“The Future Belongs To Artists Who Think Like CEOs”-Raja Kumari

Raja Kumari is an Indian-American rapper, singer and songwriter known for seamlessly blending Eastern classical influences with contemporary hip-hop and R&B. A Grammy-nominated songwriter who has worked with global artists before stepping fully into the spotlight herself, she has built a distinct identity rooted in culture, empowerment and lyrical finesse. With a career that bridges Los Angeles and Mumbai, Kumari represents a new wave of global Indian artistry,bold, business-savvy and unapologetically original.

In this interview with Loudest.in,Kumari discusses global strategy, ownership through Godmother Records, adapting to AI and streaming, and balancing creativity with commerce in today’s music industry.

Here are edited excerpts:

How do you tailor your strategy for Indian vs global markets?

The strategy begins with cultural intelligence. India and the global market may consume the same platforms, but they respond to very different emotional triggers. In India, music is still deeply community-driven, films, festivals, language, and legacy matter. Globally, especially in the US, hip-hop is narrative-led and individualistic; authenticity and storytelling are everything.

For me, the brand remains consistent, rooted in identity, empowerment and cross-cultural fusion, but the rollout shifts. In India, I lean into language, visual symbolism, and grassroots digital engagement. Internationally, the focus is on collaborations, touring circuits, sync placements, and positioning within the larger hip-hop ecosystem.

It’s not about changing who I am. It’s about translating the same core into different cultural currencies.

What motivated you to start Godmother Records?

Ownership.

After years in the system, writing for major global artists and understanding label economics, I realized that creative power without business ownership is incomplete. Godmother Records was born out of the desire to build infrastructure, not just moments.

I wanted a platform that prioritises artist equity, IP ownership, and long-term brand building over short-term hits. Especially as a woman of colour navigating global music spaces, I understood how important it was to control narrative, masters, and monetisation.

Godmother Records isn’t just a label; it’s a blueprint for sovereignty in a rapidly shifting industry.

When did you decide to focus on your own brand over writing for others?

There wasn’t one dramatic moment, it was a gradual awakening. I had global cuts, platinum records, incredible collaborations, but I realised I was helping build legacies without fully building my own.

Writing for others sharpened my craft and funded my independence. But at some point, the ROI on personal brand equity becomes far more valuable than backend publishing splits.

The shift happened when I understood that my story, a woman straddling India and America, classical roots and hip-hop rebellion, was not a niche. It was an asset. And assets deserve to be scaled.

How are you adapting to AI and streaming changes in music?

AI is not the enemy, irrelevance is.

Streaming has already democratised distribution. AI is democratising creation. The key is differentiation. Technology can replicate patterns, but it cannot replicate lived experience, spiritual depth, or cultural nuance.

From a business standpoint, I see AI as a tool, for production efficiency, marketing analytics, audience segmentation. But the value of an artist brand will increasingly depend on authenticity and human connection.

In a world flooded with content, identity becomes premium currency.

How do you balance creative control with commercial partnerships?

Alignment over money.

I approach brand partnerships like collaborations, not endorsements. If the brand narrative aligns with my values of empowerment, cultural pride, and innovation, it becomes organic. If it feels transactional, audiences can sense it instantly.

Creative control doesn’t mean rejecting commerce. It means structuring deals where my voice isn’t diluted. Equity-based conversations, long-term relationships, co-creation ,those are the models that work.

The future belongs to artists who think like CEOs and create like poets. And I intend to do both.