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In 2003, the independent label Showbiz Records pressed 500 vinyl singles of "Galang", a mix of dancehall, electro, jungle, and world music, with Seattle Weekly praising its a cappella coda as a "lift-up-and-over moment" evoking "clear skies beyond the council flats."[38][39] File sharing, college radio airplay, and the rise in popularity of "Galang" and "Sunshowers" in dance clubs and fashion shows made M.I.A. an underground sensation.[40] M.I.A. has been heralded as one of the first artists to build a large fanbase exclusively via these channels and as someone who could be studied to re-examine the internet's impact on how listeners are exposed to new music.[41][42][43] She began uploading her music onto her MySpace account in June 2004. Major record labels caught on to the popularity of the second song she has written,[44] "Galang", and M.I.A. was eventually signed to XL Recordings in mid-2004.[30][45] Her debut album, to be titled Arular was finalised by borrowing studio time.[46]

Critic Sasha Frere-Jones, writing for The New Yorker, praised the self-made "unpretentious, stuck together with Scotch tape" style that M.I.A. achieves with her Roland MC-505 drum machine and keyboard unit, noting that several artists had tried to emulate the style since.[184] Her considerable influence on American hip hop music as an international artist is described by Adam Bradley and Andrew DuBois in The Anthology of Rap as making her an "unlikely" hip hop celebrity, given that the genre was one of several influences behind M.I.A.'s "eccentric and energizing" music and that the musician's unclassifiable sound was one example of how hip hop was changing as it came into contact with other cultures.[185] Similarly, Jeffrey H. Wallenfeldt writes in The Black experience in America : from civil rights to the present that no single artist may have personified hip hop in the 21st century better than M.I.A., in her "politically radical lyrics drawing from widely diverse sources around the world".[186] The Guardian critic Hattie Collins commented of M.I.A.'s influence: "A new raver before it was old. A baile funk/pop pioneer before CSS and Bonde do Rolê emerged. A quirky female singer/rapper before the Mini Allens had worked out how to log on to MySpace. Missing In Action (or Acton, as she sometimes calls herself) has always been several miles ahead of the pack."[187] The twisting of western modalities in her music style using multilingual, multiethnic soundscapes to make electroclash-pop albums is noted by Derek Beres in Global beat fusion: the history of the future of music (2005) to defy world music categorisation.[188] In the book Downloading Music (2007), Linda Aksomitis notes the various aspects of peer-to-peer file sharing of music in the rise in popularity of M.I.A., including the advantages and disadvantages of the internet and platforms such as MySpace in the launch of her career.[189] Andy Bennett and Jon Stratton explore in Britpop and the English Music Tradition (2010) how M.I.A. alongside musicians such as Sway and Dizzee Rascal created music that both explored new soundscapes and commented on social issues as well. Bennett and Stratton argue that the innovation that generates new musical genres such as grime and dubstep are, inevitably, political in nature. The success of grime-influenced artists such as M.I.A. is analyzed as a way in which white Britons adapted to the increasingly multicultural musical mix, which they compare with bands of the Britpop genre.[190] Furthermore, her work being used as a global resource for the articulation of differently located themes and its connections to many music traditions is noted by Brian Longhurst in Popular music and society (2007) to illustrate such processes of interracial dialogue.[191] Gary Shteyngart writing in GQ notes that "M.I.A. is perhaps the preeminent global musical artist of the 2000s, a truly kick-ass singer and New York-Londony fashion icon, not to mention a vocal supporter of Sri Lanka's embattled Tamil minority, of which she's a member."[184]

M.I.A.'s stage performances are described as "highly energetic" and multimedia showcases, often with scenes of what Rolling Stone critic Rob Sheffield describes as "jovial chaos, with dancers and toasters and random characters roaming the stage," bringing various crowds with interests in art, music and fashion.[114] Camille Dodero, writing in The Village Voice opined that M.I.A. "works hard to manifest the chaos of her music in an actual environment, and, more than that, to actively create discomfort, energy, and anger through sensory overload."[192] Her role as an artist in and voice lender to the subaltern is appreciated by theorists as having brought such ideas to first world view.[193][194][195][196] USA Today included her on its list of the 100 Most Interesting People of 2007 and she was named one of Time Out's 40th Birthday London Heroes in 2008. The same year, Esquire listed M.I.A. as one of the 75 Most Influential People of the 21st century, describing her as the first and only major artist in world music, and in 2009 she was cited in Time magazine's Time 100 as one of the world's most influential people for her global influence across many genres.[33][193][197][198] In December 2010, USA Today listed M.I.A. at number 63 on its list of the "100 People of 2010".[199] M.I.A. placed number 14 on Rolling Stone's Decade-End Readers' Poll of "Top Artists Of The Decade."[200] Rolling Stone named her one of eight artists who defined the 2000s decade.[201]

