MAM
boAt audio leads in TWS earphones category: Counterpoint Research
NEW DELHI: Homegrown consumer tech brand boAt Lifestyle has been ranked number one in the True Wireless (TWS) earphones category, as per the latest report by Counterpoint Research (Q3 CY2020). The brand sailed through the pandemic to break all records and has seen 385 per cent growth as compared to Q2 CY2020 in the TWS category.
According to Counterpoint Research, boAt has captured 18.3 per cent market share (in terms of volume) in the TWS Category (Q3, CY2020), overtaking brands like Xiaomi, Realme, JBL, Apple amongst others to become number one overall. The TWS category has grown by 172 per cent since the earlier quarter, while boAt has grown by 385 per cent during the same period.
Counterpoint Research analyst Shilpi Jain said, "Aggressive marketing backed with strong product line-up at affordable prices, strong channel partnerships, portfolios across various price tiers and building a strong consumer base are some of the strategies that worked in its favour. Its Airdopes 441 model became the second best-selling model in Q3 2020 with its features like water resistance and up to 25 hours battery life coming at an affordable price point".
Rise in ‘from Home’ culture like ‘Work from Home’, ‘Study at Home’ and ‘Stadium at Home (with IPL) has acted as a catalyst this festive season for consumers to buy boAt audio products. The rise in sales this year comes on the back of new customers coming in mainly from tier-2 cities at the recently concluded Diwali sales by Flipkart and Amazon. boAt has also witnessed a positive shift in demand for the wireless category. Specifically, in the TWS Earphones (Airdopes) range the brand has created a well-rounded portfolio of products with best in class features like Bluetooth 5.0, IPX capabilities, and long battery life. In January 2020, boAt sold around 40 per cent of wired and 60 per cent wireless products. As of November 2020, the sales for wireless have increased to 70 per cent with wired at 30 per cent.
boAt audio co-founder Aman Gupta said, “Being an Indian brand boAt understood the requirement of its TG i.e. the millennials who cannot be influenced through traditional marketing strategies but through quality experience. The Counterpoint report is a result of our commitment towards boAtheads, to provide them a product that isn't just fashionable and aspirational but affordable.”
boAt has been challenging the status quo in a sector dominated by established global brands. It has ramped up quickly in a short span of just over four years, through its core high-quality, smart, efficient, stylish and durable line of audio products.
The company has witnessed a 20 per cent surge in demand for its products in Covid2019 times and today sells more than 15,000 units a day as against 8,000-10,000 in pre-Covid2019 times.
In 2019, boAt audio was the leading brand with more than 20 per cent market share in the earwear category as per the market data released by leading IT market research and advisory firm International Data Corporation (IDC) in 2019.
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.
