MAM
Radio one’s renaissance man gets bigger brief
MUMBAI: Some people struggle to manage a single job. Hrishikesh Kannan is doing four—and has just been handed a fifth.
The radio veteran, better known as Hrishi K to his listeners, has spent September expanding his writ across HT Media’s entire radio portfolio. Already national brand head at Radio One, where he dreams up 360-degree branded solutions and chases revenue whilst hosting a daily morning show, Kannan now oversees brand strategy for Fever FM and Radio Nasha as well. It is an empire-building exercise that would exhaust most mortals.
The 30-year broadcasting stalwart has mastered the art of role accretion. He started as a radio host in 1994 at Times FM Delhi and never really stopped. Even as he climbed the ranks—national programming head, brand solutions architect, revenue rainmaker—he refused to abandon the microphone. Every weekday morning, without fail, he presents a show that beams across Radio One’s India network. It is a peculiar form of professional gluttony, and it appears to be working.
Kannan’s latest promotion, effective September 2025, makes him chief brand solutions officer and head of intellectual properties for HT Media’s radio business. Translation: he now devises money-spinning ideas for three radio brands instead of one, coordinates sponsorships and branded content across platforms (radio, YouTube, Instagram, live events), and still finds time to supervise national programming at Radio One. Oh, and host that morning show.
The portfolio is impressive. Radio One targets the English-speaking urban elite. Fever FM chases the Hindi heartland. Radio Nasha trafficks in retro Hindi cinema nostalgia. Each brand has its own audience, its own quirks, its own revenue streams. Kannan’s job is to extract maximum value from all three without letting any ball drop.
His track record suggests he might just pull it off. At Radio One, his branded solutions work has won awards and pulled in sponsorships for bespoke client campaigns. Revenue generation, he notes with characteristic immodesty, became “daily fodder” for him to “work on and succeed.” The man is not troubled by false humility.
Kannan also runs Radiohead, a maverick audio production outfit he founded in 2004 that churns out podcasts, audio plays, radio promos and book narrations. Because apparently running three radio brands whilst hosting a daily show was not quite enough to fill the diary.
His career spans the entire arc of Indian private radio, from Times FM’s pioneering days in the 1990s through the satellite radio experiment at WorldSpace to the current digital-plus-terrestrial era. He has worked for Radio Mirchi, All India Radio, Win 94.6 FM and just about every other frequency on the dial. If Indian radio has a living memory, Kannan is it.
Whether one man can sustain this level of professional plate-spinning indefinitely is an open question. For now, though, HT Media is betting that its busiest executive can handle an even busier brief. If anyone can turn three radio brands into a unified revenue juggernaut whilst still turning up for the breakfast shift, it is probably him.
MAM
Never put a ceiling on yourself: Edstead CBO Charu Budhiraja’s bold advice to the next generation of women
Edstead’s CBO on trading the hard sell for human truth, and why ‘let the work do the talking’ is more than just a mantra
MUMBAI: There is a particular kind of storytelling that does not announce itself. It does not interrupt your evening with a jingle, or flash a logo at you every thirty seconds. It simply pulls you in, holds you there, and leaves you thinking long after the screen goes dark. Charu Budhiraja has spent over two decades figuring out how to make that happen, and she will tell you, with the ease of someone who has learned this the hard way, that the secret is disarmingly simple: be real.
As chief business officer at Edstead, a Mumbai-based purpose-first content studio, Budhiraja sits at the intersection of creative instinct and commercial strategy. It is a position she has built towards across a career that winds through Ogilvy, Endemol, and Warner Bros. Discovery, and one that has seen her make films for Unilever and PepsiCo, shepherd long-form documentary partnerships, and watch the entire language of branded content change around her. She has sat in rooms where the brief was to sell, and in rooms where the brief was to mean something. Her life’s work, in a sense, has been making the case that those two rooms are the same room.
