Bhojpuri Music at a Crossroads: The Bhojpuri music industry, once a proud torchbearer of Bihar’s vibrant folk heritage, is now caught in a fierce culture war. On one side, critics and social activists accuse several popular Bhojpuri singers of flooding the internet with “soft pornographic” content that degrades women and distorts regional values. On the other, a growing cohort of folk-inspired artists is attempting to revive Bhojpuri’s traditional essence with devotional, romantic, and culturally rich songs.
This ongoing tug-of-war over the soul of Bhojpuri music reflects deeper anxieties about identity, language prestige, and the influence of digital platforms on regional cultures. The debate, no longer confined to social media threads or tea-stall chatter, has spilled into political corridors, courtrooms, and cultural discourse across Bihar and Uttar Pradesh.
Government Crackdown on Vulgar Content
The tipping point came in July 2021, when Bihar Chief Minister Nitish Kumar, responding to a complaint at his Janata Darbar, directed officials to act against the performance and dissemination of “obscene” Bhojpuri and Magahi songs. The complaint specifically highlighted discomfort among women and families during public events where such songs are played.
The directive resulted in a coordinated state action. Bihar Police and district administrations were instructed to issue warnings, restrict public DJs during festivals like Holi, and arrest repeat offenders. Similar moves were made in Uttar Pradesh, where CM Yogi Adityanath announced in 2024 that his government would deny grants to Bhojpuri films or music videos that promoted vulgarity.
Veteran journalist Ravish Kumar, a native Bhojpuri speaker, amplified these concerns through his independent platform Vihaan Bhojpuri. He criticized the objectification of women in viral songs and called for greater accountability within the entertainment industry.
Stars Under Fire: The Controversial Side
The backlash has been particularly sharp for top Bhojpuri performers like Khesari Lal Yadav, Shilpi Raj, Awdhesh Premi, Samar Singh, Sanjay Pandey, and Omprakash Diwana. Their music videos often feature suggestive lyrics and steamy visuals, drawing criticism from lawmakers, feminists, and cultural purists alike.
One high-profile controversy in February 2023 involved singer Shilpi Raj, who filed an FIR against another Bhojpuri artist for defaming her in a sexually explicit song. The case led to the arrest of the accused and a broader discussion about industry ethics.
Tracks like Khesari Lal’s metaphor-laced “bedroom fight” song went viral but drew ire for what critics called “public indecency disguised as art”. These songs often top trending charts but are also accused of degrading the cultural fabric of Bihar and painting a caricatured image of Bhojpuri-speaking communities.
Defenders of Artistic Freedom Push Back
However, many within the Bhojpuri music fraternity reject blanket censorship. They argue that Bhojpuri folk tradition has historically included sensual metaphors and double-entendre, which should not be mistaken for vulgarity.
In a 2024 Outlook India piece, commentator Prateek Sur dissected Bhojpuri’s layered lyrical traditions, defending lines like “Sej par kekra sange ladab” (I will wrestle with the crab on the bed) as creative, earthy expressions of female desire, rooted in rural idioms. He pointed out parallels with classical Indian poetry, including Jayadeva’s Gita Govinda, which similarly contains erotic imagery within devotional frameworks.
Veteran singer Kalpana Patowary echoed this sentiment in an earlier interview, stating, “A song is a song. It depends on who is listening and how they interpret it.” She emphasized that singers alone shouldn’t be blamed; lyricists, producers, and the audience all share responsibility. “If people didn’t enjoy it, these songs wouldn’t trend,” she added.
Folk-Inspired Artists Lead a Cultural Revival
Amid this contentious environment, a parallel movement is emerging. Artists like Nilkamal Singh, Deepali Sahay, and the Pandey Sisters (Karina and Sovita Pandey) are gaining popularity with music that stays true to Bhojpuri’s devotional and folk roots.
Their songs celebrate Chhath festivals, bridal rituals, and Bihar’s rustic beauty, using clean lyrics and traditional instruments. The group Misri, led by Adarsh Aadee, explicitly aims to reconnect Bhojpuri youth with cultural identity through “music that reflects pride, not shame”.
These artists are not only restoring cultural dignity but are also proving commercially viable. For instance, Nilkamal Singh’s “Heroine” and Karina Pandey’s “Rupwa Tor Nirekhu” have tens of millions of views on YouTube. The Pandey Sisters’ official channel has over 1 million subscribers, while Deepali Sahay’s devotional tracks regularly trend during religious festivals.
Media and Experts Weigh In
The Vihaan Bhojpuri platform often covers these “clean music” artists, describing their work as preserving the “rich culture of Bihar”. In one segment, it praised the Pandey Sisters’ “Singar Ka Kari”, which depicts age-old bridal customs. Similarly, Sahay’s songs have been recognized for their patriotic and spiritual tone.
Experts see the debate as a reflection of Bhojpuri’s ongoing identity crisis. Sociologist Rishabh Srivastava warns that the over-commercialization of sexual content risks turning Bhojpuri into a “joke language”. He explains that while double-meaning expressions (e.g., the word athi, which can mean both a guest and a lover) are native to Bhojpuri, their misuse leads to linguistic dilution.
“If Bhojpuri continues to be seen only as a vulgar language, the younger generation will abandon it,” he noted. Some young couples reportedly avoid speaking Bhojpuri in private due to embarrassment – a trend experts believe is alarming.
Balancing Commerce with Culture
Music executives, however, point out that the line between folk and popular music is blurring. While risqué songs garner fast views, many platforms also carry folk tracks and bhajans uploaded by lesser-known artists. These attract loyal niche audiences and occasionally break into mainstream success.
“There’s room for all kinds of music,” said one Bhojpuri music producer. “But it’s time we redefine what goes viral.”
At the same time, government action remains selective. While there have been advisories and arrests, sweeping regulations or bans are unlikely. Instead, a form of soft regulation and public accountability seems to be emerging – where artists are judged not just by popularity but by their cultural contribution.
Can Both Worlds Coexist?
With politics, public sentiment, and digital platforms all shaping Bhojpuri’s trajectory, the industry is at a pivotal moment. Artists like Kalpana Patowary argue that the final judge will be the people themselves: “Yeh public hai, yeh sab jaanti hai” (The public knows everything).
What’s clear is that Bhojpuri music is no longer just entertainment – it has become a cultural battleground. The question now is whether the industry can strike a balance between pop appeal and cultural pride – between catchy beats and meaningful lyrics – and reclaim Bhojpuri’s place as a dignified, expressive, and inclusive language of the heartland.
