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Thiarajxtt, the producer behind hits like Diljit Dosanjh’s Ghost and Shubh’s We Rollin’, is stepping into the spotlight with his debut EP If the Sun Had a Dark Side.
Thiarajxtt, the creative force behind hits like Diljit Dosanjh’s Ghost and Shubh’s We Rollin’, is stepping into the spotlight with his debut EP If the Sun Had a Dark Side.
In the ever-expanding universe of Punjabi music, Thiarajxtt—the genius alter ego of Dilmanjot Singh Thiara—shines like a supernova. From crafting the chart-smashing vibes of Diljit Dosanjh’s “Ghost” to engineering the sticky beats behind Shubh’s viral anthem “We Rollin’,” he’s the producer everyone’s talking about, even if they can’t quite pronounce his name yet. Now, with his debut EP If the Sun Had a Dark Side—a kaleidoscopic fusion of hip-hop, R&B, and pop—this Universal Music Canada signee is on a mission to shake up the scene. Think Metro Boomin meets Punjabiyat: an audacious vision where producers aren’t just behind the boards—they’re driving the sound of a generation. News18 Showsha exclusively caught up with Thiarajxtt to talk beats, boundaries, and why the future of Punjabi music might just belong to the producers. Buckle up.
Here are the excerpts:
Your journey from producing platinum albums like Diljit Dosanjh’s Ghost to creating your debut EP, If the Sun Had a Dark Side, is incredible. What inspired this transition from producer to artist?
While I’ve always been a producer—and I strongly believe producers are artists in their own right—I’m excited to step into the spotlight as the primary artist with If The Sun Had A Dark Side. Previously, I collaborated as a co-primary artist with Diljit Paaji and on tracks like “After Hours” and “Spain,” where you can find my artist name. This time around, I’m leading the charge, and I’m thrilled to be collaborating with two incredibly talented co-primary artists: my twin brother, Irman, and Indrr Bajwa. For me, the lines between producer and artist are blurred; we both contribute creatively to the final product. With this project, I’m hoping to showcase that multifaceted artistry and change that point of view of producer not being on the centre stage.
You’ve cited Metro Boomin and DJ Khaled as influences. What elements of their work resonate with you, and how have they shaped your approach to music production and collaborations?
I really admire producers like Metro Boomin and DJ Khaled. Metro has this incredible ability to collaborate with diverse artists while maintaining a unique sonic signature. He adapts to each artist’s style, yet always adds his own distinct touch. That’s something I strive for in my own work. I believe in honouring the essence of both my style and the artist I’m collaborating with. Similar to DJ Khaled’s versatility, I enjoy exploring different genres. For example, my tracks “After Hours” and “Spain” showcase distinct sounds, reflecting that versatility that is highly seen in songs produced by DJ Khaled himself.
Punjabi music is steeped in tradition, yet your sound is futuristic and genre-defying. How do you strike a balance between preserving cultural roots and pushing boundaries?
My music has primarily been Western-focused, exploring genres like Afrobeats, Pop, and Hip Hop, and I’m really proud of the tracks I’ve created. Now, I’m eager to delve into my Punjabi roots and create something special for my culture. I’m particularly excited to incorporate native instruments, perhaps blending them with contemporary sounds like the way some popular hip-hop tracks have integrated the Indian flute. I’m also open to crafting something entirely based on traditional instrumentation. It’s a direction I’m deeply focused on right now and hence working on striking that balance that you are talking about.
Your debut EP blends hip-hop, R&B, and pop with Punjabi influences. What message or story were you aiming to convey with If the Sun Had a Dark Side?
If The Sun Had A Dark Side represents a different facet of my artistry. While I enjoy producing for other artists, this project allows me to showcase my own musical vision, with other artists collaborating on my work. It’s a deeply personal project, created with a close-knit, in-house team. My twin brother, Irman, contributed to the EP, and Indrr Bajwa, my longtime songwriting partner, is also heavily involved. Both Irman and Indrr are usually behind the scenes, and I wanted to bring their incredible talents to the forefront with this release.
Featuring your twin brother Irman and rising star Indrr Bajwa, the EP feels like a family affair. How did these collaborations come about, and what was it like working with them on this project?
Our usual creative process involves Indrr writing the lyrics and Irman recording the initial vocal references, so working on this EP felt very natural and smooth. The main difference this time was putting Indrr and Irman’s contributions front and centre, giving them the spotlight they deserve. The core creative process remained the same, which made it a really enjoyable experience.
The title If the Sun Had a Dark Side is intriguing. What’s the story or concept behind it, and how does it reflect your creative vision?
If The Sun Had A Dark Side symbolizes exploring the hidden facets of an artist, much like a hidden, darker side of the sun. This EP reveals a different dimension of my creativity—a shift from producing for others to showcasing my own musical vision. While the title sets the overall tone, each track tells its own story.
The creative process was incredibly organic. I sent beats to my brother Irman, and Indrr, and they returned hours later with six song ideas! Five of those made it onto the EP, with them taking centre stage as vocalists.
Uniquely, all melodies are original compositions, created from scratch. I’m excited about the possibility of others sampling these tracks in the future.
From Ghost to “We Rollin’,” you’ve worked on viral tracks with artists like Diljit Dosanjh and Shubh. What’s your process for crafting hits that resonate across audiences?
I believe the key to creating resonant tracks lies in diversity and a meticulous approach to sound. Across my work, from Ghost to “We Rollin’,” I’ve consciously explored different genres, ensuring each track offers something fresh and avoids repetition. I never want listeners to feel like they’re hearing the same thing over and over.
