MAM
boAt appoints Jasleen Royal as brand ambassador
Mumbai: boAt, a consumer electronics brand renowned for its innovative audio & wearables products, is thrilled to announce Jasleen Kaur Royal, the acclaimed Indian singer-songwriter, as its newest brand ambassador. Known for her soulful voice and distinctive musical style, Jasleen Royal has captured the hearts of millions with hits like “Heeriye”, “Ranjha”, “Din Shagna Da” and “Love You Zindagi”.
Jasleen is a self-taught musician who has taken the Indian music industry by storm. Despite having no formal training in music, Jasleen Royal’s journey is a testament to her immense talent and dedication. She effortlessly combines singing and composing, often playing multiple instruments simultaneously, showcasing her versatility and creativity. Her ability to blend folk, indie, and contemporary genres has garnered widespread acclaim, making her a beloved figure in the Indian music industry.
Royal’s achievements include winning the Filmfare Award for Best Music Director in 2022 for the film Shershaah, being the first female music director to win the award and composing songs for movies including Shershaah (2021), Baar Baar Dekho (2016), Gully Boy (2019) and more.
As boAt’s brand ambassador, Jasleen Royal will embody the brand’s ethos of youthful energy, innovation, and passion for music. Her authentic connection with audiences aligns perfectly with boAt’s commitment to delivering high-quality audio experiences that resonate with consumers across India and beyond.
Commenting on the association, boAt co-founder and chief marketing officer Aman Gupta expressed excitement about the collaboration: “Jasleen Royal is not just a talented musician but also a cultural icon who represents the spirit of today’s youth. Her song “Heeriye” became a national sensation, establishing her as a force to be reckoned with. We are delighted to have her on board as our brand ambassador. Her unique style and widespread appeal will undoubtedly strengthen boAt’s connection with music enthusiasts and fans.”
Jasleen Royal shared her enthusiasm for partnering with boAt, saying, “I am thrilled to join forces with boAt, a brand that has revolutionized the audio industry with its innovative products. Music is a universal language, and I believe boAt’s commitment to delivering superior sound experiences aligns perfectly with my own passion for creating music that resonates deeply with listeners.”
With Jasleen Royal on board, boAt continues to reinforce its position as a frontrunner in the consumer electronics market, offering a diverse range of audio solutions that cater to the evolving needs and preferences of music lovers worldwide.
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.
