iWorld
ALTBalaji seeing rapid uptake in tier II & III cities during post-Covid period
KOLKATA: Going beyond the initial metro syndrome, over-the-top (OTT) platforms in India are seeing massive adoption in tier II, tier III cities, and even in rural areas. The massification is happening faster than it was predicted courtesy to content in Indian languages, better bandwidth, easier payment options. Meanwhile, homegrown platforms are becoming more relevant in the game.
Unlike many other platforms, which had to tweak their content strategy, pricing models to attract the new section of OTT users, ALTBalaji has always focused on mass India. The strategy is reaping good results as the platform is seeing a rapid uptake of the platform in tier II and tier III cities post-Covid period.
“As India is a price-sensitive market, we think consumers from tier II and tier III cities will need a very affordable price proposition and therefore our focus is on converting these first-time samplers into avid subscribers of premium content on the platform. ALTBalaji with its less than a rupee a day pricing has been successfully meeting this challenge and it is one of the lowest-priced video streaming players in the market, this has allowed us to quickly penetrate and grow our reach,” ALTBalaji management said in an earnings call after q1 results.
“Viewers spend an average of 60 minutes and 90 minutes per week in metros and non-metro markets respectively, the highest in its category in 2019, this trend continues in quarter one FY2021,” it added. According to a report from RedSeer Consulting, the OTT consumption to see 80 per cent share from tier I, tier III cities and rural areas by 2022.
While ALTBalaji has recently made a strategic investment in fan connect platform Tring, one of the main reasons lies in the fact that the latter also wants to target tier II, tier III cities. “The synergies for this are the fact that both of us are in the area of getting onscreen talent and more importantly both Tring as well as Balaji want to target Tier II and Tier III cities of India. So, I think that is the synergy, it is kind of a talent representation business and we work with talent and so does Tring,” the management commented.
At the beginning of the lockdown, the platform’s subscriber addition zoomed to 14000-15000 per day. However, due to lack in fresh content and the initial phases of unlock, the number has come down to 10000 per day which is at per with pre-Covid period. However, the platform currently has 1.5 million active user base with a churn rate of 66 per cent.
iWorld
Uber spotlights Rs 25 bike rides with music led IPL campaign
Uber uses 15 second music films with Divine and Roll Rida to push Rs 25 rides
MUMBAI: In a season where ads usually swing for sixes with celebrity spectacle, Uber has chosen to play a clever single sharp, fast, and straight to the point. Uber has rolled out a distinctly stripped-down IPL campaign, putting its product Uber Bike rides starting at Rs 25 for up to 3 km front and centre, rather than leaning on big-budget storytelling. The campaign features hip-hop artist Divine in Mumbai and Roll Rida in southern markets, using music as the primary vehicle for recall.
IPL advertising has long been dominated by high-production narratives packed with cricketers and film stars. Uber’s approach flips that playbook. Instead of elaborate storytelling, the brand opts for 15-second music-led films quick, rhythmic bursts designed to mirror the pace of urban mobility itself.
The message is deliberately simple, affordable, fast rides that cut through city traffic. No layered plots, no extended build-up just a functional promise delivered with cultural flair.
In the Mumbai-led film, Divine zips through traffic on an Uber Bike, turning the Rs 25 price point into a hook with his signature wordplay around “pachisi”. The campaign cleverly reframes affordability as a moment of delight, the kind that leaves commuters with a “32-teeth smile” after beating traffic at minimal cost.
Meanwhile, Roll Rida’s version leans into southern sensibilities, blending Telugu and Tamil influences with high-energy visuals. Set to the beat of tape drums, the film celebrates how low-cost rides can unlock a more connected and vibrant city experience. Together, the films reflect a conscious push towards regional authenticity, rather than a one-size-fits-all national narrative.
The campaign also signals Uber’s sharper focus on India’s growing bike taxi segment. While the company offers multi-modal services spanning cars, autos, metro integrations and intercity travel, this push zeroes in on two-wheelers as a key growth lever in dense urban markets.
By anchoring the campaign around a Rs 25 entry price for short distances, Uber is targeting everyday commuters, particularly younger users navigating congested cities where speed and cost matter more than comfort.
With IPL advertising clutter at its peak, even the most straightforward message risks getting lost. Uber’s answer is to embed the proposition within culture using music, regional nuance and repeat-friendly short formats to drive recall. The creative team has also layered subtle visual cues including multiple references to “25” within frames encouraging repeat viewing and reinforcing the core message without over-explaining it.
The campaign reflects a broader shift in advertising priorities. As attention spans shrink and media environments get noisier, brands are increasingly favouring clarity over complexity and speed over scale.
Uber’s IPL play may not shout the loudest, but it lands where it matters in the everyday commute. Because sometimes, in a marketplace full of grand narratives, a Rs 25 ride is story enough.
