In the dynamic world of Indian hip-hop, King has risen to global fame with his signature blend of melody and rap. His latest single, “Stay,” is an emotionally charged anthem about love, longing, and the connections that shape us.
Indian hip-hop sensation King talks about his latest single “Stay,” collaborating with international producers, and the creative journey behind “Monopoly Moves.”
In the ever-evolving realm of Indian hip-hop, few artists have ascended as swiftly and stylishly as King. Born Arpan Kumar Chandel, this Delhi dynamo has been crafting chart-toppers that resonate deeply with fans across the globe. His latest offering, “Stay,” is no exception—it’s a soulful serenade that delves into the intricacies of love and longing.
Released on January 24, 2025, “Stay” is a collaborative masterpiece featuring the musical prowess of international hitmakers Phil Cook, Joe Kearns, and Ines Dunn. The track’s lyrics weave a poignant narrative of enduring connections and unspoken emotions, striking a chord with listeners who have experienced the bittersweet beauty of love. The accompanying music video, starring the stunning Sapna Pabbi, is a visual feast that blends thrill, intimacy, and breathtaking landscapes, enhancing the song’s emotive impact.
But “Stay” is just the latest jewel in King’s musical crown. His recent album, “Monopoly Moves,” has been lauded for its innovative approach, redefining the Indian hip-hop landscape. The album featured a series of unexpected and dynamic collaborations, showcasing King’s versatility and willingness to push creative boundaries.
King’s journey from the streets of Delhi to international acclaim is a testament to his talent and tenacity. He first gained widespread attention as a finalist on MTV India’s reality show “MTV Hustle” in 2019, where his lyrical prowess and stage presence set him apart. Since then, he has delivered a string of hits, including “Tu Aake Dekhle,” “Oops,” and the record-shattering “Maan Meri Jaan,” which became India’s most streamed song of 2023.
Beyond his solo ventures, King has ventured into international collaborations, working with artists like Nick Jonas, Julia Michaels, and Gucci Mane, further cementing his global appeal. His recent international tours across Australia and New Zealand have introduced his unique sound to new audiences, solidifying his status as a global pop phenomenon.
As we sat down with King, we delved into the creative process behind “Stay,” the inspirations that fuel his music, and his vision for the future. Join us as we explore the mind of the artist who continues to reign supreme in the hearts of music lovers worldwide.
Here are the excerpts:
Stay carries a deep emotional resonance. What inspired you to create this track, and how did you come with such evocative lyrics?
Any track that carries meaning for me, the first thing I put into it is my soul. That’s the foremost element. Once that soul is in place, I keep building on it—refining it, adding music, and shaping it beautifully. But the essence remains the same—the message I want to convey should hit the listener in the same way it hit me while writing it.
I believe that overthinking art is a mistake. You shouldn’t overanalyze creativity. Skill development requires effort, but when it comes to artistic expression, it should come straight from the heart. I always tell myself, ‘Does this song feel personal, even if it doesn’t become a massive hit?’ If the answer is yes, then as an artist and a writer, I know I have fulfilled my purpose.
You’ve mentioned that Stay is about connections that leave a lasting impact. Is there a personal experience that inspired this track?
I think from the moment we are born, one universal experience we all share is that people come into our lives, and people leave. Sometimes, we are eager for certain people to leave, thinking, “Good riddance!” But at other times, when someone leaves, we wish they had stayed a little longer.
This is something every human struggles with, and there are no concrete answers. “Stay” reflects this dilemma—it acknowledges that there are no definite solutions, only the need to appreciate the people in our lives while they are still here. Because you never know if they will be there tomorrow.
I believe in expressing gratitude. Even just saying “Thank you” to someone can create a powerful moment. If you randomly thank a friend, they might call you crazy, but deep down, it makes a difference. If you tell a loved one how much you appreciate them, that moment becomes unforgettable. Many people don’t express gratitude because we get so caught up in our routines that we forget how many people contribute to our lives—parents, partners, friends, colleagues.