Contrary to her present style, M.I.A.'s Arular era style has been described as "tattered hand me downs and patched T-shirts of indigents", embodying the "uniform of the refugee" but modified with cuts, alterations and colours to fashion a distinctly new style and apparel line.[230] M.I.A. built on this during the Kala era with a "playful" combination of baggy T-shirts, leggings and short-shorts. She incorporated eccentric accessories in bold patterns, sparkle and "over-saturated" neon colour to fashion her signature style which inspired flocks of "garishly-clothed all-too-sassy" new-rave girls with bright red tights, cheetah-skin smock and faded 1980s T- shirts. Her commodifying and performance of this refugee image has been noted to "reposition" perceptions of it in the wider public. Hailed as presenting a challenge to the mainstream with her ironic style, M.I.A. has been praised for dictating such a subcultural trend worldwide, combining "adolescent" frustrations of race and class with a strong desire to dance.[231] Eddy Lawrence of Time Out commented how her multi genre style contributed to her being beloved of the broadsheet fashionistas yet simultaneously patron saint and pin-up for the Day-Glo nu-rave kids.[232] Similarly, Mary Beth Ray, in the book Rock Brands: Selling Sound in a Media Saturated Culture writes that M.I.A.'s hybrid style addressed a number of social and political issues including power, violence, identity and survival in a globalised world, while using avenues that challenged "traditional" definitions of what it meant to be a contemporary pop artist.[233]

M.I.A. was once denied entry into a Marc Jacobs party, but subsequently DJed at the designer's 2008 fashion show afterparty, and modelled for "Marc by Marc Jacobs" in Spring/Summer 2008.[66][234] M.I.A.'s fashion and style landed her on Vogue's 10 Best Dressed of 2008.[235] She turned down her inclusion on People magazine's list of the "50 Most Beautiful People in the World" the same year.[236] M.I.A.'s status as a style icon, trendsetter and trailblazer is globally affirmed, with her distinct identity, style, and music illuminating social issues of gender, the third world, and popular music.[33][231][237] Critics point out that such facets of her public persona underline the importance of authenticity, challenging the globalised popular music market, and demonstrating music's strive to be political.[231] Her albums have been met with acclaim, often heralded as "eclectic" for possessing a genre all their own, "packaging inherent politics in the form of pleasurable dance music."[47][231] M.I.A.'s artistic efforts to connect this "extreme eclecticism" with issues of exile, war, violence and terrorism are both commended and criticised.[47] Commentators laud M.I.A.'s use and subversion of her refugee and migrant experiences, through the weaving of musical creativity, artwork and fashion with her personal life as having dispelled stereotypical notions of the immigrant experience. This gives her a unique place in popular music, while demanding new responses within popular music, media and fashion culture.[230] M.I.A. has been the muse of designers Donatella Versace and Bartley and photographers Rankin and David Bailey, whose spread documents the British musicians who defined the sound and style of rock 'n' roll.[225][238][239][240] On 1 July 2012 Maya attended the Atelier Versace Show in Paris, wearing clothing inspired from the designer's 1992 collection.[241][242][243] In 2013 she released her own Versace Collection.[244]

Regarding her first two albums, Arular and Kala, PopMatters writer Rob Wheaton felt M.I.A. subverted the "abstract, organized, refined" distilling of violence in Western popular music and imagination and made her work represent much of the developing world's decades-long experiences of "arbitrary, unannounced, and spectacular" slaughter, deeming her work an "assault" with realism.[19] Frank Guan of Vulture said that Kala "sounded like the future" and that "M.I.A.'s immediate influence was remarkable", as the album "seems to herald certain trends current in contemporary hip-hop". Guan further gave appraisal to M.I.A. for being the "precursor" for "fashion-rap" acts, including Travis Scott, Lil Uzi Vert, Playboi Carti, and ASAP Rocky.[246] Writing for Dazed Digital, Grant Rinder praised the album for transforming M.I.A. from a "cult hero" to an "international star". Rinder commented that the album was a "tremendous" step forward towards shedding light on the realities of Third World countries that the Western world may not have thoroughly understood. Reflecting on diversity and representation issues in society, as well as politics surrounding President Donald Trump, Rinder said that Kala "feels particularly ahead of its time", and concluded that "M.I.A. was truly a pioneer for a global humanitarian perspective that no artist has been able to deliver quite as well since."[247] 2b1af7f3a8