When Chaar Diwaari aka Garv Taneja stepped onto the Hyderabad stage for the first time, there was no dramatic preface — just instinct, sound and a crowd slowly leaning into his universe. The visit was brief, barely two days, but the concert carried the weight of an artiste in transition — moving from rebellion to reflection, from rhythm-driven impulses to melody-led emotion.
“I had actually never been to Hyderabad before,” he says. The trip revolved almost entirely around the performance — a space he describes as where he feels most alive. “The times I’m actually alive is when I’m creating something or playing it to someone,” he expresses. Yet he’s still adjusting to what follows. “I’m still getting used to doing concerts and then going to sleep,” he admits. The adrenaline lingers long after the stage lights fade.
That immediacy shapes his recent work, including Banda Kaam Ka from his EP Parvana. He rarely begins with a fixed sonic destination. “When I produce music, I’m not really focused too much on what it’s going to sound like in the end. I’m just having fun with the ideas that I have in my head,” he explains.
Parvana traces the arc of one-sided love, and Banda Kaam Ka captures its first crush. “Falling in love for me is very fun, but it also has a subtle tint of something divine,” he says. That duality highlights both the lyrics and the way it was produced — playful drums anchoring his verse, while Indian instruments lend emotional weight to Sanjith Hegde’s.
His collaboration with Sanjith was intentional. “From the time I met him, I knew he’s a genius. The way he thinks, writes and composes melodies is very beautiful,” he shares. Moving beyond conventional hip-hop features, he sought voices that could access emotional spaces he couldn’t. “Because I can’t sing that well, and I can’t express emotions like classical singers do, I thought — why not get someone who can?” he adds.
It marks a clear evolution. “Throughout my music school journey, I hated that everyone said melody was king. I wanted to be anti-establishment. Now, I just want to write melodies. In every recent song, I’ve tried to make sure the melody plays an important role,” he recalls.
A similar turning point came with Iss Tarah. After struggling to find the right collaborator, the song eventually found its voice through Sonu Nigam, facilitated by Vishal Dadlani. “Thanks to him, the song exists in its current state,” he shares.
Among his lyrics, one line lingers: ‘Bhavron ne mujhse kaha. Pagal patanga hua...’ If rebellion once defined him, vulnerability now guides him. “The upcoming songs are more personal. You’ll see more vulnerable writing,” he notes.
Looking back at Hyderabad, what stands out isn’t spectacle but sincerity. “Energy is everything. Even if I don’t get it back, I try to make sure I’m having fun. When you see someone having fun on stage, that’s what you start to reflect,” Chaar Diwaari concludes.