Zohran Mamdani’s historic victory in the New York mayoral election has been celebrated across continents, but no moment captured public imagination quite like the final seconds of his victory speech. As Mamdani concluded his remarks—delivered with confidence, symbolism, and sharp political messaging—the unmistakable opening beats of “Dhoom Machale” from the 2004 Bollywood blockbuster Dhoom began to play in the background. What followed was an explosion of delight across the internet, as millions of viewers reacted to what many described as one of the most iconic cultural crossovers in American political history.

The newly elected mayor, who defeated formidable rivals including former President Donald Trump, has already carved a unique space for himself in US politics. Mamdani is the first Indian-origin, African-born, and the first Muslim leader ever to win the New York City mayoral race, marking a new chapter in the city’s political landscape. His victory speech reflected not only the gravity of his win but also the pride he carries for his heritage. In the speech, he invoked the words and vision of India’s first Prime Minister Jawaharlal Nehru, grounding his message in the idea of global progress and immigrant strength. But it was the unexpected Bollywood moment at the very end that sent social media into a frenzy.

As Mamdani stepped away from the podium—after criticising Trump’s immigration policies and outlining the inclusive future he wants to build—the instantly recognisable rhythm of “Dhoom Machale” began to pulse through the hall. The audience erupted in laughter, cheers, and surprise. For many Indian Americans in the crowd, it was a moment of joy and cultural recognition. For others, it was simply a delightful break from the usual pomp of American political ceremonies.

The clip, which lasted just under a minute, spread rapidly online. Within hours, it was circulating on major social media platforms, shared by Indians, the global South Asian diaspora, political commentators, and amused viewers worldwide. The cultural blend—a newly elected American mayor walking offstage to a Bollywood dance anthem—was too unique, too unexpected, and too symbolic to ignore.

Comedian Tanmay Bhat reacted with a simple “Oh my god,” summarising the disbelief and delight many felt. His post quickly gained traction as fellow entertainers, artists, and fans joined in to celebrate the moment. Other social media users expressed admiration for Mamdani’s willingness to embrace his heritage on one of the biggest stages in American politics. One user pointedly contrasted Mamdani with other Indian-origin personalities in American politics, writing that he was “unapologetic about his roots” in a thinly veiled reference to Kash Patel and Vivek Ramaswamy.

Veteran journalist Vir Sanghvi captured the sentiment aptly when he posted, “Bollywood music conquers New York!” His reaction echoed the pride many Indians felt upon seeing one of their most beloved pop-cultural exports transform a political celebration in the world’s most influential city.

Prominent journalist Mehdi Hasan added a pointed political note, teasing far-right critics in the United States. “Hey white supremacists, Zohran ended his speech tonight with ‘Dhoom Machale’. Bollywood music,” he wrote. His comment underscored Mamdani’s confidence in asserting his identity despite the volatile cultural and political debates surrounding immigration and multiculturalism in America.

Another user, Omar Abbas Hyat, highlighted the broader symbolic stakes in the moment. Drawing a comparison to Republican politician Vivek Ramaswamy, he wrote, “While Vivek is hesitant to defend his faith properly, Zohran is quoting Nehru, playing ‘Dhoom Machale’, and saying he refuses to apologise for his faith.” This sentiment captured how Mamdani’s gesture had become more than just a pop-culture moment; for many viewers, it represented a bold political and cultural statement.

The choice of song itself added layers of meaning. “Dhoom Machale,” sung by Sunidhi Chauhan in the original Hindi version and by Thai-American artist Tata Young in the English remix, became a nationwide sensation in the mid-2000s. Composed by Pritam Chakraborty, it remains one of India’s most recognisable dance numbers. Its infectious energy, catchy refrain, and association with the high-octane world of Dhoom—a film featuring Abhishek Bachchan and John Abraham—make it a symbol of early 21st-century Indian pop culture.

For many Indians, the song represents a slice of nostalgia. For members of the diaspora, it is tied to memories of home, youth, and cultural pride. To see it being played at a US mayoral victory event felt surreal. It was a moment where personal identity, political success, and cultural celebration blended seamlessly.

Political analysts noted that Mamdani’s cultural confidence sets him apart from many other immigrant-origin leaders in the United States, who often walk a tightrope between integration and heritage. Mamdani’s embrace of his Indian background, his African origins, and his Muslim identity—without playing them down or packaging them for American consumption—has been widely remarked upon. By choosing “Dhoom Machale” as the soundtrack to his victory, Mamdani sent a message not only to supporters but also to critics: that modern American identity can be expansive, inclusive, and joyful.

For many young people, especially young South Asian Americans, the moment was symbolic of a generational shift. Mamdani, at 34, is part of a wave of younger leaders across the world who refuse to separate their public roles from their cultural authenticity. The reactions online reflected this generational pride. Countless users wrote that seeing a major US political leader celebrate with a Bollywood anthem made them feel “seen,” “represented,” or “finally part of the American story.”

The video also generated excitement within India, where Mamdani’s win was widely covered in news media and celebrated on social platforms. Many users noted how surreal it felt to watch a New York mayor-elect walk off stage to a song they had danced to at weddings, college festivals, and parties two decades ago.

Several commentators also noted the historical irony: at a time when right-wing politics in many countries seeks to weaponise identity, Mamdani chose a moment of celebratory unity that bridged continents. Instead of leaning into polarisation, he ended his speech with something joyous, familiar, and global.

In the days ahead, political experts are likely to study Mamdani’s campaign and cultural strategy in more detail, particularly how he blended grassroots activism, digital outreach, and identity politics. But for now, the internet remains captivated by the moment—an unexpected fusion of Bollywood glamour and American political theatre.

The “Dhoom Machale” clip continues to circulate widely, symbolising far more than a soundtrack choice. For many, it represents the confidence of a new generation of immigrant-origin leaders, unafraid to bring the full richness of their identity into public life. It celebrates a shifting political landscape where diversity is not merely tolerated but embraced, and where cultural pride can coexist with civic leadership on the world’s biggest stages.

In a political world often marked by division, Mamdani’s Bollywood sign-off offered something rare: a moment of pure, shared delight. And for millions of viewers across the world, that was reason enough to say, just like Tanmay Bhat did—“Oh my god.”