Hivewire #16: What will drive more Indian Artists On The World Stage? (Part 2)

The streaming era reshaped India's music consumption — what more can we learn?

By Shashwat Hota and Srishti Das

The Digital India revolution was a driving force for the transformation of the Indian music industry. Cheap data plans and governmental support helped the music industry reach a larger chunk of internet users. This rapid internet penetration in the country not only helped distribute music to a larger audience, but it also led to the rise of more artists from various parts of the country. With over a trillion audio and music video streams, India became the second-biggest streaming market by volume in 2023, with only 50% internet penetration. With low data costs, streaming platforms like Saavn (now Jio Saavn), Gaana, and Spotify, became increasingly popular. Habit formation had to be the main objective of all streaming platforms, as Indians had a low willingness to pay for music.

What streaming platforms brought to the Indian market is a different perspective of music. They maintained the quality of user experience while consolidating information regarding the music people loved. A user could now find all the information about a song along with all the credits for a song on the same application and even explore the artists on the track. They could visit artist profiles on the platform, listen to their discography and read up on their biographies regarding their body of work and their background. This created a connection between the artist and the listener which helped previously obscure artists to have fan bases as well.

A prime example is Prateek Kuhad, who released his debut EP ‘Raat Raazi’ in 2013, but Fans and consumers could now see what was trending in the country and what their listening patterns were like. It facilitated the revival of the independent music scene in the country by bringing the artists to the forefront. People started listening to and following the career trajectory of artists outside of the realm of film music. Artists found recognition without the Bollywood tag attached to them. Fans found new forms of music and newer sounds through independent music, along with a diverse set of artists. Now they could know what artists are blowing up in the country and who are the up-and-coming artists. This led to a gradual shift from the country being a song economy to an artist economy. 

What we can learn from K-Pop 

If we are to learn from recent music economies going big and reaching worldwide acclaim, South Korea would be the best example. The Korean music industry was only half the size of the French music industry in 2009, but by 2011, it had grown to almost 86% of the size of its French counterparts. However, the latter remained stagnant throughout, eventually crossing all borders and reaching the stage it is now: the current superpower in music. This was a culmination of government initiatives to propagate Korean culture all around the world, a focused effort of the K-Pop music industry to foster an ecosystem that nurtures and propels artists into superstardom.

India has to elevate its recorded music game to be competitive in the global market.

With respect to Indian artists, we must always remember that the scope for improvement never ends. The ecosystem is only scratching the surface now and finding new talent is only one piece of the puzzle.

>> Signing Artists, Not Just Songs: It’s no surprise that a viral track leads to labels, especially major ones throwing money at an artist. In India, the pattern is the same: artists often get signed once their song takes off. While the music might be strong, true success lies in understanding why a song went viral, learning from that and aiming for sustained success. Chasing viral moments based solely on a single track can distance artists from an artist-first economy, especially in the TikTok and reel era. Short-form videos often put the spotlight on the audience, pushing the actual artist out of focus.

A great example is Hanumankind's latest release ‘Big Dawgs’. Instead of major labels simply trying to recruit him, the industry should be asking how to turn his viral moment into a genuine cultural shift. The goal shouldn’t be just to create more viral moments but to leverage the success of artists like Hanumankind in a market that still claims that English-language music from local talent "doesn’t work."

>> Artist Development: After signing talent, it's crucial to provide the right guidance to help artists refine their craft. Even raw, untested talent can be incubated and launched later. Beyond honing their skills, artists need to understand the music business and how to engage with fans to build long-term success. This isn't the era where labels can simply throw money at an artist and expect a breakthrough. Gen Z and Gen Alpha are, in many ways, born on social media and are therefore quick to see through manufactured personas.

Today, success comes from authenticity. Artists on the top of their localized scenes like Burna Boy, Bad Bunny, Raye, Diljit Dosanjh, Ali Sethi and Tyla are chosen by their communities to represent them and their cultures globally. This is no longer the era of breaking an artist; it is the era of making one. The Hivewire team is here for it!

>> Collaborations with International Artists: Collaborations with global artists can open doors to new audiences. We've seen Divine team up with Nas and eventually become a part of the Mass Appeal family and Diljit Dosanjh has collaborated with Sia, Anne Marie and Saweetie, helping them tap into new geographies through their collaborators' fan bases. It is inherently mutually beneficial. As much as Indian artists can leverage the geographical reach of International artists, those International artists get access to the Indian market as well. However, the key to success is keeping these collaborations authentic and organic. A great example is Universal Music’s handling of Tesher’s ‘Jalebi Baby’ featuring Jason Derulo, which struck the perfect balance between both artists’ styles. We won’t dive in too deep, but you can check out an old Hivewire post about authenticity in collaborations and meaningful localisation for further expansion on this idea.