At the end of the day, these moments and memories are what truly matter.
The music video is visually stunning and it keeps you invested throughout. Can you share the creative vision behind it and what story you wanted to tell through the visuals?
King: First of all, shout-out to the team that created this video. They also made “Pyar Hamaara” and conceptualized this one as well. I had a different concept in mind, which I will execute in the future, but when I heard this idea, I immediately knew this was the right direction to take.
The song itself carries a certain standard. Even though it is for everyone, it still maintains a distinct quality. You can feel that it is highly atmospheric. The sound, the production—everything is immersive. It’s the kind of song that you can sing along to, but it also holds a deeply personal feeling. The same goes for the video.
The video starts off as a generic story, but as it progresses, it becomes deeply personal. The male lead is portrayed as a non-playing character in someone else’s life. We all consider ourselves the main character in our own stories, but in someone else’s life, we are merely supporting characters. Life changes in unexpected ways, and we don’t always see it coming.
The song is not about whether the boy dies or not. It’s about how life brings people together in unpredictable ways. The female lead is following a purpose in life, whereas the male lead is just living an ordinary existence. But when they meet, he finds a purpose too. They both leave the place—one with purpose, the other without. That’s the reality of love as well. Sometimes, we love someone, but the other person doesn’t find their purpose in that relationship. When relationships are unbalanced, deep down, we know it’s not working, yet we hesitate to acknowledge it.
In such situations, all we can do is appreciate the moment for what it is. Because at some point, either you or the other person will move on. That’s the essence of the song.
The music video features you and Sapna Pabbi and the chemistry between you two was quite palpable. Woh chemistry create kaise kiya and how was your experience like working with Sapna Pabbi for this project?
Sapna is amazing. I met her for the first time during this shoot. Life keeps me so busy that I rarely get time to meet people outside of work. But from the moment we started talking, she was very open about her experiences, her life, and how she navigates things. I had known her work before, but I hadn’t interacted with her personally.
But once we started working together, it felt like I had known her for years. That’s the best feeling—when you find someone in the industry who is genuine. It makes working together so much more enjoyable.
She speaks English fluently, while my English is a little broken, but that didn’t matter. When people don’t judge each other, language barriers don’t exist. That’s the kind of person she is. Despite the time constraints, the long shooting schedules, and the challenges, she handled everything smoothly. It was a pleasure working with her.
Did you shoot the video in the UK?
No, not at all. We filmed it just outside Mumbai. The high production quality makes it look international, but that’s mostly due to the color grading. When I do shoot abroad, you’ll know because those locations will look different!
Again, this speaks to the standard you set for your music videos—quality and simplicity go hand in hand.
Exactly! And honestly, I’m a bit lazy too. So when this concept came up, I was glad that I wouldn’t have to change outfits multiple times. Some videos require three to four outfit changes—this one didn’t!
You’ve collaborated with international hitmakers like Phil Cook, Joe Kearns, and Ines Dunn for Stay. How was the experience working with them, and how did their influence shape the song?
It was a crazy experience! I actually wrote this song two years ago at a Goa camp. Warner Music was hosting a songwriting camp in Goa. I was doing shows at the time, probably had just wrapped up Zomaland in either Bangalore or Kolkata. From there, I went to Goa just to chill for two or three days. They had arranged a villa, and there were UK-based producers present. Once I was there, it was impossible to stay away from music. Other fellow artists were also there, including Vishal Mishra. We all connected, had a great time, and I ended up making four to five songs during that camp. Among them was “Sarkar,” and also “Stay.”
“Stay” was one of those songs that I knew needed to be held back for the right time. Some songs, when you create them, you instinctively feel that they shouldn’t be released immediately. You need to build familiarity with your audience first and prepare them for something different. So, I waited for the right moment.
