Digital
Federal Bank recreates their sonic identity for this World Music Day
Mumbai: Federal Bank, a pioneer in digital banking, proudly announces the launch of its captivating corporate anthem for this World Music Day, a harmonious blend of technology and human spirit. This anthem, performed by a talented ensemble of employees collaborating from various branches and offices from across the country.
The corporate anthem, an adaptation of the iconic musical logo (MOGO), composed by BrandMusiq, resonates with the Bank’s core values and ethos. “Sacha Hai Dil ka ye Rishta…”— is a heartfelt ode to the enduring relationships the Bank shares with its customers, employees, stakeholders and amongst themselves. Adapted across seven different languages, the essence is undiluted and yet distilled.
Federal Bank’s CMO M V S Murthy echoed the Bank stating, “We are very proud of the talent all our colleagues collectively bring in at Federal Bank. This anthem is not just a testimony to their prodigious growing up but also reflective of the culture which allows personal talent to find its way through the labyrinthine hierarchies of the corporate world.”
Federal Bank’s musical logo (MOGO) is the sonic essence of the brand created by Brand Musiq in 2020 which in musical terms evokes the core values, emotions, and persona of the organization. Over the last 4 years, the Bank has released 14 different genres of the Musical Logo to celebrate the festive and cultural nuances with a Federal touch.
In the year 2022, for World Music Day, the Bank had launched a music campaign celebrating the symphony of sounds that the customers are accustomed to hearing at a bank branch or on their banking devices. The tones made by ATM, the whirr of cash being dispensed, the payment completion tone in the Mobile Banking App, the sound of a passbook printer, the click of locks at the vault, etc. were fused with the Bank’s sonic identity to underline the brand’s positioning of ‘Digital at the Fore. Human at the Core’.
This year the brand’s anthem key highlights include:
1 Unity in diversity: Employees from diverse backgrounds, spanning from executive to junior levels, united their voices and instruments to create this melodic masterpiece.
2 Digital innovation: The anthem seamlessly weaves the Bank’s digital sonic identity with the warmth of human voices, embodying the motto: ‘Digital at the Fore. Human at the Core.’
3 Lyrical MOGO: With verses in seven Indian languages, the anthem celebrates team spirit, authenticity, and progress.
4 Youthful energy: The anthem reflects the Bank’s youthful dynamism and progressive outlook.
5 The theme of the lyrical MOGO is team spirit, authenticity, digital progression and above all, the warmth of relationships. The brand leverages music as a unifying factor to convey the spirit of togetherness. The anthem represents the brand’s youthfulness, energy, progressiveness, and unity of the Federal fraternity.
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.
