Indian-origin Malaysian rapper and music producer Rabbit Mac is set to perform at Kalaa Utsavam 2025 in Singapore, bringing his signature Tamil hip-hop sound to one of the regionâs most anticipated arts festivals on November 28 at Esplanade Annexe Studio.
Known for his energetic stage presence and fusion of rap, R&B and Indian musical influences, Rabbit Mac has been a key figure in the rise of Tamil independent music across Southeast Asia.
The Penang-born artist has collaborated with major South Asian musicians and built a strong following for his lyrics and cross-cultural storytelling.
Connected to India’s Sudipto Maity caught up with the musician ahead of the event. Here’s the excerptsâŠ
Youâre headlining âRNF â Rabbit and Friendzâ at Kalaa Utsavam 2025 with ADK, Havoc Brothers, Sasi The Don, Santesh, Psychomantra, Siddarth and DJ Sathiya. What story are you trying to tell with this cross-regional Tamil hip-hop lineup, and how will the set be structured to spotlight each collaborator?
Rabbit Mac (RB): Rabbit and Friendz was born from my compilation albums released between 2010 and 2020, three projects that celebrated collaboration across borders and brotherhood through music. The idea has always been about unity: different artists, different stories, but one sound that connects us all.
For RNF â Rabbit and Friendz LIVE in Singapore, I wanted to recreate that same energy on stage to celebrate not just my journey, but the journeys of every artist who has stood beside me through the years. Weâll perform our biggest collaborations together, and Iâll also be highlighting each artist with their solo moments by performing the songs that Singapore and Malaysia have loved them for. Itâs not just a show; itâs a story of friendship, culture, and evolution told through music.
This show is billed as your first major return after a five-year hiatus. What triggered the comeback, and how has the time away changed your music and the way you plan a live set?
RB: To be honest, life brought me to my lowest point during the pandemic. I went through a divorce, was separated from my son, faced internal setbacks in business, and sank into depression. I lost my direction, my confidence and for a long time, my music.
But life has a way of sending angels when you least expect them. Mine came in the form of a woman who reminded me who I really am and why I started. When I was ready to walk away from music for good, she told me, âYour fans are still waiting for you.â That single sentence pulled me back to life.
Today, my comeback isnât about fame, itâs about redemption. Itâs about love, faith, and purpose. And to my love, Pritha Manivannan thank you for bringing RABBITMAC back. I owe you my life.
âWatch Me,â your official soundtrack for the Hollywood MMA film American Warrior, marked a historic first for a Malaysian rapper. Walk us through that journey: from producing the beat in a makeshift kitchen to final cut. What did Hollywood expect that was different from Kollywood or Malaysian projects?
RB: Itâs a story that still feels unreal. A Hollywood producer who was once just a follower during my NFT days reached out through Twitter and asked if I could write a track for his film. I wasnât mentally prepared, but something in me said, âIf not now, then when?â
At that time, I had just moved into a new house; the place was messy, and the only spot available was my kitchen. So I set it up with my iMac, a midi keyboard, and headphones, and created âWatch Me.â That track became the first-ever Hollywood song produced by a Malaysian rapper, making headlines back home.
It reminded me that even when life looks chaotic, miracles can still be born from your lowest moments. I truly believe God orchestrated this as my wake-up call and this time it was real. Praise the lord.
PU4LYF and the earlier Psycho Unit era shaped a generation of Malaysian Tamil rap. Looking back, what practices from that indie, self-built ecosystem still power your workflow â and what did you intentionally unlearn for this new phase?
RB: One thing that never changed is my connection to the people. I still create based on what the audience wantâthe sound, the vibe, the message. But I always inject my own identity like humour and a tone thatâs uniquely me, totally PSYCHO UNIT. Thatâs what makes my music easy to connect to.
Whatâs different now is solitude. Iâve learned to move alone, only to rely only on myself.
[As the saying goes] âBeing alone isn’t a test, it’s an opportunity. It’s the time to understand yourself, face your fears, and become what lies hidden within you. This is when your true character is forgedâ.
Youâve recorded playback and features across South Indian cinema. Whatâs the biggest artistic trade-off when switching between film music briefs and your own artist releases?
RB: Film music demands discipline. Youâre serving a story not yourself. Every lyric, every bar must align with the directorâs vision. It limits your personal expression, but it teaches you precision, storytelling, and respect for the craft.
Independent music, on the other hand, is complete freedom. There are no boundaries. You can fail, you can rise, you can reinvent. You keep creating until people across borders can feel your sound.
NFTs and digital art (âBhad Bunnyâ) unexpectedly revived industry connections for you. Whatâs your 2025 playbook for artists using Web3 or creator tools â gimmick filter vs. real utility â and will any of that show up in the Singapore performance or merch?
RB: I didnât plan on it until you mentioned it, but yes, fans might want to watch closely. A few surprises could drop. Iâve always believed in evolution and technology. Web3 had its wave, and I dove in early by releasing my own NFT collection. Even though the noise has quieted, innovation never dies, it just recharges. So to every artist out there: itâs not too late. The next wave is coming. Stay ready.
The Esplanade show language is billed as Tamil and English. How do you design bilingual flow â bar for bar â so punchlines land with a mixed Singapore audience without diluting the Penang/Malaysian texture that defines your writing?
RB: Malaysian Tamil rap is already universal. Our India fans catch the Malay bits, and our Singapore brothers and sisters have been vibing with us from day one. The language might differ, i believe the emotion, vibe, and energy sounds neighbourly to my Singaporean fans.
Youâve mentioned producing or recording nearly 100â150 songs and collaborating with 50+ artists. Whatâs your current quality-control rubric? Who gets final veto on mixes, and when do you kill a track that fans might still love live?
RB: For me now, itâs not about talent alone, itâs about energy. Collaboration is like chemistry. Out of a thousand faces in a crowd, sometimes you just click with one person. Thatâs the kind of artist I want to work with today. Someone whose vibe feels ârealâ and âgenuineâ.
After American Warrior, you hinted at stacked releases and more OST work. What can Singapore fans expect next? Whatâs the timeline from demo to drop?
RB: No no no no no no no, no no no no. ‘Shakalaka Baby, Shakalaka Baby, inthe bathil solle thonalayeh!’ Follow me on IG and TT, and it shall be made known unto thee. Quoting lyrics from A.R. Rahmanâs song Shakalaka Baby which translate roughly to âI just canât find the words to answer this.â]