Ask Budhiraja what two decades in the industry have actually taught her, and she does not reach for the expected answer about strategy or scale. She reaches for empathy. “Over the last two decades, one thing I’ve learnt clearly is that storytelling works best when it connects with real human insights,” she says. “As a woman leader, I believe empathy naturally becomes a stronger part of the process. It helps you listen more carefully to people, experiences, and emotions behind a story.” This, she argues, is not a personality trait dressed up as a professional skill. It is a craft advantage, one that shapes how you enter a story, what you choose to stay with, and how you decide what a brand should and should not say.
That perspective, she says, is what allows a narrative to feel both authentic and commercially purposeful at once. “When storytelling balances both human insight and brand intent, that’s when it truly resonates.” The balance sounds elegant in theory. Getting there, as anyone who has ever tried to align a marketing department with a documentary filmmaker will know, is rather less tidy in practice. But Budhiraja makes it sound like something you can actually plan for, which is perhaps the most useful thing about the way she thinks.
She sees this same quality reflected in how women leaders more broadly approach the documentary space. There is, she observes, a natural inclination among them to look beyond the surface of a story and into its emotional and social architecture. “This lens helps brands tell stories that are not only strategically relevant but also authentic and impactful,” she explains. “When purpose-led storytelling is rooted in real experiences and voices, the narrative aligns more organically with a brand’s larger values and purpose.” It is not that men cannot do this, she is too careful a thinker to make that argument. It is that women in leadership have often had more practice doing it, and that the results tend to show.
The story of how branded content got to where it is today is one Budhiraja has watched from the inside, and in some stretches helped to write. The early days of the format were campaign-driven and product-led. Films for brands like Unilever and PepsiCo were, by her own account, “creatively exciting” but built around a marketing message and measured in short cycles. The audience, in that model, was a target. The story was a vehicle. The logo was the destination.
That model has not aged well. “Audiences are far more aware and selective about what they watch,” Budhiraja says plainly. “They engage with content that feels meaningful rather than promotional.” The shift is not simply aesthetic. It reflects a deeper change in the relationship between audiences and the media they consume, one accelerated by streaming, by social platforms, and by a general collapse of patience for anything that feels like it is wasting your time. Brands that have not adapted to this are finding out the hard way that money spent on content people skip is not really money spent at all.
What has replaced the old model, at least in the work Edstead does, is something considerably more ambitious. “Research-led, purpose-driven documentaries and series allow brands to participate in larger conversations and tell stories that feel authentic, relevant, and culturally grounded,” Budhiraja explains. The word ‘participate’ is doing a lot of work in that sentence. Not dominate. Not sponsor. Participate. It implies a certain humility about where the brand sits in the story, and a willingness to let the story be bigger than the brand. That is, it turns out, exactly the point.
“It’s less about advertising and more about creating stories people genuinely want to engage with.”
At Edstead, the philosophy takes shape as a very specific way of working. Partnerships are built not around visibility or reach, but around shared purpose, and the process begins not with a client brief but with culture itself. “The process begins with identifying stories that already exist within culture and society, and then collaborating with brands whose values naturally align with those narratives,” Budhiraja explains. The idea is that a brand should never feel grafted onto a story. It should feel like it was always part of the landscape the story is set in.
Long-form storytelling is central to this. A documentary or a branded series gives a brand the room to breathe inside a narrative, to become part of it rather than an interruption of it. “We rely heavily on research and long-form storytelling formats, which allow brands to integrate into the narrative more organically rather than feeling like an add-on,” she says. “When a partnership is genuinely aligned with the story, it creates a far deeper connection with audiences while delivering meaningful value for the brand.”
Edstead’s role in all of this, as Budhiraja frames it, is that of a bridge. On one side sits brand intent, which arrives with commercial objectives, a communications strategy, and a board that wants to see results. On the other sits authentic storytelling, which arrives with a subject, a point of view, and an audience that can smell inauthenticity from the other side of a streaming platform. Bringing those two sides together without either losing its integrity is the studio’s founding proposition. “In many ways, our role is to bridge that gap between brand intent and authentic storytelling, ensuring that the narrative remains culturally relevant and impactful,” she says.