It’s a balance between emotions and strategy. I don’t just randomly drop a track—I aim to create meaningful music. And this song was sitting in my bank of unreleased tracks for two years. When I revisited it, it still felt just as powerful.
I had an amazing time during the camp—enjoying, swimming in the pool, having great conversations. Everyone there was so much fun. Now, when I visit the UK again, I’ll definitely meet up with them.
Initially, Stay was an English track, and someone else was supposed to be featured on it—an international artist. That still might happen in the future, who knows? But the day it was created, it felt internally connected to something more. Shweta, one of my closest people, loved this song—it was her favorite from the start.
For me, when someone I trust feels strongly about a song, it means a lot. So, when I translated it into Hindi and fully structured it, I knew it was something special. And now that I have recorded it in Hindi, I love it even more. But who knows, an English version might still happen in the future!
Monopoly Moves was one of the best DHH albums from last year. And it has a very intriguing title. What did it signify for you, and how does it reflect your journey in the music industry?
It’s all in the name itself. Imagine working on a project that features all the flagship rappers of the industry within three months—that’s what we did. To build that kind of energy, those relationships, and that level of collaboration takes effort. And, of course, the album had 16 tracks, which is no small feat—it’s a massive album.
“Monopoly” is not about ruling over something. A monopoly is formed when the right people come together and work on something with shared intent. It’s about building a foundation. You don’t need to fight or tear each other down to prove yourself—you can work together creatively and still make an impact.
That’s what “Monopoly Moves” represents—strategic moves, calculated collaborations, and creative synergy. The album was one of my boldest moves. On one hand, I was putting out music that would commercially set my career, but at the same time, I was questioning things, wanting to create something meaningful beyond just trends. That’s where the fun lies!
Monopoly Moves also blended multiple musical styles, from drill to melodic rap. What inspired this genre-fluid approach? Was it a conscious decision from your end or did it organically become that way?
First of all, I listen to a wide variety of music. Secondly, when collaborating with other artists, I genuinely enjoy their music. I have studied their styles, and I understand their musical pockets very well.
Each artist brings something unique, and I wanted to create something that embraced those influences. Take “Fakvade” for example—it was a completely different sound, but I knew it would stand out. Similarly, my collaborations with Raftaar, Seedhe Maut, and other artists all had their unique flavors.
At the end of the day, curiosity drives everything. I always ask, “How will this sound if we try something different?” And I think that curiosity is what made “Monopoly Moves” special for everyone involved.
You sent your tracks to various artists, and no one turned them down?
Exactly! That’s the best part. The artists I listen to and admire—they are all extremely talented and have a deep understanding of sound. I sent them my music, and they instantly got what I was trying to say. They understood the vibe, and they were ready to collaborate.
How long did it take you to create the “Monopoly Moves” album?
Honestly? I wrote 42 songs in about one and a half months. Out of those, 16 tracks made it to the album.
42 songs?! In just over a month? That’s crazy!
Yeah, it was intense. I had a separate batch of tracks specifically for collaborations. My goal was to involve every artist I could, create songs for them, and ensure that each track fit them perfectly.
I took full responsibility—I wanted to tailor each song for each artist, making sure they felt comfortable and that the track suited their musical pocket. I didn’t want them to feel out of place. I ensured the production was so good that no one could say no.
After writing those 42 songs in about a month and a half, we moved on to shooting the music videos. It was back-to-back, non-stop. Some days, we were shooting with barely any sleep, traveling from mountains to different locations. And then, after all of that, we had to plan the launch.
This wasn’t something money could buy—it was all about the passion and effort we put in. Once the album was out, we immediately went on tour. We compressed an entire artist’s career graph—creating music, collaborating, performing, growing, and establishing ourselves—into just three months. That’s what makes it such a big achievement for me.
I wanted to deep dive into some of my personal favourites like Misfit. I love the flow of this one. The minimalist production lets your voice and words take center stage. How did you put it all together?
