iWorld
Spuul’s Bhojpuri bet for growth
MUMBAI: Every over the top (OTT) platform is raging about India’s diverse market and untapped opportunity. While others are testing the water with Tamil, Telugu, Bengali and Marathi apart from the regular fanfare of English and Hind shows, Singapore based Spuul is going the Bhojpuri way as well.
The platform already had some Bhojpuri content but about six to seven months ago, it felt the need to renew its attention towards this deprived market since rural audiences are warming up to video content now.
Spuul content head Girish Dwibhashyam also thinks that as a high number of people from Bihar migrate to other parts of the country, Bhojpuri content has a market across the country as well as within the state. Cheaper data, affordable handsets have made the digital video space class agnostic. “Consumption from the hinterland has multiplied in the last one and half years. Bhojpuri has assured viewership not only in Bihar but also across India,” he says.
Currently, the platform is only focusing on Bhojpuri movies starring popular actors like Dinesh Lal Yadav. Dwibhashyam claims that the movies they have are the most popular ones of recent past produced by renowned production houses. Aashik Aawara, Nirahua Chalal Sasural 2, Sangram, Rakhtbhoomi, Action Raaja, Nehle Pe Dehla, Muqabala, Jaanam are some of the most popular Bhojpuri movies streaming on Spuul. As the platform has a huge diaspora audience too, it might add catch-up content in certain markets. Initially, the platform has seen a lot of traction from tier II, tier III cities.
“Right now our ultimate goal is to be a place where Bhojpuri speaking audience can come and watch videos, not only movies but also other kinds of content going forward. But at least when it comes to movies we want to be top for Bhojpuri speaking audience for the content in the language they speak,” he comments on the objective of revamping Bhojpuri library.
When it comes to content curation, the team focuses both on external analysis and internal data. The popularity of stars, the popularity of the movie, box office collection are among the major factors which act as a catalyst for adding a movie to the catalogue.
“Couple of years back we had Bhojpuri movies. We have some consumption numbers on the actors who have done well on our platforms. We keep improvising and regularly track which movies are being consumed in what way. When we started out with the catalogue of Bhojpuri movies six-seven months back, first we did a lot of observation to which stars are doing well, which movies, what type of movies are doing well. Then accordingly, we have added new movies,” he adds.
It has competition because ZEE5 and ALTBalaji are both foraying into this market as well. Moreover, content king YouTube has hundreds of viral Bhojpuri videos which get good traction. Hence, to cope with the upping competition in this market Spuul needs to update its library continuously.
But Dwibhashyam believes the growing Bhojpuri market has scope for multiple players. In addition to that, differentiating content will also play a key role. According to him, the Bhojpuri OTT market has not reached that stage where competition will start affecting the players.
For promoting its new catalogue, Spuul is primarily emphasising on digital marketing only. It has done a large number of digital ads targeting certain geographies and native speakers along with consumer PR. Other than digital, he claims Spuul has been mentioned in local newspapers recently which helped it to create a buzz in the local market.
Dwibhashyam thinks it is in the right direction based on the promising initial response. In a bid to gain a stronger foothold across the country, the OTT platform will soon announce an important development for Bengali content too.
iWorld
Diljit Dosanjh’s Dil-Luminati tour generates Rs 943 crore impact
EY report says 14 concerts across 13 cities sparked jobs, tourism and spending
MUMBAI: What began as a music tour quickly turned into an economic crescendo. The India leg of Diljit Dosanjh’s Dil-Luminati tour has generated a measurable economic impact of nearly Rs 943 crore, according to a socio-economic impact report prepared by EY.
Spread across two months in late 2024, the tour travelled through 13 cities with 14 performances, drawing more than 3.2 lakh fans and selling out shows in roughly 10 minutes on average.
The concerts began in New Delhi on October 26 and wrapped up with a New Year’s Eve finale in Ludhiana, the singer’s hometown. In between, the Punjabi superstar turned stages across cities such as Mumbai, Bengaluru, Hyderabad, Kolkata and Guwahati into high-energy gatherings where music, fandom and travel blended into a nationwide spectacle.
According to the EY analysis, the tour generated Rs 276 crore in direct revenue for organisers through ticket sales, sponsorships and food and beverage spending at venues. Indirect spending by fans pushed the economic ripple effect even further, contributing an estimated Rs 553 crore through travel, accommodation, tourism and shopping.
Government revenues added another Rs 114 crore, including Rs 111 crore in GST and around Rs 2.5 crore in local permissions and fees.
Ticket sales were the main driver, accounting for about 80 per cent of direct revenue, with prices ranging from Rs 2,499 for silver tickets to as much as Rs 60,000 for premium lounge access. The gold category emerged as the most popular, generating more than half of the ticketing revenue.
The concerts were not just local gatherings. Nearly 38 per cent of attendees travelled from other cities to catch the shows, turning the tour into a travel magnet. Many extended their trips by two to three days, boosting hotel stays, dining and tourism activities in host cities.
Air and rail travel together accounted for around 70 per cent of inter-city travel costs linked to the concerts, while nearly half of travelling fans stayed with friends or family.
Cities hosting the tour also saw noticeable spikes in travel bookings. Flight bookings to Chandigarh, for instance, rose by about 300 per cent year on year around the concert dates, while cities such as Delhi, Ahmedabad and Indore saw booking growth of roughly 100 per cent.
Beyond the stage lights and thumping speakers, the tour also created a significant employment surge. The report estimates that more than 118,000 man-days of work were generated, including about 69,000 direct man-days and over 48,000 indirect man-days across sectors such as security, logistics, hospitality and technical production.
Security, safety and crowd management alone accounted for roughly half of the direct employment created during the concerts, reflecting the scale of operations required to stage such large events.
More than 15 brands partnered with the tour, turning concerts into a playground for creative marketing. From themed merchandise drops to experiential campaigns and exclusive ticket access deals, companies tapped into the singer’s massive fan base to amplify their reach.
The official ticketing platform recorded over 62.5 lakh visitors during the sales window and processed more than 1.2 lakh ticket orders, underscoring the intense demand for live events anchored by home-grown artists.
The tour also doubled as a cultural roadshow. At each stop, Dosanjh embraced local traditions, sampled regional cuisine and showcased India’s diversity through his social media posts and stage interactions, turning concert stops into mini travel diaries.
For the wider entertainment industry, the Dil-Luminati tour is being seen as a marker of how large-scale live concerts can drive economic activity well beyond the stage. The report suggests that India’s live music sector could grow rapidly in the coming years as demand for large events continues to surge.
In other words, the Dil-Luminati tour did more than fill stadiums. It moved crowds, boosted city economies and showed that when live music hits the right note, the ripple travels far beyond the final encore.
