In Conversation with Boyblanck: Building G16, His Creative Process & views on Indian trap Music
In my opinion, Boyblanck is the finest new-school/trap artist in the country right now. After dropping four standout projects in 2024, he’s proved beyond doubt that he’s not just consistent—he’s special.
His lyricism, experimental sound, and unique flow have set him apart, and his growth over the past year and a half has been impossible to ignore.
In this interview, we spoke about everything from his creative process and thoughts on the trap scene, to building G16 from the ground up and why he doesn’t take himself—or the industry—too seriously. It’s a candid look into the mind of an artist who’s all in on his craft.
Q) 2024 felt like your year. Dropping four projects in a single year—all high quality—is a feat in itself. Despite that, the numbers don’t always reflect the effort. Does that ever frustrate you, or do you focus purely on the music?
Boyblanck: I would be lying if I tell you I’m not interested in being the highest-selling hip-hop act this country has ever seen.
But does that play any role when I approach music? Never, actually.
When I’m in the studio, the point is to cut the BS and completely zone out into the sonics. How we market it and try and get those numbers up happens outside the studio, after the music is made.
Q) You’ve had some crazy features in 2024, and now in 2025, we’ve got Cash Money with 14K and Aakash. How do you decide who to collaborate with? Do you look for a certain chemistry, or is it more about pushing your sound forward?
Boyblanck: I love doing features and collaborations. I think as a listener of music myself, it’s one of the most exciting things about this whole music shit—you know, when two or more people come together and make something? I absolutely love that.
A lot of times I do paid features—and don’t get me wrong, I never take those lightly. I try to do justice to the whole song and make it sound lit.
In other cases, it’s mostly like I see someone post their music online and I’m instantly like, “Damn, I need to work with this person,” and then I just approach them—if not approached first.
But with features, I’m never really thinking about hitting or missing. I’m honestly just obsessively thinking about the music all the fucking time.
Q) Trap music often gets dismissed for lacking depth in lyrics, but you’re one of the few who bring strong lyricism to the genre. Do you think that’s what sets you apart from other new-school rappers? And what’s your bigger vision with your music and sound?
Boyblanck: I don’t like being associated with the genre trap as much as people do. Like obviously I rap on trap beats—that will never stop since it is very fun—but I see myself as a songwriter, composer, and a music director.
I don’t think about genres as deeply. I am a huge fan of poetry, and over the years I’ve come to know how to put that poetry out in a musical context.
Now, as a music director, it gives me infinite freedom to take it anywhere. I never know what I might end up hearing after a studio session ends, and I’d like to keep it that way.
Q) What’s your take on the Indian trap scene right now? Do you think it’s finally getting the respect it deserves? And who are some artists you’re currently listening to or rate highly?
Boyblanck: When I look back at the time when I started out compared to what’s going on right now, it’s a crazy difference—in sounds, personalities, opportunities, and even content matter.
I’ve started to really enjoy taking a backseat once in a while and witnessing the scene. I think it’s hella liberating, and I’m all up for it.
I listen to almost everything that comes out and sees the light of day in the country. I’m prolly the first person to tap on your song at midnight when it comes out, lol.
There are some artists that I really fuck with—like this guy from Canada called Pistoul, I think he’s a dope talent; Rocky Glock; 14K; Sohunnid; and of course all my other peers—some of them are really dope. All in all, I’m super tapped in.
Q) Take us inside your creative process—what does a studio session with you actually look like? Do you come in with a clear vision, or do you let the vibe dictate the direction? How do you approach writing, beat selection, and recording?
Boyblanck: I am mostly clueless before the studio session. One thing for sure—I don’t like a lot of people in the studio when I’m working. Only my engineer, and if there’s a featuring artist, then sure.
But yeah, I like getting done with the instrumental first. Either we go through beat packs or just end up making one, but I never write without instrumentals.
Mostly, the first lyric I write dictates what the song is gonna be about or how it’s even gonna sound—but it’s definitely never pre-planned, whatever I choose to cook. Also, I’ve stopped taking myself and my art too seriously.
Like after a certain point, it’s just music, and I think it’s really important to realise that. Your music will not save the world—it’ll just save the moment!
Q) G16 has always had this air of mystery around it—people know the name, but not the full story. You and Scoolboy Pax were there from the start, but what’s the real vision behind the label? What sets G16 apart from other indie rap movements in India?
Boyblanck: G16 is mine and Yuushman’s label. We started it in 2019 and have been focusing on building the catalog since. We started way before a lot of labels we see coming up these days, and one good thing is that we already have a massive catalog when everyone else is trying to build one.
With G16 it’s pretty simple—we will keep building the catalog and keep nurturing the cult we’ve managed to build. And as soon as I blow up, I’ll let everyone know what we’ve all been about. I already have names in my mind that I wanna sign to G16 in the near future—I’ll put light on that too later.
Q) Back in 2019, you dropped Metro Ride, and since then, your sound and artistry have evolved massively. If you look back at that version of yourself, what’s something you used to care about in music—or even in life—that now feels insignificant?
Boyblanck: Damn, this is prolly the first time someone has brought up Metro Ride in an interview. Let’s talk about it!
I started putting music out in 2019. From 2019 to 2021 end, I was literally just practicing—imitating my favourite artists from the West and trying to catch rhythm. I’ve always had a sense of music since childhood, but I never really practiced any of it until 11th grade when I started writing music.
During that time, my mindset was actually much better when I approached music because there were hardly any variables. We were free-spirited and only doing it for ourselves.
But then I got incorporated in the “industry,” and then label associations started happening, and numbers and economics entered the chat—so shit kinda became corrupted in a sense.
But now, my life’s mission is to become a superstar off the sound we built and nurtured here in Noida, and somehow figure out a way to put everyone who listens to hip-hop on my shit.
The idea is not to give the audience what they need—but to give them something they didn’t know they needed.
Q) If a young artist walked up to you and said, “I want to be like you,” what’s the most important piece of advice you’d give them?
Boyblanck: I would probably tell them to go fall in love a couple of times, come very close to blowing up but not blow up, scrap your albums four times, spend months doing nothing, drop out of college, feel alone, helpless and have no kinda backup plans for their life.
Be absolutely insane about your craft, goals and ambition—and move with the kinda confidence which is unparalleled.
Q) You’ve had a crazy run last year. What’s next? Are you planning to slow down or keep the momentum going even harder in 2025?
Boyblanck: Last year’s run was very intentional. I wanted to get rid of all the music I had in my computer, along with the songs that I freshly cooked in 2024.
2025 will be different. I will definitely do an album or two, but this year none of my shit is gonna sound like last year’s. Beats, lyricism, aesthetics—everything is gonna switch up. This year, I’m more detailed with it, focusing a lot more on engineering my music as well.
One of the goals this year is to give out the best quality of sonics that I can produce in all my capabilities.
Boyblanck isn’t just making music—he’s building a legacy on his own terms. Whether he’s zoning out in the studio, handpicking collaborations, or quietly shaping the sound of G16, everything he does comes from a place of intention.
This conversation was just a glimpse into that mindset. If the scene doesn’t catch up to what he’s doing soon, it’ll be missing out on one of the most important voices of this generation.
Thank you to Boyblanck for this honest and thoughtful conversation. We’re looking forward to everything that’s coming next.
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