You know, I actually wrote “Misfit” for Divine. Can you imagine how it would sound if Divine had performed it? I originally had him in mind while creating it. The track had that alpha energy, that rawness. “Shikaar karne aa raha hai, bhago kahaan tak bhagoge” (The hunter is coming, how far will you run?).
But for some reason, that collaboration didn’t happen. Still, I was really happy that the track got released as it was. It’s a song that I personally love—it’s raw, real, and full of energy.
Also, the lyrics are deeply personal. Have you ever felt like an outsider in the music industry?
Look, all of us who come from a hip-hop background, especially those of us who didn’t grow up trained in classical music, we were all outsiders to this industry. Anyone who doesn’t fit into the conventional “seven sur” (musical notes) system is an outsider by default.
But that doesn’t matter. Creativity is all about finding your own way. At the end of the day, if you give an artist a blank piece of paper and a pen, they can create a masterpiece worth millions. But if someone lacks that creative instinct, they won’t be able to do anything with it.
An artist’s job is to turn something ordinary into something priceless. That’s what I and many others like me have been trying to do. We started as misfits and outsiders, but now we are inside the system, making space for ourselves.
That’s a powerful perspective. And that’s why your track “Kodak” is another favorite of mine. The three of you—each of you brings a distinct energy to the song. How did you approach writing and recording it differently from your other tracks?
I actually wrote “Kodak” first and then sent it to the others. But when you listen to it…
So, you were talking about working in the right creative pocket and how you approach beats. Did you step into their musical style?
Yes, exactly! I immersed myself in their style while keeping my own essence. I adapted to their musical pocket and crafted my verses accordingly.
Did you write their verses as well?
No, no! I created the instrumental and wrote my own verse before sending it over. My verse was initially short. But when both of them came into the studio, they wrote their verses, and the energy shifted.
At first, one of them had written a verse that was about one and a half minutes long. When I heard it, I thought, “Now I have to match this energy! Forget the beat constraints—I’m going to extend my verse too.” And that’s exactly what happened. We all ended up writing longer verses, and the track became even more powerful.
I remember sitting in the studio and writing everything on the spot. It was all about the feeling. Seedhe Maut sent their part, and I realized their verse was longer than a usual track’s standard duration. As someone who thrives on curiosity, I got excited—I had to push my own writing to match that level. That’s how the song turned into a storytelling experience, where we all narrated our own perspectives.
That’s amazing! You live in Delhi, and the song reflects the city’s energy. It feels very authentic.
Exactly! The vibe of Delhi is embedded in the track—it captures the essence of the city’s hustle, energy, and street culture.
Another track I loved was “Sazaa” with MC Heam. It dives into deep themes of punishment and consequences. What inspired you to explore such a heavy subject?
To be honest, I didn’t even realize how intense the concept was until now. “Sazaa” wasn’t just about punishment—it was about karma, consequences, and regret.
The lyrics felt very personal and deep. How did you both connect over this concept?
It was a natural connection. MC Heam and I have mutual respect for each other, and he’s one of the most brilliant lyricists I know. His ability to break down complex ideas into raw, hard-hitting lyrics is unmatched.
“Sazaa” was originally his track. The backstory is interesting—I was in Abu Dhabi when we had just finished performing at the Wireless Festival. The next day, I went to Dubai, and that’s when MC E sent me a demo of the song. But it had a different beat at that time.
As soon as I heard it, I told him, “Don’t send me this version again—it’s not hitting right. Let’s make it better.” So, he went back, changed the beat pattern, and drew inspiration from my song “Gumshuda” to refine the structure.
The next time he sent it to me, I was at some crazy high-altitude location, and when I played it, I just lost my mind! I immediately told him, “This is the track. I’m jumping on this right now!”
But here’s the wild part—it took two years for this song to officially release. When we were compiling “Monopoly Moves,” I knew this was the right time. The song needed the right moment and the right platform to land, and that’s exactly what we did.
