What can hip hop, a music genre that hails from a completely different part of the world, tell us about the world of Nepali youth or about life as they experienced it in post war Nepal? Finding an answer to this question requires one to historicize the concept of youth and youth culture, which for the context of this chapter, means locating it firmly within the contours of Nepali history, in the aftermath of the civil war between the Maoists and the state, that lasted for a decade (1996-2006). It also requires one to look at the form of hip hop itself, that makes it a ready vehicle for voicing youth concerns, thereby becoming an important marker of youth culture around the world. In Nepal, hip hop belonged to the world of the privileged urban youth in Kathmandu who had the resources to access this global form of music. This difference between the country and the city of Kathmandu was also one of the main contentions of the Maoist rebellion in Nepal, which began from rural Nepal. As hip hop gains roots in Nepal, it attracts a lot of youth from the countryside as well. Thus, it becomes interesting to see how the urban and rural youth frame their idea of being young around their engagement with this form. In this paper, I will be examining the role of hip hop in helping shape the idea of a Nepali youth culture, by looking at the work of prominent Nepali hip hop artists in the decade following the civil war, that is from 2011- till the present.  Through an analysis of the songs, media interviews and life worlds of these artists, I seek to explore how the category of youth culture emerges through its interaction with the dominant political culture of Nepal. The end goal would be to locate the impact of global modernity in Nepal vis-à-vis its political and cultural formulations.