Hanumankind drops Kerala’s chenda beats at Coachella, redefining desi rap and Indian hip-hop
The Texas-raised rapper’s electrifying set featuring Indian martial arts and traditional drummers won over global audiences at the iconic music festival.
Hanumankind performs at the Mojave Tent during Coachella 2025
Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
On a sweltering April evening in California’s Coachella Valley, something unexpected cut through the desert air, something thunderous: the rhythm of Kerala’s traditional chenda melam! Hanumankind, the Texas-raised rapper with roots in Kerala, showed up to the global music festival bringing a piece of home with him.
Dressed in black jeans and a ganji, Hanumankind commanded the stage with an energy that was impossible to ignore. But the most iconic part of the performance was the presence of Kochuveettil Beats, a traditional chenda melam ensemble dressed in crisp white mundus. As the drummers pounded out fierce rhythms, Hanumankind launched into Run It Up, his latest hit and the crowd packed with both die-hard fans and curious newcomers, went wild.
The chenda, a cylindrical drum central to Kerala’s temple festivals and classical arts like Kathakali, isn’t something you’d expect at Coachella. It’s part of a larger performance tradition that requires training, discipline, and timing. In Kerala, it’s heard during poorams or festivals, temple rituals, and classical dance dramas like Koodiyattam. Yet, Hanumankind made it feel all contemporary, and effortlessly stylish. "Make some noise for my chenda boys!" he shouted, grinning as the audience roared back.
Bringing Kerala to the world, one track at a time
This authenticity is what’s driving Hanumankind’s rise. Unlike many artists who dilute their roots for global appeal, he leans into them. His 2024 breakout track Big Dawgs, which went viral with over 110 million YouTube views, was already a huge moment. But bringing chenda to Coachella? That was just next-level! The drummers from Kochuveettil Beats didn’t miss a beat. They brought a completely distinct visual and sonic identity to the set. It was rooted in tradition but not frozen in time. It used heritage as a launchpad, not a limitation.
Run It Up isn’t just another hip-hop banger. It features Indian martial arts like Kalaripayattu, Gatka, and Thang-Ta, shot with a flair that makes it feel both cinematic and rooted. It’s not the first time he’s done this. His breakout track Big Dawgs, released in 2024 with producer Kalmi, took off globally, eventually crossing 100 million views on YouTube and trending across Spotify and TikTok. That track positioned him as a name to watch but Run It Up has pushed him into a different league, even catching the attention of Prime Minister Narendra Modi, who spoke about the song during his radio programme Mann Ki Baat as an example of Indian heritage finding global recognition.
Beyond the hype
Hanumankind’s Coachella debut marks a turning point for how Indian hip-hop can evolve and be experienced internationally. It shows that you don’t have to shed your identity to stand on a global stage but you can, in fact, take it with you, drums and all.
— (@)
The energy in the tent that day was electric: all phones out, voices up, limbs moving. And at the centre of it was a rapper who chose to bring a piece of Kerala with him.
He’ll be back for Weekend 2 of Coachella. And if the first performance was any indication, he’s not just representing India, he’s reimagining what Indian representation can sound like!
Mukerji parts ways with YRF’s Dhoom 4 after reported creative disagreements.
Decision said to be amicable, with Aditya Chopra and Ranbir Kapoor supportive.
Director shifts focus to Brahmastra: Part Two – Dev, expected to begin filming in 2026.
Filmmaker steps away from YRF’s action franchise
Filmmaker Ayan Mukerji has stepped away from Yash Raj Films’ (YRF) highly anticipated action project Dhoom 4, reportedly due to creative differences. According to Bollywood Hungama, Mukerji’s vision for the film did not align with the studio’s direction, prompting him to withdraw from the project.
Mukerji, who was in discussions to direct the next instalment of the hit franchise—expected to star Ranbir Kapoor—was said to have limited control over the script, which was reportedly written by Shridhar Raghavan. The director, best known for Yeh Jawaani Hai Deewani and Brahmastra, was keen on shaping the film creatively rather than simply executing an existing plan.
A source quoted in the report said, “Ayan didn’t have much say in the screenplay and didn’t want to embark on another journey of just execution.”
Amicable parting after discussions with Aditya Chopra
Before stepping away, Mukerji is believed to have held several discussions with YRF head Aditya Chopra and actor Ranbir Kapoor. Both reportedly supported his decision, with insiders describing the split as “completely amicable.”
The director’s departure does not mark the end of Dhoom 4, as YRF plans to continue with the project under a new director. The studio may also reconsider casting options, despite earlier reports that Ranbir Kapoor had set aside dates for the film.
Focus returns to the Brahmastra universe
Following his exit from Dhoom 4, Mukerji has shifted attention back to his passion project—the Brahmastra series. The filmmaker is currently developing Brahmastra: Part Two – Dev, the sequel to the 2022 fantasy epic.
The film, initially expected to begin production earlier, is now likely to go on floors in 2026. Sources suggest Mukerji intends to expand the Astraverse with more depth in storytelling, combining elements of mythology, drama, and spectacle.
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