Outfly on Evolution, Experimentation, and the Discipline Behind His Sound
Outfly’s journey through music isn’t just about genre shifts—it’s about intention, reinvention, and finding voice through sound.
From his early days drumming in rock and metal bands to producing some of Indian hip hop’s most dynamic and genre-defying tracks, he’s carved a path that’s as instinctive as it is refined.
In this exclusive Desi Renaissance interview, Outfly opens up about his transition from live instruments to digital production, the story behind his creative chemistry with Gravity, his take on AI in music, and the discipline behind mixing and mastering.
Q) You began producing hip hop around 2021–22, but before that, you were deep into rock and metal, even playing in bands. How did that transition happen? Can you take us back through your journey—from being a band musician to now crafting beats in hip hop?
Outfly: Not many people know this, but I actually started out as a drummer. I grew up on rock and metal because that’s what everyone around me listened to, and my drum teachers used rock songs to teach me. But by the end of my teens, I had outgrown metal and started gravitating toward pop and hip hop, especially Indian hip hop.
Later, I went to Melbourne to study music production, and that changed everything. I stopped playing live instruments and started producing entirely on my laptop. I didn’t have a defined sound back then, I was just experimenting with everything.
When I came back to India in 2020, I connected with artists like Gravity, and that’s what pulled me fully into hip hop.
I decided to really study the genre. I watched a ton of beat-making tutorials, learned the rules of the genre and also watched hip hop related movies to understand the culture. Then, I started making beats and sending them out to artists. That’s how the transition happened.
Q) You’ve collaborated with several artists, but your creative bond with Gravity stands out. How did the two of you first connect, and what’s it been like growing and evolving together musically?
Outfly: We first crossed paths at a studio where I was working as a recording engineer. Grav happened to drop by during one of his friend’s sessions to check the place out. A few days later, he started recording vocals for his album 3:16 at the studio, so we met a lot.
He was open to collaborating with new producers, and I saw that as an opportunity. I spent time listening to his older work to understand his sound and began making beats that I felt would resonate with him. Kimono and Konnichiwa were the first two tracks we worked on together.
I owe a lot of my growth over the years to Grav. He’s always been fearless when it comes to trying new things. Never limited by genre or expectation.
I’ve never wanted to stick to one style either, so every time we cook up, the aim is to push boundaries and make something fresh.
Q) Moonbounce is one of my favorite projects from your catalog—the production was textured, atmospheric, and refreshingly different. But it felt like it flew under the radar, maybe because it challenged what people expected from Gravity at the time. Looking back, how do you personally view Moonbounce? What was your joint vision for that project?
Outfly: Thank you, I really appreciate that. The vision behind Moonbounce was to do the complete opposite of Supervillain. We wanted to do a full pop album.
The response has been pretty polarising. People either really connected with it or didn’t vibe with it at all. And you’re right, A lot of listeners weren’t expecting that sound from Gravity, so maybe it wasn’t the smartest move commercially.
But honestly, I’ve not been in the game that long, and if this isn’t the time to take risks, then when is?
For me, Moonbounce was a breakthrough. It kind of “taught” me how to make pop music. Since then, that’s the direction I’ve been leaning into more, while Grav’s back to his hip hop roots with his new album Balaclava. So in a way, that project helped both of us evolve.
Q) The Indian hip-hop scene is exploding with talented producers, but only a handful get real appreciation from the audience. As someone creating genuinely standout work, how do you make sure what you bring to the table—both for the artist and the listener—stands out? And are there any other Indian producers you feel deserve more recognition?
Outfly: For me, making sure my work stands out starts with being brutally honest with myself. I’m probably my own toughest critic, and I trust my taste. So every track has to pass my own vibe check before it goes anywhere. If I’m not impressed, it doesn’t leave the laptop.
That kind of quality control only works if you’re making a LOT of music though. You need volume to have options. It also sharpens your skills, speeds up your workflow, and gives you a stash of extra beats that you can always use later.
As for underrated producers, one name that comes to mind, though he’s not in hip hop, is my close friend Prasanna Suresh.
He’s worked with big names like Pritam and Jubin Nautiyal, but it’s his independent music that really deserves more attention. He sings, produces, and has crafted a sound that’s truly his own. You should definitely check out his song Anbe, it’s my favourite one from him.
Q) You handle not just production but also the mixing and mastering of your tracks. For young producers trying to learn the full process, what are some key things they should understand about building a track that sounds good?
Outfly: Yeah, I actually started out as an audio engineer and only got into production later. That background really helps, because I have a better sense of what sounds will work well in a mix even before I start building the track.
As cliché as it sounds, sound selection is everything. You could have a great musical idea, but if the samples or sounds you choose are weak, the idea won’t land the way it should.
On the flip side, even a simple idea can hit hard if it’s built with the right sounds. So for anyone learning the full process, don’t just focus on the composition or the technical side. Train your ears to recognize high-quality sounds, and everything else gets easier from there.
Q) There’s been a lot of talk about AI replacing musicians—but I believe what a human creates, only a human truly can. As someone who puts real intention into your craft, how do you view the rise of AI in music? Does it feel like a threat, a tool or something else entirely?
Outfly: It doesn’t feel like a threat to me at all. At the end of the day, humans create art from lived experience. AI can only mimic that. It lacks soul, it lacks intent.
What bothers me more is the messaging behind AI music tools like Suno. They market it like: “You don’t need to be a musician anymore. Skip the years of learning, just make a song instantly.”
I don’t understand why we’re so eager to blur that line and make everyone feel like an artist without actually going through the process. There’s something dismissive about that.
That said, can AI be a tool for musicians? Definitely. It’s decent for idea generation, and great for creating absurdly specific sounds or samples you wouldn’t normally find.
It’s like the 2025 version of crate digging, if you’re using AI to generate raw material and then flipping it into something fresh.
I think AI can be part of your workflow, but it should never be the whole process. A good musician will know what to take from an AI-generated piece and how to build on it to create something truly original, rather than just treating it as a finished product.
I once read a quote that stuck with me: “AI won’t replace humans. Humans using AI will.” And I think that really says it all. It’s not about fearing the tool, it’s about knowing how to use it with intention.
Q) You’ve already moved across genres, shaped some of the most nuanced sounds in the scene, and done it all without chasing trends. At this point in your journey, what drives you to keep creating—is it curiosity, the hunger to evolve, or the people you work with?
Outfly: The funny thing is, I genuinely don’t know how to chase trends. Even when I try using a popular song as a reference, I start off in that direction but eventually, the creator in me takes over and steers it somewhere completely different. I guess I’m just wired that way.
What drives me the most is the hunger to evolve, and to dominate, honestly. I want to be counted among the top producers in the country. And I know the only way to get there is by trusting my process, rather than trying to imitate what’s already out there. That’s the only path that feels sustainable and authentic to me.
Outfly’s story is still being written, but the blueprint is already clear: intention over imitation, growth over gimmicks.
He’s not here to chase what’s popular—he’s here to build what lasts. And in doing so, he’s giving Indian hip hop a whole new language of sound.
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