iWorld
OTT piracy hits Rs 8,000–11,000 crore annually in 2025
Illegal feeds drain broadcasters as MIB task force moves slowly; OTT now main piracy source with 63 per cent share.
MUMBAI: India’s TV screens are leaking money faster than a pirate’s ship because when signals get stolen, the only thing sinking is the industry’s bottom line. DTH signal piracy has escalated into a multi-billion-rupee crisis for India’s broadcast sector, with illegal feeds causing an estimated Rs 22,400 crore loss in 2023 alone. Industry estimates show roughly 90 million users accessed pirated video content outside India in 2024, inflicting $1.2 billion (≈ Rs 10,000 crore) in notional losses equivalent to about 10 per cent of the legal video market. Without stronger intervention, projections warn this could balloon to 158 million users and $2.4 billion in losses by 2029.
Broadcasters and distributors report piracy now eats over 30 per cent of their revenues, crippling reinvestment in content and infrastructure. The shift is stark, while DTH once dominated pay TV, active subscribers fell to around 56.92 million in early 2025 amid subscriber churn to OTT platforms, which now boast over 547 million video streamers. Yet piracy has followed the audience OTT has become the primary source for illegal content, accounting for 63 per cent of such access and driving Rs 8,000–11,000 crore in annual losses for the streaming market.
The industry has repeatedly urged the Ministry of Information & Broadcasting (MIB) to mandate forensic watermarking technology that embeds invisible identifiers in video streams to trace unauthorised feeds back to their source. Other proposed measures include physical verification for set-top box activations and location-based services. MIB established a task force to tackle the issue, and a nationwide consultation began in late 2025, but stakeholders say progress remains slow and the mandate too narrow, still excluding full coverage of cable and satellite networks.
The broader media and entertainment sector valued at Rs 2.5 trillion in 2024 faces mounting headwinds from piracy’s evolution. Cross-border enforcement remains complex, consumer preference for free content persists, and technological countermeasures spark an ongoing arms race. Without faster regulatory teeth and wider safeguards, broadcasters warn, the projected doubling of losses by 2029 could choke innovation and global competitiveness.
For an industry already squeezed by OTT migration, signal theft isn’t just theft, it’s a slow bleed threatening the very content that keeps viewers hooked. The question now isn’t whether piracy hurts; it’s how long the legitimate players can keep the lights on while the pirates keep the party going for free.
iWorld
Warner Chappell Music launches India ops, Jay Mehta to lead unit
WMG shifts to direct model, unifying publishing and recorded music
MUMBAI: Warner Chappell Music has officially launched direct operations in India, marking a strategic shift by parent Warner Music Group to deepen its presence in one of the world’s fastest-growing music markets.
The move replaces the company’s earlier sub-publishing model with a full-fledged, on-ground operation, aimed at giving Indian songwriters stronger access to global networks, rights management tools, and creative infrastructure.
To lead the push, Jay Mehta has been handed an expanded mandate. Already serving as managing director of Warner Music India, Mehta will now oversee both recorded music and publishing across India and neighbouring South Asian markets, effectively bringing the two sides of the business under one roof.
The unified structure is designed to streamline how artists and songwriters work with the company, offering a more integrated ecosystem that spans compositions, recordings, and global distribution.
Warner Music Group managing director, recorded music and publishing, India and SAARC Jay Mehta said, “India’s songwriters are world-class, constantly redefining genres and pushing creative boundaries. By establishing a direct footprint for Warner Chappell, we’re bridging the gap between local brilliance and global opportunity.”
The timing is no coincidence. According to CISAC, creator collections in India jumped 42 per cent year-on-year to Rs 7 billion in 2024, while IFPI ranks India as the 15th largest recorded music market globally. At the same time, the industry is undergoing a structural shift, with independent and non-film music gaining ground over traditional Bollywood soundtracks.
Warner’s bet is that a direct presence will help it capture this changing dynamic. The company is also offering India-based creators access to its proprietary tools, including AI-powered royalty matching systems and real-time analytics platforms, aimed at improving transparency and earnings visibility.
Warner Chappell Music co-chair and CEO Guy Moot said the move is about shaping a publishing ecosystem that “works for creators and ensures their music is heard, protected, and rewarded everywhere.”
Meanwhile, Warner Music Group CEO Robert Kyncl underlined India’s importance to the company’s global strategy, noting that the new structure creates a “unified powerhouse” for both creators and audiences.
With local studios, global reach, and tighter integration across its business lines, Warner is clearly doubling down on India. And as streaming habits evolve and independent music rises, the company is positioning itself to be not just a participant, but a key architect of the country’s next music chapter.
