His tracks have soundtracked late-night drives, noisy house parties and even the occasional reflective evening when a softer song of his appears unexpectedly on a playlist. Which is exactly why the controversy around his song Tateeree has not just caught my attention - it has genuinely unsettled me.

Disappointment is perhaps the most accurate word for what I feel. Not outrage. Not moral panic. Just disappointment.

When the music contradicts the message

In several interviews over the years, Badshah has spoken about respect for women and the importance of social awareness in music. He has often presented himself as someone who understands the responsibility that comes with influence. That is why Tateeree feels like a strange contradiction.

The song revolves around the word "Tateeree", a term from Haryanvi folk language referring to the grey francolin bird. In rural songs and folk traditions, the word has sometimes been used metaphorically to describe a lively or attractive woman. Folk culture is full of such playful imagery. But in the context of a modern commercial rap track, the word appears repeatedly alongside teasing and suggestive lines that critics say carry double meanings. For many listeners, the phrasing feels less like folk poetry and more like casual objectification.

The issue is not the use of dialect or metaphor. Folk traditions thrive on metaphor. The problem is the tone and intent behind it.

The visuals that made matters worse

If the lyrics raised eyebrows, the visuals appear to have amplified the backlash. Reports suggest that the music video features girls dressed in school uniforms dancing in a classroom-style setting labelled "Badshala" - a stylised version of the word pathshala, meaning school. For many critics, this combination of suggestive lyrics with school-themed imagery created an uncomfortable contrast. A classroom symbolises learning, discipline and childhood. Using it as a backdrop for flirtatious or suggestive lyrics has understandably made many people uneasy.

Several social groups and activists in Haryana have argued that such imagery trivialises educational spaces and sends an inappropriate message to young viewers.

Complaints, summons and legal scrutiny

The controversy soon moved beyond public debate. An FIR has been registered against Badshah - whose real name is Aditya Prateek Singh Sisodia - at the Cyber Crime police station in Panchkula after a complaint alleged that the song contains objectionable lyrics and visuals. The case has reportedly been filed under Section 296 of the Bharatiya Nyaya Sanhita along with Sections 3 and 4 of the Indecent Representation of Women (Prohibition) Act, 1986.

At the same time, the Haryana State Commission for Women also took notice of the matter and summoned the rapper to explain the lyrics and presentation of the song. Complaints submitted by activists argue that the track objectifies women and minors, particularly because of the school-uniform imagery in the video.

A familiar pattern in commercial rap

To be honest, Tateeree is not an isolated case. Remember Guru Randhawa's Azul?

For years, Punjabi pop and commercial rap have carried a recurring lyrical pattern - women described in the same breath as luxury cars, guns, expensive alcohol or symbols of status. It is a trope that has existed for so long that many listeners have stopped questioning it. But normalisation does not make something acceptable.

Music has extraordinary cultural reach. Young listeners absorb language and attitudes from songs more quickly than we realise. When lyrics casually treat women as objects, it inevitably shapes the way audiences internalise those messages.

The contradiction that bothers me most

What makes this episode even more frustrating is that Badshah has already proven he can write better music than this. He has delivered songs that carry emotional honesty - tracks that explore heartbreak, vulnerability and introspection. Those songs show that he is capable of nuance and depth as a songwriter. Which makes Tateeree feel unnecessary. When an artist clearly has the ability to create thoughtful music, falling back on cheap lyrical tropes feels less like creative expression and more like creative laziness.

The apology - and the lingering discomfort

Badshah has apologised following the controversy. That acknowledgement matters. Artists, like anyone else, can make mistakes. But apologies alone cannot address the deeper issue that the episode has highlighted. For far too long, parts of the music industry have treated women as decorative elements - present in songs, videos and lyrics primarily to enhance spectacle rather than to be portrayed with dignity.

A moment for the industry to reflect

Punjabi music is one of the most energetic and influential musical cultures in India today. Its global reach is extraordinary. From wedding playlists to international charts, the genre carries enormous cultural power. That influence should also come with a certain level of responsibility. Music can be playful, rebellious and entertaining without resorting to objectification. It can celebrate romance, attraction and desire without reducing women to punchlines or metaphors for possessions.

My disappointment with Tateeree does not come from wanting artists to be censored or creativity to be restricted. It comes from wanting more from a genre that has given us so much great music. Punjabi music has incredible storytelling traditions and emotional depth. It deserves to evolve beyond the lazy habit of objectifying women simply because it has been commercially convenient for years. Badshah is talented enough to be part of that change.

For now, though, this episode feels like a missed opportunity - and a reminder that even artists who know better can sometimes fall back on the worst habits of the industry.

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