Piroo Rana, the singer of the popular song ‘Satayera’, says that even today, many people are unaware that she sang the song. “I did not get proper credit for it,” she says.

Today, going viral on TikTok, Instagram reels, or any other social media platforms is key to making a song garner millions of listeners. “Until a song becomes a trend, regardless of its quality, it is difficult to reach a wider audience,” says Rana.

There has been a significant rise in the number of indie musicians in Nepal. Originally from Itahari, the Chumbak band says, “There are a lot of artists coming from the East as well.” With artists creating original music, the growth of indie artists is encouraging. However, the challenge of getting noticed amidst the overwhelming noise of viral trends remains.

Singer-songwriters Piroo Rana, Amit Jung, Abhiskar Jung Gautam and Chumbak band have struggled to get a platform to showcase their musical talents. Each of their journeys to get recognition in the musical landscape of Nepal has been unique. Reflecting on his journey, Gautam shares, “I have always tried to be genuine while creating music. My recent songs like ‘Timi Sangai’ and ‘K Saath Dinchau’ are drawn from my experiences.”

Despite the major setback in her song ‘Satayera’, Rana says, “Before putting out my original music, I felt I needed to have some relevance, so I started my journey by singing cover songs.” Only after the release of her song ‘Shabda’, which she had roughly put out, did she start getting noticed for her music. This also helped her gain a lot of followers on Instagram and YouTube.

Jung, who has turned music into his full-time career for nearly six years, says he is still refining his craft. His song ‘Barsa Bhayecha Nepal Nafarkeko’ earned views on Youtube.

“This song encapsulates my thoughts when I hadn't returned to Nepal for years. Especially during Dashain, nostalgia hits hard when you are away,” says Jung, signifying the importance of connecting music to his audience.

According to Chumbak Band with Sahil Sen (guitarist), Anil Tamang Gonba (Vocals), Lav Sherpa (guitarist), Sanjaya Shrestha (drums) and Bibek Tamang (bass guitar), “We used to upload videos every day. We put out small ideas even if it wasn't the final product. At first, it was just one or two people noticing, but gradually, more and more started following us.”

Now, the band has its record label, KLM Records, through which it organises an event called ‘NO cover day’, during which budding artists are encouraged to sing their originals. While financial challenges remain for every artist, the band lacked support in their early days. The band did not receive support from its hometown, Itahari, during its initial phase. “Promotion companies back home did not do their jobs properly; some even told us that we weren't ready and discouraged us,” Sen recalls.

Acknowledging the challenges of starting something new, the band also criticised the lack of proper infrastructure in music institutions in Itahari. “Those so-called institutions were just mere buildings as major practice rooms or studios; full drum sets and amplifiers were lacking, which made recording and practising difficult,” says the guitarist of the band Sherpa.

They add, “Compared to other regions, it is easier to work in Kathmandu because we get to work with professional people.” As for Jung, breaking free from his family's expectations remains a major challenge. “Especially in Nepal, when one decides to earn by pursuing a career in the arts, it is difficult because both the family and the society impose certain expectations from you: what you should do, how much you should earn, etc,” he explains.

Jung acknowledges that such challenges are inevitable, considering music his full-time job. “These challenges are part of being an independent artist,” he says. Drawing from his experience performing abroad, Jung also observed a pattern in the event organisers where they often prioritise artists from their community. “An artist might not belong to a particular community, but they could still be talented. To allow art to flourish, it is important to recognise and promote the best talent, regardless of one's background,” says Jung.

For someone belonging to the LGBTQ community, Rana faced multifold challenges. “When I first started singing, people would ask if I was a boy or a girl.” Rana also felt that her neutral vocal texture presented as a challenging factor. “I have a very neutral voice; that is why I never fit into the category of a typical female vocalist,” says Rana.

For her, the first challenge stemmed from her insecurity of being queer, which led to a lack of confidence and fear of rejection. “However, in terms of my identity-whether I'm straight or queer, music is what matters most to me. My identity has never stopped me from creating music,” says Rana.

Rana also noticed nepotism in the music industry. “It seems the more influencers you know, the more popular your song becomes,” she says.

Like Rana, Gataum also feels pressured to stay relevant on social media. While he acknowledges staying active on social media to build a fanbase and networking, he says, “Staying active on social media consumes a considerable amount of my time that could otherwise be devoted to my music.” Gautam has been creating his own music without the backing of a record label or a dedicated team. He says, “Balancing the creative side of making music with the business and promotional aspects is challenging.”

However, Gautam sees this responsibility as an opportunity. He says, “Being shouldered with responsibilities compels me to be more innovative and resourceful and makes me seek new ways to stand out and connect with my audience in a crowded music landscape.”

When asked about the changes required for the Nepali indie music industry to grow, Gautam emphasised the importance of creating a stronger sense of community among indie musicians.

In addition, Rana says, “Compared to the male artists, who frequently work together, the Nepal music industry lacks female collaborators.” On the other hand, Jung believes that artists need to take their art seriously, quoting, “Art should comfort the disturbed and disturb the comfortable”.

He also believes that music as a form of art can act as a bridge connecting people living abroad to their roots back in Nepal. “By reconnecting the authenticity of Nepali music, artists can create a richer, more diverse indie music scene that resonates with local listeners,” says Jung. He also highlights the importance of pioneers like Narayn Gopal, who kept Nepali music alive even when global trends dominated, ensuring that Hindi songs did not overshadow Nepali songs. He emphasises the responsibility of artists to preserve and carry forward this authenticity.

The artist advocates for blending global influences with local taste in Nepali music, focusing on preserving Nepal's unique musical traditions while staying open to global trends. Chumbak group and Rana agree on the importance of consistency while making music. “It might take twenty songs before you get noticed. However, how often you release songs and push yourself will determine how successful you become,” says Rana.

According to Chumbak band, while remaining consistent and confident in one’s creation is important, “Listeners should also explore new songs, and they should explore beyond just TikTok and trending songs,” says Sherpa.

Lastly, Rana feels like there should be a collaboration platform where artists can give feedback to each other before showing their work to the audience. “I just hope everyone keeps trying and doesn’t give up,” she says.