I also place a huge emphasis on mixing. For me, mixing is crucial; it’s where the final sonic landscape is shaped. It’s about carefully positioning each element, controlling how the sound reaches the listener. I strive for clean mixes, removing any harsh frequencies that could disrupt the listening experience. I’ve been fortunate to receive feedback praising the clarity and smoothness of my mixes, which I believe contributes to the replay value of the tracks.
“We Rollin’” became a cultural phenomenon. How did that track come together, and what do you think made it so impactful?
thiarajxtt – “We Rollin’” has a really unique origin story. After moving to Canada in 2019, my brother and I were making music that started gaining traction within our local community. One day, a friend took an Uber to our place, and the driver, upon learning about us, expressed interest in meeting. That Uber driver turned out to be Shubh!
At the time, Shubh was focused on songwriting and hadn’t planned on singing himself. He actually wanted my brother, Irman, to sing his tracks. But when I heard Shubh’s voice, I knew it was something special. I had a makeshift studio setup—literally a mic in my closet—and I jokingly “locked” Shubh in there, telling him he wasn’t coming out until he sang. We recorded “We Rollin’” right then and there, and it took only a couple of takes to get the magic we hear today. Shubh’s natural vocal talent is incredible.
As a producer, how do you tailor your sound for established icons like Diljit versus rising stars like Shubh or Indrr Bajwa?
My focus always begins with the sound itself. I believe the more energy and intention you pour into the sound landscape, the more the listener connects with it. I constantly strive for innovation, pushing myself to create something fresh and avoid repetition. I’m always looking for ways to experiment and explore new sonic territories.
For example, with “After Hours,” I had a very specific vision in mind: how I wanted to manipulate the vocals, create a sense of space with layered sounds coming from different directions. I channel my energy into achieving that specific goal. Sometimes it comes easily, other times it can take a week or even longer to get it right. Ultimately, I aim for a clean, innovative sound, regardless of whether I’m working with an established icon like Diljit or a rising star like Shubh or Indrr Bajwa.
You’ve mentioned wanting to put producers at the forefront of Punjabi music. What role do you see producers playing in revolutionizing the industry?
Producers are absolutely essential to the music industry, and I believe their contributions are often overlooked. While artists, vocalists, and songwriters all play crucial roles, the producer’s work is immense. They spend countless hours crafting the sound, refining every detail, and shaping the final product. Yet, they often don’t receive the same level of recognition or compensation as others involved. I’m passionate about bringing producers to the forefront, ensuring they receive the credit and royalties they deserve. It’s about acknowledging the significant creative and technical expertise they bring to every project and valuing their contributions fairly.
Punjabi music has gained global recognition in recent years. What do you think is the next big step for the genre, and how do you plan to contribute to its growth?
Punjabi music is definitely having a moment on the global stage, thriving across various genres. Artists like Sidhu Moose Wala made incredible contributions to hip-hop, and Diljit Dosanjh continues to excel across Afrobeats, Pop, R&B, and Hip Hop. However, I believe there’s still untapped potential within Punjabi music. Genres like country and rock, with their distinct energies, remain relatively unexplored. I’m eager to experiment with these sounds and contribute to the genre’s evolution. By pushing these boundaries, I believe we can reach even wider audiences and break down more barriers.
With your recent signing to Universal Music Canada, how do you envision expanding your sound and influence in the global music industry?
My vision and Universal Music Canada’s are perfectly aligned. They’re committed to exploring and amplifying South Asian music, and I’m passionate about building cross-cultural bridges to bring Punjabi music to a global audience. Just as Latin music transcends language barriers and is enjoyed worldwide, I believe Punjabi music has that same potential. We want to create music that resonates globally, regardless of whether listeners understand the lyrics. That shared vision is what makes this partnership so exciting.
Your music spans genres and cultures. How does your personal identity as a Punjabi artist living in a globalized world shape your sound?
While I’m an introverted person, I believe my identity as a Punjabi artist in a globalized world influences my music in subtle ways. I’m a keen listener, constantly absorbing sounds and ideas from different cultures. For me, it’s less about my personal life and more about the artistic vision. I agree with something Diljit Dosanjh once said: the art is big, not the artist. I try to stay humble, focused on creating good music and enjoying the process. Whether I’m working with a major artist or on a smaller project, I approach each with the same dedication and energy. Ultimately, I believe the music should speak for itself.
What has been the most challenging moment in your career so far, and how did you overcome it?
One of the biggest challenges of my career so far was working on Diljit Dosanjh’s Ghost album. We spent seven days in the studio recording vocals, and then I had just 30 days to complete all the post-production and final mixes, with my master’s degree submission looming just 15 days later.
Producing 21 songs in 30 days was a monumental task. I’m a producer who thrives on creative freedom and taking my time to perfect each sound. I often find that pressure and deadlines can stifle the creative flow. However, working with Diljit was such a huge honour that I was determined to make it work. It pushed me far beyond my comfort zone. I was sleeping only 2-3 hours a night, constantly working to meet the deadline. I typically spend 5-7 days on a single song, allowing the nuances to emerge gradually. The Ghost album demanded a completely different approach.
One track, “Kinni Kinni,” immediately resonated with me, and I knew I wanted to make it extra special. While every song presented its own challenges given the tight timeframe, pouring my energy into that album and delivering it on time was incredibly rewarding.
Looking ahead, what’s one dream collaboration you’d like to see happen, and why?
I’m really drawn to unique vocal textures, so a dream collaboration for me would be producing a track featuring Imran Khan and Don Toliver. Their voices together would create such an interesting dynamic. Another dream pairing would be The Weeknd and Diljit Dosanjh – I can only imagine the magic they would create on a song together.