>> Participating in International Festivals and Prominent Venues: Performing at International festivals and renowned venues is a key opportunity for artists looking to expand their reach. These platforms introduce new audiences who can become long-term fans through compelling performances. For example, Indian artists like Yung Raja, Abhilasha Sinha, Komorebi, Dhruv Visvanath and Kavya Trehan have performed at the prestigious SXSW festival over the years, not only showcasing their talent but also connected them to a diverse crowd, reinforcing the importance of engaging with new markets. Further, these international excursions have in turn led Indian artists to also collaborate with international musicians, expanding their fan base further.

>> Increased Industry Support for International Exposure: Financial barriers often hinder artists from entering emerging markets. High costs for travel, accommodation, equipment and freight can complicate opportunities to perform at such prestigious venues. This challenge underscores the need for international agents who can facilitate these performances by understanding the nuances of the market and the opportunity cost. By representing diverse talent, agents can advocate for underrepresented artists and help secure slots at significant venues and festivals. The growing popularity of genres like Afrobeats, K-Pop and regional Indian music creates a demand for fresh acts that can attract new audiences worldwide. Prioritizing inclusivity not only helps agents expand their rosters, but also enriches the global music scene, benefiting artists, audiences and the industry alike.

>> A need for Rhythm: A common theme between Latin music and Afrobeats is that they have a very distinctive rhythm. The popularity of a certain piece of music has largely been related to its danceability. These music genres have provided audiences with the chance to dance to their grooves. In India, Punjabi music has that distinctive rhythm with its Bhangra beats. The South side of India has its Kuthu beats which are infectious. These genres have broken through the language barriers within the country and have also been able to penetrate international markets. Diljit Dosanjh presented a set at Coachella with Bhangra dancers in the background. The viral sensation ‘Naatu Naatu’ was danced on by people worldwide as seen on trends on social media platforms. It is finding these distinctive rhythms in other cultures of our country, making music with them and promoting them all over the world that will further expand the reach and relatability of artists and their music.

>> The Role of the Diaspora: The Indian diaspora plays a key role in propagating Indian music. They are the closest to the new listeners and understand their music preferences; hence, they can share with them the music that they might like with each other. Cross-cultural exchanges like this help generate better numbers for artists. Artists like Karan Aujla, AP Dhillon, Diljit Dosanjh and Sidhu Moose Wala are famous in the Indian diaspora in Canada and the United Kingdom, and this diaspora helps to get the word out about their music. 

Although India has to play catch up in many aspects of the music industry, it still boasts numbers that compete with developed markets. The streaming numbers of India are the second highest in the world. We are a nation that loves its music. We are also a nation that is very slowly opening up to the idea of paying for it as well. We are seeing artists go global as well. Hanumankind and Kalmi climbing into the Billboard Hot 100 at No. 57 with ‘Big Dawgs’ only fortifies this trend. But if India wants to be seen as a music powerhouse globally, artists must be nurtured and prepared to make music for the world. More artists will have to be part of the global scene and be staples thereof. 

Check out the HIVEWIRE playlist - The Hive

One 'The Hive' is where our diverse team shares new music and trends from emerging markets. 

Interesting reads from last week from Shashwat:

>>> Two future paths for the vinyl revival | Tatiana Cirisano | MiDIA Research

Physical consumption of music has grown for the past few years but is expected to decline after 2026. Physical sales depend upon two factors, consumption and fandom, and the recent growth is due to the latter as the younger fanbase buys vinyl to support their favorite artist. A big issue is that the technology to make vinyl hasn’t developed with time. So manufacturing on a bigger scale is not accessible to all. The decline in sales will be because the consumers of Vinyls are reducing while the market for “merchandised” vinyl is not growing that quickly  

>>> The Currency of Afrobeats and Latin Artist Collaborations | Creator Economy IQ | Tochi Louis | The Jollof Diary

Africa and Spanish-speaking countries have a shared past of European colonization. However, this wave of African artists collaborating with Latin American artists is a strategic move rather than cultural nostalgia. When you see the streaming statistics, Ayra Starr’s top five countries include four Spanish-speaking countries. Artists like Rema and Joeboy’s third and second most streamed song is a Spanish Collaboration. South American countries like Brazil, Colombia, and Chile have a big appetite for music streaming, which aids in spreading the Afrobeats sound in these Latin American countries. 

>>> Two years into the AI craze, where does it go next? | Hannah Kahlert | MiDIA Research 

AI has been the most significant talking point in the tech space for the last 2 years. The cost of storage and computing is increasing, but the output does not justify the costs as other than helping people with their daily tasks, AI hasn’t moved the needle immensely. In terms of content creation, AI-powered content does not meet the quality standards of the current times. Big companies like Google and Microsoft are investing in nuclear power plants to power AI, which can lead to newer ventures that minimize losses from AI.

Hivewire is an independent music industry publication launched in June 2023 by Srishti Das and supported by Akriti, Shashwat Hota and Yatin Srivastava. This dynamic newsletter offers a unique perspective on the music industry, focusing on emerging markets and the rapidly growing music cultures that are gradually making their mark globally.