MAM
KlugKlug clicks with new funding as it eyes 10x growth and global reach
MUMBAI: From Klueless to Klug influencer intelligence just got sharper. Klugklug, the influencer marketing SaaS platform that’s already making noise across boardrooms and brand plans, has secured a fresh round of undisclosed funding. But this wasn’t just another cheque drop. The backers, a powerful mix of unicorn founders, ex-CXOs, ex-CMOs, and leading angel investors are joining not just as financiers but as co-pilots in Klugklug’s turbocharged growth ride.
The Delhi-headquartered startup is aiming to scale its operations by 10x over the next two years, with much of the acceleration already kicking in during the first quarter of 2025. Its expansion roadmap now includes India, South Asia, Southeast Asia, and the Middle East and North Africa (MENA), as it sets sail into newer markets with a strong tailwind.
As part of its scale-up playbook, Klugklug has added some heavyweight marketing minds to its advisory panel: Lloyd Mathias (ex-HP, Pepsico), Amit Jain (Cardekho), Gaurav Agarwal (Tata 1Mg), and Indranil Chakraborty (Storyworks).
The influencer game is no longer a gut-feel gamble.
Klugklug’s software, powered by AI, parses and profiles over 300 million influencers across 150 plus countries and 160 plus languages, giving brands deep dives into audience demographics, engagement metrics, campaign ROI, and influencer authenticity. It promises 40 to 60 per cent efficiency gains in influencer-led marketing music to the ears of performance-obsessed CMOs.
“We’ve seen seasoned marketers achieve campaign wins from day one using Klugklug,” said CPO co-founder Vaibhav Gupta. “More and more CMOs are using data as the starting point not the afterthought in influencer planning.”
CPO co-founder and CEO Kalyan Kumar added: “The global influencer market is at an inflection point. There’s a growing demand for transparency, smart targeting, and measurable ROI. This round of funding will accelerate not just our global expansion, but also the tech that powers sharper decision-making.”
Currently, KlugKlug counts 200 plus Indian and global brands among its clients, cutting across categories like FMCG, D2C, electronics, health, beauty, lifestyle and e-commerce.
With influencer campaigns becoming more high-stakes and ROI-focussed, Klugklug’s mission is to replace mood boards with dashboards and add a little brain to the brawn of brand advocacy. And if this new cohort of investors and advisors is anything to go by, it’s safe to say that KlugKlug just became a smarter bet on the future of marketing.
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.