In many ways, the “Sazaa” music video is a memory of our journey together as artists.
Supreme Leader is one of the most politically and socially aware tracks on the album. What inspired the concept? And Talha Yunus is a huge name in Pakistani hip-hop. How did this cross-border collaboration happen?
We met again during the Wireless Festival—it was me, Anjum, and Yunus. The energy was just right; we instantly connected on a brotherhood level. That bond stayed strong even after the event.
When I created “Supreme Leader,” I knew it had to be something politically and socially aware. I wanted it to resonate with the younger generation. So, I sent the track to Yunus, along with another song from “Monopoly Moves” that was specifically written for him. Unfortunately, that one didn’t make it to the album for certain reasons.
We had different tracks, different energies. For “Seedhe Maut,” we all worked together on one track. But for Yunus, I wanted something more focused, something that spoke to his artistry. He was busy with his own projects at the time, but he told me, “As soon as I get time, I’m on it.” And when he did, he delivered his part perfectly.
It was like grabbing a fresh pack of chips—quick, efficient, and satisfying! That’s the kind of creative workflow I love. Just one call away, and everything falls into place.
So, Monopoly Moves is a part of the DHH (Desi Hip-Hop) movement, but it also has a strong pop influence, evident in tracks like “Tera Ho Ke,” “Hua Pyaar Hamaara,” and “Hua Dance.” These songs highlight the pop aspect of King’s music. How do you balance catering to both DHH listeners and pop audiences?
If I can cater to both audiences, then I have to make sure I maintain that balance. It’s like serving food—you have to ensure everyone gets something they like.
The key is that I genuinely enjoy both. Maybe that’s why I can effortlessly transition between hip-hop and pop. When I get bored of singing, I switch to rapping; when I feel like doing something melodic, I go back to singing. I have the flexibility to do both, and that’s something very rare. Not many artists in India do what I do—holding a strong place in hip-hop while also dominating the pop scene. That’s exactly what Monopoly Moves is about.
You were also the first Indian pop artist to walk the red carpet at Cannes. What was that experience like?
These days, everyone is talking about being the “first this, first that.” It’s a big PR trend—”First Woman in…” “First Artist in…” But I don’t think too much about it.
Honestly, Cannes was amazing. I met some incredible people. The most surreal moment? I was sitting there in a suit, looking around, and realizing that I was surrounded by some of the biggest movie stars in the world—the same people I had watched in films growing up. It felt unreal. Even Aishwarya Rai was walking the same red carpet as me. At one point, I was just questioning myself—”What am I even doing here?” Like, I was just making music at home, and now I’m here?! It takes a while for that to sink in. But once you realize that you deserve to be there, everything changes. You start carrying yourself with confidence. That’s something I learned at Cannes, and I had an absolute blast there!
Did you get to watch any good films at Cannes?
I was mostly busy with meetings—connecting with filmmakers, industry executives, and other artists. I was also just enjoying the city, eating great food, and meeting people from different creative backgrounds. I didn’t get much time to watch films, but overall, the experience was fantastic.
I wanted to ask you something deeper—how do you deal with negativity around your music and career? What’s your mantra for handling all the outside noise?
Simple—I go home. When things get overwhelming, I just disappear into my own space. I don’t step out unless it’s absolutely necessary. That’s my go-to strategy.
That’s your main approach? But do you have any other mantra for blocking out negativity?
Yes—I avoid people who bring unnecessary negativity. If I don’t want to meet someone, I simply don’t. If something doesn’t serve me, I cut it out completely. Why waste energy on things that don’t matter?
That makes sense. Now, looking ahead—what’s next for King in 2024-2025? Any big plans?
Just lots of good music. That’s my only focus—more music, better music. That’s it.
Any international tours planned for your fans?
Definitely! Why not? I’m a man of the people, and I want to take my music global.
