‘Ma Ta Dhale Dhale’, ‘Tadha Tadha’, and ‘Bardali’ are just a few Nepali songs that went viral on social media platforms in 2024. These songs are easy on the ears with simple lyrics and arresting hooks, and make one wonder if they are tailor-made to grab audience attention on social media. The decline in attention span is a subject that is discussed around the world of late; if you want to make it big as an artist, it’s important that you grab audience attention quickly.

Platforms like TikTok, and its copycats Instagram Reels, and YouTube Shorts, have revolutionised how brands connect with audiences.

These platforms, which mostly feature short videos, ranging from a few seconds to a minute, are now the cornerstone of successful social media strategies and have exploded in popularity, particularly among younger demographics.

“We don't have a media platform that effectively promotes independent artists and their music,” says singer and songwriter Prajina, who goes by her first name. “[In contrast] an entire team promotes the songs in films, allowing their music to spread among larger audiences.”

Prajina recently collaborated with Wangden Sherpa in his song ‘Tadha Tadha’, which has gone viral across social media platforms. Tiktokers and Reel-makers embraced the song’s catchy lyrics and hook in droves. If you are on social media, it’s certain you must have listened to the song’s hook, even if you didn’t listen to the whole song. Since its release on Youtube in early October, the song has been viewed over 5.1 million times so far.

“Platforms like TikTok and Reels have become a boon for independent artists like us,” Prajina says.

Prajina adds that she mostly writes lyrics to express her emotions. “I write what I feel,” she says, matter-of-factly. “That’s not intended for platforms like TikTok or Reels. Yet, my songs go viral there. Why? Because audiences of my age are active on those platforms and connect with my music.”

Prajina acknowledges the importance of these platforms for her career.

She believes that TikTok and Reels are vital tools for helping her gain visibility and build an audience. She has realised that she has not utilised these platforms as much as she should. However, she plans to focus more on them in the coming year.

From Melawa Devi Gurung’s ‘Sawari Mero Relaima’ to Shanta Rani Pariyar’s ‘Ma Ta Dhale Dhale’, the Nepali music industry has come a long way.

Shanta Rani Pariyar, who began her musical journey over a decade ago with lok dohori songs, is now among the industry’s more bankable singers.

Her track ‘Ma Ta Dhale Dhale’, penned by Netra Aryal, went viral overnight. Since its release in August, the song has been viewed over 42 million times on Youtube.

Pariyar also views social media platforms as valuable tools for promoting music.

“While creating a new song, we sometimes need to consider whether it will appeal to audiences on Reels and TikTok,” Pariyar says.

However, creators say it’s not easy to make their creations go viral all the time.

“Sometimes, when we put much more effort into our new creation, the outcome is unsatisfactory in attracting audiences,” Pariyar adds. “But sometimes, fewer efforts into creating gain unexpected popularity.”

Social media is a platform where users decide the value of creation without introspecting the efforts and investment made in the particular creation.

“This experience has taught me to keep working consistently without worrying about how well the audience will receive a song,” says Pariyar.

But such a trend raises the question: Will Nepali artists tend to follow social media trends, or will they pursue their true artistic instincts?

The trend is a matter of concern. The trend of 15-second reels and fleeting fads could divert Nepali artists from prioritising substance over vibe.

The commercialisation of the music industry, driven by views and virality, can diminish the beauty and authenticity of Nepali music, critics say.

While songs like ‘Bistarale Polyo’ and ‘Katta Handinchhu’ spread like wildfire, garnering millions of views, deserving folk bands and talented artists are not receiving the recognition they deserve.

According to critics, such virality trends on Reels and TikTok risk overshadowing genuine talent.

Artists like Sushant Ghimire, Sunita Thegim and Kuma Sagar, whose works seem to defy trends not focusing on Reels and TikTok, yet gain widespread love and attention from audiences.

They are celebrated for their unique musical expressions.

But critics say that TikTok and Reels will likely remain influential in shaping Nepali music in the coming days, which may be guided by the new, social media-savvy generation’s likes and dislikes, threatening real, authentic talents.

Kuma Sagar, who gives a modern touch to traditional Newa musical sensibilities, says that while writing lyrics, he does not consider trends. “I often get spontaneous ideas for lyrics, whether walking down the street or riding a bike,” he says. “I am constantly humming melodies and quickly jot it down whenever inspiration strikes.”

But whatever the future of the music industry is, social media platforms have now become a force to reckon with.

Social media platforms break down geographical barriers and tap into a vast and diverse talent pool.

Before the rise of TikTok and Instagram Reels, independent artists in Nepal faced significant challenges in reaching a wider audience and gaining recognition.

“Without the support of mainstream media or large production houses, many struggled to connect with listeners beyond their immediate circles,” Prajina says. “These platforms have revolutionised the landscape of music promotion.”

Reels and TikTok have provided artists with an accessible tool to showcase their talent. By leveraging TikTok and Reels, independent musicians can amplify their voices, attract a broader listener base, and carve out their own niche in the Nepali music industry.

“It is evident that in the years ahead, artists will undoubtedly use the potential of these platforms to amplify their reach, engage with listeners, and carve out a niche in an ever-evolving music industry,” adds Pariyar.

Throughout this evolution, Nepali music has significantly changed its patterns and has been influenced by contemporary trends. Behind these successes, monetisation is perhaps a driving factor for many.

Tiktok, Reels, YouTube and many other platforms offer various monetisation methods. The platforms have incorporated features facilitating brand partnerships, sponsored content, and even direct sales through online shopping.

Creators can leverage their reach and engagement on these platforms to attract brand deals and marketing.

Pariyar, who has decided to follow social media trends, is optimistic that Reels and TikTok’s dominance would not entirely overshadow traditional or authentic music.

Music transcends mere entertainment; thus, audiences should carefully consider what type of music they wish to pass on to future generations—whether it be the works of genuine artists or the fleeting allure of trending numbers that offer only momentary dopamine release.

“As more artists experiment with blending trends with authentic storytelling, a balance could emerge,” Pariyar adds, “allowing both viral hits and timeless creations to simultaneously survive and thrive.”