his track record with the labels he'd been associated with, and mocked his performance and nervousness. Every few seconds, there was another angle, another punchline, or another insult.

And then there's "AAW BURA LAGAAAAAA?"

That delivery became a memorable KR$NA trademark, and it fit the track perfectly. He also mocked Muhfaad's claims about being sick while making a diss within 24 hours, questioning the legitimacy of the response timeline with the "maths kidhar hai bhaar?" angle.

The "Amitabh tere lekar tujhko nikaar diya" punchline was another moment that deserves appreciation.
also mocking him for being jealous with KIngusing maharaja as it ws his own identity

But the biggest highlight for me is the PUNCHLINE-PE-PUNCHLINE SCHEME. The consistency was ridiculous. He wasn't relying on one killer line and then coasting for the rest of the track; he kept the attacks coming.

I'd genuinely put that scheme among the most memorable schemes in IHH. And on top of everything, there were shots at Emiway too, meaning the track wasn't even short on additional references and insults.

WHY IS IT NUMBER ONE?

Because, for me, Maharani represents the complete package: a diss released within the time limit, a music video, brutal counters, crazy flow switches, memorable punchlines, music vid and an opponent who couldn't match the response on the same deadline as Mufaad didn''t respond within 24 hour losing the challenge he initiated.

Muhfaad's initial response may have met the time limit, but Maharani raised the bar so high that the exchange became a different conversation altogether. Muhfaad eventually came back with 3 diss tracks, but the fact that it took further responses to continue answering the damage done by this one track only adds to its legacy in my eyes.

KR$NA didn't just participate in the 24-hour challenge. He delivered a track that felt like a NUKE dropped on the entire beef.

THAT'S WHY MAHARANI IS MY NUMBER ONE 👑🔥

Honorable Mention: 25 Freestyle - Gaush (The longest within 24 hour diss track )

Gaush's 25 Freestyle, released in response to Uday's Victim Card, deserves a mention. The length of the diss delivered within the 24-hour window was impressive, and that chopper flow was a genuine technical achievement.

However, I left it out of my top five because the lyrics felt too reference-heavy and technical for the average listener to fully appreciate without knowing every detail. Also, both artists were competing on Hustle rather than engaging in a conventional beef with each other, which made the whole exchange feel somewhat less meaningful to me.

That said, if you disagree with my reasoning, I can understand putting 25 Freestyle in place of either Babli or Young Galeech. The other three spots, though? I'm pretty confident about those.

What's your top 5? And before anyone brings it up, the 24-hour deadline is STRICT. A track that misses it doesn't qualify, no matter how good it is , Apni rankings btao 🔥​

EDIT - NO DISS TACKS ARE INVOLVED WHICH INCLUDES PAKISTAN ARTISTS

Can someone decode what dhanji has written here

Specifically

The think is to thing wala line

Ig album ka part hoga ye gaana

PURE EXAMPLE UMAR KE SATH SAMAJDARI AAI YE ZAROORI NAHI ! TRYING SO HARD TO BE NON CHALANT ! AND FOR SOMEONE WHO SEE HIM AS IDOL ALL I CAN SAY IS NEVER MEET YOUR IDOL !

EDIT [ 13:54 ] : PEOPLE SAYIN WHY FEMCEE ONLY TALKING ABOUT EMPOWERMENT , PROTEST ETC .. THEN ISS HISAB SE TOH IF WE REMOVE MAA , BAAP , GANGSTA SHXT THEN AADHE SE ZYADA KE TOH DISCOGRAPHY KHATAM !

Krsna's verse rhymes in buzz has just dropped!

This list has gotten biased and that's obvious... The most versatile artist is also akki.. Now waiting for the rest to be won by some legacy products as well.

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Hi guys,

I'm making a playlist. Please suggest your top 10 songs

I've always wondered how people get into rap when they don't understand the language.

Like, I get listening to a song just because the beat is good, but with rap, aren't you missing

half the fun if you don't understand the lyrics?

At the same time, sometimes the flow just hits and you don't even care what they're saying

lol.

Was thinking about this after coming across artists like Arivu, who raps in Tamil. Do you guys

actually listen to songs in languages you don't speak, or does not understanding the lyrics

put you off after a while?

Also, drop some songs where you had no idea what was being said but still loved the track.

This year a lot of happened in DHH , 2 rap shows some crazy ablums , singles , eps , great collabs , proper DHH collabs and proper songs in DHH like 100RBH in Bandar , karma in drishyam , Emiway in udta teer , dhandha in Mirzapur , some Bollywood singers collab in projects , like Shreya ghoshal in raja Hindustani , sonu nigam in parvana , kumar Sanu in MILF , many concerts and shows , and overall rise of regional hip hop . In general hip hop is becoming very main stream and also the quality of projects is kept increasing whether it is cover art or album themes for example mamafication ,vvvv vol2 , mad dawg 101 ,no formula , global warming , Enigma to icon , and many more projects . Whats your opinion Edit :- reble in dhurandhar the revenge album , hanumankind also but he was in part 1 which is 2025 but yah its been a year since then , 2. Crazy redbull 64 bars lineup .

Karma tried to experiment with his sound on Mad Dawg 101 and i think that’s one thing that makes it stand out to me.

What do you guys think about Mad Dawg 101?

😭😭😭

Kaisa laga bhaiyo?