Hanumankind’s “Run it up”
When an artist like Hanumankind returns with a track like “Run It Up,” it demands the listener’s full attention. It did mine. I have been hooked onto this song for the last 48 hours so much that I decided to write about it.
Ever since the Kerala-born rapper burst onto the scene with “Big Dawgs,” he has continued to build on the expectations and has placed a legitimate claim to cement his place in the global hip-hop landscape — even if a tiny corner. Few artists achieve the delicate balance of staying true to their roots while expanding their creative reach to a global stage. Hanumankind’s latest single, “Run It Up,” is a resounding testament to this principle. A bold follow-up to his breakout hit “Big Dawgs,” Hanumankind, also known as HMK, delivers not just a song, but an intricate narrative that intertwines personal grit, Indian cultural heritage, and the expansive ethos of hip-hop.
“Run It Up” sees Hanumankind returning to a unique formula that worked brilliantly in “Big Dawgs” — a meeting of cultural specificity and global appeal. If “Big Dawgs” introduced the world to his unapologetically Indian identity, then “Run It Up” solidifies his presence as a rapper from India, not an “Indian rapper.” He partners once again with Kalmi, the producer delivering pulsating beats, and Bijoy Shetty, whose direction elevates the music video into a cinematic marvel.
The song itself pairs chenda drums, rooted in Kerala’s traditional music, with modern hip-hop production. This fusion doesn’t feel forced; instead, it’s a striking example of how art transcends geography. The layers of Kandanar Kelan Theyyam — a ritualistic martial performance that symbolizes rebirth and resilience — form the foundation of the video’s visual narrative. Through this, Hanumankind consciously reinforces his cultural backdrop while narrating a deeply personal tale of perseverance.
The lyrics, though straightforward, gain gravity from his unrelenting delivery. Lines like “There ain’t a dude with the drive and the vision like I have unless I go look in the mirror, baby!” are delivered with such ferocity that their impact lies in their honesty. Hanumankind’s rhymes aren’t wrapped in endless layers of double entendre or wordplay meant to mystify, but they carry their weight through directness and conviction. The rapper’s delivery (sometimes reminding me of Kendrick Lamar’s tonal style), both intense and rhythmic, builds momentum until the track slows to half-time, offering a subtle yet striking switch in tone that keeps listeners engaged. Uncomplicated yet impactful, the rhyme schemes take a backseat to his booming cadence and fervor. It’s a calculated choice, proving simplicity can sometimes pack a greater emotional punch than complexity.
His lyrics also reflect a continuity — an artistic thread from “Big Dawgs” to “Run It Up.” The closing words of the former, “money on my mind, we gon’ run it up,” now feel like a prelude to this latest track. It’s as if HMK had this cultural and artistic anthem brewing all along, waiting for the right moment to deliver it.
A Visual and Auditory Feast
Bijoy Shetty’s direction amplifies the song, ensuring the visuals speak volumes where words leave off. The video brims with breathtaking imagery pulled directly from India’s rich cultural landscape. Martial arts like Kalaripayattu, Mardani Khel (Maharashtra), Gatka (Punjab), and Tangh Ta (Manipur), and rituals/dance forms like Vellattam/Theyyam and Garuda Parava (all rooted in Kerala) take center stage, their physicality reflecting the song’s themes of power and striving. The fires of Theyyam rituals blaze through the frames, synchronizing with escalating percussion, while the pacing of the visuals mirrors the rapper’s dynamic flow.
Shetty’s craft flourishes in the synergy between movement and emotion. Hanumankind is seen sprinting, undeterred, as though running towards a goal visible only to him. The narrative thickens as he’s pursued by doppelgängers — a cryptic nod to the internal voices or societal forces that threaten individuality. Much like the Theyyam warrior Kandanar Kelan, who rises from ashes, Hanumankind conveys a sense of rebirth through sheer willpower.
The music itself extends this energy. Producer Kalmi expertly uses the chenda, not as background texture, but as a commanding force driving home the song’s intensity, gradually interspersing modern beats to craft crescendos. At its midpoint, the track slows into half-time, punctuating the emotional weight of the verses. It’s a masterful blend of traditional and contemporary sonics that underscores the track’s transformative nature.
A Love Letter from a Rapper to His Culture
Hanumankind’s relationship with Indian culture is not cursory — this is a rapper who uses his art to represent his roots unapologetically, yet does so in a manner that does not box him into any one identity. His approach feels like an echo of icons in hip-hop inherently tied to place. Eminem claimed Detroit, and N.W.A made Compton infamous. Hanumankind, in turn, has left no doubt that the cultural essence of India inspires his creative core.
But his approach isn’t limited to admiration. It’s a call for unity in diversity — a vision of India where cultural differences are celebrated rather than divided. The video bridges regions, showcasing forms of art and combat from across the subcontinent. It’s a powerful statement in a country as complex and segmented as India.
For Indian audiences, watching a globally recognized artist like Hanumankind pay homage to identities often neglected in mainstream media is not just refreshing — it’s deeply moving. For global listeners, “Run It Up” serves as an invitation to witness the dynamism of Indian artistry through the lens of hip-hop.
Success Beyond the Stage
Hanumankind’s trajectory is extraordinary. Born as Sooraj Cherukat in Kerala, he grew up in Houston before returning to India in 2012. Now signed to Def Jam India/Capitol Records, his rise to the global stage — cemented by an upcoming Coachella performance (a first for an Indian rapper) — marks a pivotal moment for Indian hip-hop.
Musicians often face the peril of a sophomore slump, especially after achieving worldwide acclaim for a debut hit. However, Hanumankind navigates this challenge confidently, keeping his artistry rooted in substance over spectacle. He doesn’t chase American rap standards; instead, he redefines them by weaving his heritage into the music.
The Final Word
“Run It Up” delivers more than a banger. It’s a cultural statement, a personal manifesto, and a cinematic work of art that transcends musical boundaries. While its lyrics individually may not leave long-lasting impressions, they gain strength when paired with Hanumankind’s energetic delivery and the vivid storytelling of Bijoy Shetty’s visuals.
Hanumankind ultimately eschews the superficial in favor of depth and authenticity. He eschews the label of “Indian rapper” in favor of being a “rapper from India.” The difference may feel subtle but is significant — Hanumankind doesn’t tether himself to a singular cultural identity but instead uses it as a foundation to create universally relatable art that transcends boundaries. He’s proof that you don’t need to sacrifice your identity to resonate on the world stage. If “Big Dawgs” got the world’s attention, “Run It Up” ensures they stay glued.
For fans of Hanumankind or those new to his work, one thing remains certain — this rapper from India is running towards greatness, and he’s taking his culture along for the ride.
