MAM
Believe has unveiled collaboration between artist Gippy Grewal and Swiggy
Mumbai: Believe, one of the digital companies, whose mission is to develop artists and labels, has unveiled collaboration between renowned artist Gippy Grewal and Swiggy. This partnership marks a fusion of music and gastronomy, bringing together the infectious beats of Gippy Grewal’s hit song “Gang Gang” with Swiggy’s extensive food-loving user base.
Gippy Grewal, a trailblazer in the Music industry showcases a fun new side of him where he is seen jamming with a Swiggy delivery partner in this light-hearted campaign. Gippy is a prominent figure in the Punjabi film industry, with his previous hits like ‘Angrezi Beat’ and his latest film, “Carry On Jatta 3,” is the first Punjabi movie to surpass the 100-crore collection mark at the Box Office. In this campaign we see a unique blend of music and on-ground interaction that promises an unparalleled entertainment experience for his fans.
Swiggy, with its vast network and user base exceeding 35 million, provides an ideal platform for Gippy to connect with a diverse and widespread digital audience. Created by Believe and Swiggy, the collaboration involves a strategic in-app marketing activation featuring the newly released ‘Gang Gang’ Music Video.
Announcing the partnership, India and South Asia director artist services and development, Shilpa Sharda, said, “We are super thrilled about this association and are confident that leveraging Swiggy’s extensive marketing network will not only amplify the visibility of the “Gang Gang” video but also resonate strongly with Gippy’s fans. At Believe, our aim is to develop artists by leveraging innovation, data, tech, and digital marketing mixed with human expertise. This partnership is one of the examples of our core mission to serve independent artists. The synergy between Gippy’s musical prowess and Swiggy’s market presence is poised to create a buzz that extends beyond traditional boundaries.”
Commenting on the same Gippy said, “With my extensive background in music, my lifelong goal has always been to embrace new experiences. I absolutely love the way we can establish meaningful connections, much like we did with Swiggy. Hats off to the team at Believe for presenting me with this unique opportunity to have fun with Swiggy”
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
