Old Tunes, New Swagger

Time of India

03-05-2025

In Kerala's culturally diverse landscape, Mappilappattu—the traditional folk music of the Muslim community—has long served as a powerful means of expression and a cornerstone of community identity for centuries. Deeply rooted in Malabar's history and cultural landscape, these songs have long been a vital part of the region's musical heritage, uniquely blending Malayalam with Arabic and Persian influences. Today, this rich tradition is experiencing a striking revival, reimagined through the rhythms of rap and hip-hop by a new generation of artists who are reshaping Kerala's music scene.
The turning point came when rapper Dabzee, hailing from Malappuram, merged the rhythm and flavour of traditional Mappilappattu with contemporary rap beats in the chart-topping track 'Manavalan Thug…' for the film 'Thallumaala'. With over 100 million views on YouTube, it became one of Malayalam music's biggest hits.
Since then, a wave of similar hits—like 'Boy You're a Banger…' by MHR, Joker, SA, and Dabzee, 'Panthalchaant…' by Dabzee, Baby Jean, and Joker, and 'Payyambalthanole Veedu' by Rish N K and Zail—has swept through Kerala. These tracks tap into the sonic textures, dialects, and storytelling traditions of Malabar, while infusing them with the swagger and beat of global rap culture.
Though Mappilappattu has evolved through cinema and album formats in earlier decades, its current fusion with hip-hop marks a new cultural moment. The 2012 film 'Usthad Hotel' featured a successful fusion of the classic 'Appangalembadum Ottakku Chuttammayi…', setting the stage for more experimental blends.
The 2021 viral hit 'Mappila Drill', a rework of Moyinkutty Vaidyar's 'Ake Chuttulakathil…', and tracks like 'Malarkodiye Njanennum' (Dabzee & O V Abdulla) and 'Ellam Padaithulla Khallakudayone' (remixed by Sami, Shad, and Dabzee) signalled a creative shift: Traditional themes with modern flair. The emotional resonance of these tracks, paired with their rhythmic innovation, captivated new generation listeners.
Last year's 'Jannathil Orathile…', a Dabzee hit, and 'Manasakamil' from 'Thallumaala' further solidified the genre's appeal. In Aug 2023, the release of 'Malabari Banger'—featuring Eranad slang—racked up over 25 million views, becoming a symbol of Malappuram's local pride gone viral.
The popularity of tracks like 'Akatharil Adrupathin…' (MHR, Dulm), 'Ballaltha Jathi' (2024) by Dabzee, Neeraj Madhav, and Baby Jean (with 36 million+ views), 'Arbab' by Rish N K and MHR, and 'Naalu Vattam…' all cemented the increasing trend of successfully blending Mappila melodies with rap.
Beyond rhythm and rhyme, these songs speak the language of Malabar—literally. Slang and dialects become lyrical tools. The football fever of 'Panthalchaant…', and hyperlocal catchphrases like 'Suggund…Ayimmoru Seriyund…' in Manavalan Thug or 'Daichum Pinnem Payichum…' in Malabari Banger highlight how authenticity and relatability drive popularity.
According to lyricist and director Muhsin Parari, this movement is rooted in personal memory and cultural inheritance. 'These musicians create from lived experience,' he says. 'When lyrics reflect their own world—linguistic, social, emotional—it connects instantly with audiences.'
Lyricist Manoj Kuroor places this genre shift in historical context. 'For a long time, Malayalam popular music was seen through the lens of ragas and classical purity,' he explains. 'This rigidity delayed the acceptance of genres like rap.' Citing the 1962 song 'Ha..Ha..Ha..enne onnu nokedee Rabecca' from 'Veluthampi Dalava' as an early flirtation with rap-like rhythm, he adds that such forms were dismissed as foreign—akin to cabaret.
Mappila songs, however, with their inherent rhythmic structures like 'Murukk' and 'Chattam', offer a natural foundation for rap. Kuroor contrasts their adaptability with classical forms like Kathakali Padams, which resist fusion. Mappilappattu is versatile and street-level—it fits the rap format organically, he stated.
Popular rapper Baby Jean agrees. 'Padappattu and Badar Kissa pattu, both rooted in Mappila tradition, are similar to rap in structure and storytelling,' he says. Importantly, he notes, the focus is on cultural life—not religion. 'These songs reflect social experiences and daily life.'
Hussain Randathani, chairman of the Kerala Mappila Kala Academy, identified two major drivers of this revival: Diaspora influence and social media platforms. 'During the pandemic, Mappila songs became digital lifelines,' he says. 'Social media helped bridge the gap between generations, transforming old songs into viral trends.' He points to 'Apangalembadum…' and 'Kayyarikathu' by K Raghavan Master as songs that gained fresh relevance for their folk depth. 'People are now open to Mappila songs in all forms,' he says. 'This is an evolving moment.'
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Views expressed above are the author's own.