MAM
Pocket FM strengthens leadership team; appoints Shubh Bansal as VP- growth
Mumbai: Personalised audio streaming service Pocket FM has announced Shubh Bansal’s appointment as VP-growth and Rahul Nag as head of communications. Both Bansal and Nag will be reporting to Pocket FM CEO and co-founder Rohan Nayak.
With these appointments, the company aims to intensify its focus to accelerate revenue, speed up growth initiatives, and elevate its brand positioning, it said in a statement.
Bansal will be leading the business growth initiatives across listeners, and new business opportunities. He was a co-founder at Truebil, an auto-tech platform acquired by Spinny where he was responsible for spearheading growth, marketing, and revenue. Before Truebil, he was associated with Housing.com.
Nag will be driving stakeholder engagement through external, social media, and internal communications along with establishing Pocket FM as a culture-first internet organisation. With over a decade and half years of experience in the communications landscape, he has worked with organisations like Flock, Mindtree, and ShareChat. In his earlier roles, he has led the crisis communication for Mindtree during the L&T takeover conflict and contributed to leading the communications for ShareChat and Moj.
Welcoming them onboard, Nayak said, “As we continue our exponential growth curve on the backdrop of a unique storytelling experience, we are bullish on our market leadership in pioneering the ‘audio entertainment’ space. Both Shubh and Rahul are proven leaders in their space and are valuable inclusions into our strategic team. With their strong skillsets and expertise, we hope they will bring the required momentum to our growth, revenue, and brand recall as we continue to build Pocket FM for our community.”
These key appointments come amidst Pocket FM scaling up rapidly, and reflects an increasing trend in audio content consumption on the internet. Over the past few months, the platform has aggressively focused on monetisation and content diversity.
Joining Pocket FM, Shubh Bansal said, “It gives me immense pleasure to work with a company that is pioneering and leading the audio-entertainment category in the OTT space. Our vision is to build category leadership for Pocket FM and lead the OTT landscape through our product innovations and business acumen. I am thankful to the founders for their trust and confidence bestowed upon me, and we will together take Pocket FM to newer milestones.”
Rahul Nag added, “I have always been a great believer in audio-first digital content and it always feels special to have the opportunity to contribute to the leader in the space. Our objective is not just to lead India but become a strong force to reckon with, and we are hopeful of emerging as a stronger brand for our listeners, creators, employees and investors.”
According to the company, it has recently raised $65 million in Series C funding to double down on its strategic priorities of building AI capabilities, multiplying its listeners base with new languages and strengthening its creator community. The company has already hired senior executives to address these priorities and continues to look for talents in the product and tech space aggressively, it stated. Pocket FM has raised $93.6 million till date and is backed by some marquee investors like Lightspeed, Times Group, Tanglin Venture Partners, Goodwater Capital, and Naver.
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.
