The song starts with the line вЂњI honestly donвЂ™t need you,вЂќ and the lyrics go on to encourage men to shed their dependence on women and live freely without any worry. They come together because they claim to share the same fate with women and the same decision to drown their sorrows in booze. In the song titled вЂњLocal boysвЂќ from 2013вЂ™s Ethir Neechal (Swimming Against the Tide) Dhanush makes a cameo appearance: he is seen consoling the hero who finds solidarity in strangers at a local bar.

The term вЂњsoupвЂќ, coined by MoonuвЂ™s lead actor Dhanush, refers to the emotional state men find themselves in after being dumped. The Tamil song вЂњWhy this KolaveriвЂќ (Why this murderous rage), an international hit from the 2012 film Moonu (Three), set the stage for the genre of вЂњsoupвЂќ or вЂњflopвЂќ songs. Through dramatic camera angles and movements combined with lyrical prowess, the male protagonist Sekar demands God to come down to earth and be born as a man to experience the suffering and betrayal of love at the hands of women.Д¬ontemporary iterations of this accusatory approach are usually situated at a public place where a group of men gather to sing and dance their woes against women. One of the earliest and striking instances where male romantic grief turns into an anxious, invective on women (and God who created them) is found in the song вЂњKadavaul Manithanaga Piraka VendumвЂќ (вЂњGod must be born as humanвЂќ) from the 1963 film Vanambadi (Skylark). The quintessential melodramatic account of вЂњlove failureвЂќ songs in Tamil is blame for a failed relationship, projected onto the figure of the woman. Each film contains a minimum of five to six songs to serve two main functions: to advertise the films within India and globally by promoting the filmвЂ™s music, and to help punctuate the different emotions playing out in the film narrative. What began as an element of attraction, borrowed from old theatrical traditions, has since evolved into a customary film formula. But song-and-dance routines are common to other regional film industries as well.ДЄlthough the first Tamil film, Keechaka Vatham, was produced in the silent era, the first Tamil talkie, Kalidas, released in 1931, featured 50 songs.

Western audiences may typically associate the habit of breaking into song and dance with Bollywood - a globally-recognised cultural category that refers to the aesthetics of Hindi-language cinema emerging from Mumbai. The idea of love itself has been abandoned through the male protagonistsвЂ™ self-serving preoccupation with their egos. Sociologist Premalatha Karupiah has aptly identified the misogyny of these songs - while scholars of other film industries in India and globally have addressed similar issues in elements of film.Д«eyond the misogyny of these love-failure songs from Tamil films, what is failing here is not just gender politics.

While both female and male characters sing and dance away their agony, a subset of love-failure songs give voice only to men who invariably go on a blaming spree, and attack women for breaking their hearts. In Tamil cinema, these breakup songs are known as вЂњlove-failureвЂќ songs. A distinct style of songs also address feelings of loss and longing when love does not flourish as expected.

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