In a sharp escalation of the growing backlash against vulgar and misogynistic lyrics in Punjabi music, the Punjab State Women’s Commission has officially taken both Yo Yo Honey Singh and Karan Aujla to task, summoning them for an inquiry on August 11, 2025, over their recent songs that intend to demean women.
The move follows a wave of public outrage over Honey Singh’s track Millionaire, from his 2024 comeback album Glory, and Karan Aujla’s latest release MF Gabhru, which dropped just last week on August 1. Punjab Women Commission’s Chairperson Raj Lali Gill says, “Both tracks have been accused of using crude, offensive language directed towards women, a language that will not be tolerated under any circumstances”.
Gill has filed two separate letters to Gaurav Yadav, Punjab’s Director General of Police, she demanded that a senior Chandigarh-based police officer be deputed to investigate the lyrics. She has set a strict deadline: a report on police action must be on her desk by 11 AM, the same day the singers are scheduled to appear.
“On one hand, they say they love their mothers. On the other, they use abusive language about mothers in their songs,” Gill told Media in a blistering statement. “Those who use such language cannot be tolerated. These songs will be banned. Singers are the voice of society and with that voice comes responsibility.”
This is not just a mere warning. The Commission’s intervention marks yet another high-profile clash between Punjabi pop culture and public morality, raising urgent questions about whether commercial success is being built on the casual normalisation of misogyny.
A Familiar Face in Controversy
For Honey Singh, this isn’t unfamiliar territory. Only eight months ago, in December 2024, the Women’s Commission had already moved against him for the song Makhna, citing similarly objectionable language. His Glory album, released under the T-Series banner in August 2024, was intended as his big industry comeback, featuring 18 tracks such as Payal, Bonita, Jatt Mehkma, and High On Me. But Millionaire, one of its headline tracks, is now at the centre of a legal and social storm.
Karan Aujla, one of Punjabi music’s biggest global exports, is facing the same public firestorm. MF Gabhru, released on August 1, quickly went viral on social media but so did calls for its ban, with critics accusing it of embedding crude, derogatory portrayals of women under the guise of swagger-filled braggadocio.
The Commission’s Summons
The summons to both artists is not just a procedural move but a public statement. The Commission is sending a message to an industry often accused of hiding behind artistic freedom to excuse lyrics that normalise misogyny, violence, and moral degradation.
While both Honey Singh and Karan Aujla are reportedly overseas, the Commission has made it clear that their physical presence is expected. No video call, no postponements, they must show up in person.
The broader cultural battle here is undeniable. Punjabi music has, over the last decade, been at the forefront of India’s global music footprint, but it has also been plagued by recurring accusations of rampant objectification of women, vulgarity, and glorification of crime. The fact that some of its most celebrated stars are now being dragged before a state body speaks volumes about the tension between market demand and social accountability.
Artistic Stardom Under Scrutiny
The defence from artists is often predictable: that lyrics are exaggerated, metaphorical, or part of a broader ‘entertainment culture’ where everyone knows not to take them literally. But as Gill points out, the impact is very real and damaging. “Singers are the voice of society,” she said. “And society hears them loud and clear. What message are we sending when mothers are abused in chart-topping songs?”
The Commission’s intent to push for an outright ban on the tracks suggests this could be more than just a symbolic slap on the wrist. If enforced, such action would set a precedent, potentially chilling an industry that thrives on edgy, boundary-pushing content with women getting objectified in most of the cases.
Whether this will lead to meaningful reform in Punjabi music or merely ignite yet another free-speech versus morality debate remains to be seen. But one thing is certain: on August 11, two of Punjabi music’s most bankable names will have to explain to the state and by extension, their audience- why their brand of art crosses the line into abuse.
For once, the beat may not drop in their favour.