Making meaningful content is, of course, only half the challenge. The other half is making sure it actually reaches people. Edstead approaches this by designing content to travel from the outset, building stories that can move across platforms and formats and find different kinds of audiences along the way. “The idea is to create stories that are culturally relevant and emotionally engaging, so audiences feel invested in them,” Budhiraja says. “When a story connects on that level, it naturally sparks conversation.” That conversation is ultimately what converts emotional engagement into brand value. It cannot be bought. It can only be earned by getting the story right in the first place.
On the question of what authentic narrative does for a brand, Budhiraja is at her most direct, and her answer cuts through a good deal of industry noise in a single breath. Years of watching what sticks and what does not have given her a clear view on the matter, and it has very little to do with production values or the size of the media buy behind a campaign. “I can tell you with certainty that the content that stayed with people was never about the biggest budget or the most perfect execution. It was about truth,” she says. “When a brand has the courage to step back and let an authentic story lead, audiences feel it immediately. That shift from watching to feeling is what no media plan can engineer. It has to be earned. And in my experience, the only way to earn it is to be real.”
“That shift from watching to feeling is what no media plan can engineer. It has to be earned.”
Looking ahead, Budhiraja sees the trajectory of branded storytelling continuing to move away from the world of campaigns and into the world of culture. The most impactful branded content, she argues, is already indistinguishable from meaningful storytelling, and the gap between the two will only narrow further. “Branded storytelling today is moving beyond campaigns and entering the realm of culture,” she says. “The most impactful branded content doesn’t feel like marketing at all, it feels like meaningful storytelling.”
The implication for marketers is significant. The skills that built careers in traditional advertising are not the same skills that will build the next generation of brand stories. Budhiraja is direct about this shift. “Going forward, marketers will need to think more like creators and storytellers rather than traditional advertisers,” she says. “Purpose-led narratives, creative collaborations, and platform-native content will shape the future, especially as audiences expect more personalised and culturally relevant stories.” The industry, she suggests, is not quite there yet. But it is moving, and the direction is clear.
Budhiraja’s own journey through this industry has not been without friction. Across media networks, agencies, and now a purpose-first studio, she has encountered the quiet, persistent scepticism that can follow women into leadership roles, moments where being a woman meant being questioned more than the work warranted. She does not dramatise this, but she does not skip past it either. “There have definitely been moments where you feel questioned more because you are a woman,” she says. “Those experiences are not uncommon in leadership roles across industries.”
Her response has been consistent, and it is, characteristically, a storyteller’s response. Do not get louder. Get better. Let the work make the argument you cannot make in a meeting room. “Over time, I realised that the strongest response is not louder words but stronger work,” she says. “When a story connects and creates impact, it speaks for itself. My approach has always been simple: let the storytelling and your work do the talking.” It is advice she has lived by long enough that it no longer sounds like advice. It sounds like fact.
For the next generation of women trying to build careers at the intersection of creativity, strategy, and business growth in purpose-driven media, Budhiraja has a lot to say, and none of it is soft. She is not interested in offering comfort. She is interested in offering clarity. “Experiment relentlessly, and never let anyone, including yourself, put a ceiling on what you can do,” she begins. “Ask questions, and make sure they’re the right ones. Say yes to learning, say yes to adapting, and always learn beyond the boundaries of your current role, because the moment you stop, you limit yourself.”
The women who thrive at this intersection, she believes, are the ones who understand all three disciplines deeply and are not afraid to move fluidly between them. Specialism has its place, but it is versatility paired with conviction that builds careers with staying power. “The women who thrive at the intersection of creativity, strategy, and partnerships are the ones who understand all three deeply and aren’t afraid to move between them,” she says. Then she adds what is, perhaps, the most personal piece of counsel she offers: “And above everything: trust your instincts, hold your opinions, and own your perspective.”
It sounds simple. It is not. But then, most of the truest things about storytelling are like that. They look obvious from the outside and turn out, on closer inspection, to be the product of a great deal of practice, patience, and a willingness to keep asking whether the story you are telling is the one that actually needs to be told. Budhiraja has been asking that question for over two decades. The industry, catching up slowly but surely, is beginning to understand why it matters.
