In India, Bollywood has long been the gold standard, a dazzling world where dreams are crafted and stars are born. Yet, behind the glitz and glamour lies a crucial but often overlooked element: talent management. Traditionally focused on nurturing Bollywood actors, musicians, and sports icons, talent agencies have acted as vital conduits, helping these stars navigate the intricate business of fame. The fervent fan culture surrounding Bollywood has fueled this ecosystem for decades, turning mere mortals into household names. But today, the horizon of fame has expanded beyond the silver screens with the explosion of digital platforms, and the rise of OTT content, dramatically changing the way celebrities are discovered and celebrated. Social media has given rise to new-age celebrities in influencers and digital creators, many of whom have a massive following without ever setting foot in a film studio. Their influence is driven by their online presence.
Today, the art of talent management is not just about guiding careers through traditional avenues; it’s about embracing a world where influence is often measured in likes and shares, redefining what it means to be a celebrity in modern India. Talent management agencies now play a crucial role by developing strategies that blend online visibility with offline opportunities, helping these new-age stars leverage their influence to create meaningful careers. The scope has widened, and agencies now operate as multi-functional entities, blending technology, creativity, and strategic planning to help shape the public personas of today’s icons, thus staying relevant in the rapidly evolving entertainment industry. From identifying trends to creating new revenue streams for their clients, talent management agencies are at the forefront, where managing talent now means managing an entire ecosystem of opportunities, both digital and physical. With a growing number of influencers, content creators, and niche artists, the future of talent management is filled with exciting possibilities, as agencies continue to innovate and redefine the role they play in the careers of modern-day celebrities.
In this special feature, we have interviewed eight industry leaders who are redefining the talent management game. These eminent personalities share their remarkable journeys, and the unique strategies they’re employing to scale their businesses and elevate the talents they represent. Let’s hear from them how they’re navigating and expanding in this digital era.
Founded in 2012, One Digital Entertainment has become a vital platform for influencers to build their audiences, and monetise their creativity. With a rich background in digital media and early ventures in digital music monetisation, Gurpreet Singh, the Co-founder of One Digital Entertainment has been instrumental in shaping the landscape for independent artists in India. As One Digital Entertainment continues to expand its reach and impact, Gurpreet takes us through the agency’s journey over the years, and how it has been helping influencers and creators build their brands.
HOW IT ALL STARTED
“One Digital Entertainment, co-founded by Shabir Momin and me in 2012, provides a platform for content creators—musicians, comedians, and fashion influencers—to grow their audiences and monetise their work sustainably. We were early partners with YouTube in India before the term ‘creator economy’ emerged. My prior experience at Viacom 18 managing digital for MTV, Colors, and VH1, along with my early ventures in the ringtone market, shaped this vision. We founded One Digital to support independent artists often overlooked by traditional media. We helped launch YouTube channels for labels like Speed Records and partnered with Spotify for music distribution. Our platform-agnostic approach maximizes revenue opportunities for artists. Though initially centered on music, we’ve now broadened our scope to include diverse content genres. Throughout, we’ve consistently discovered and nurtured new talent.”
Q] Please share about the company’s approach to creating organic and effective influencer marketing campaigns that resonate with diverse audiences?
We collaborate with hundreds of content creators across music, food, fashion, and lifestyle, functioning as a full-service media company. For example, we launched hip-hop artist Raftaar's early lyrical videos on YouTube and released his flagship song through an MTV IP we developed. By partnering with brands like Tinder and Vodafone, we secured funding for his music videos without traditional label backing.
As mainstream artists and content creators converge, we offer comprehensive support across genres. About nine years ago, we produced Hitched, featuring Ranvijay’s wedding, one of the first long-form reality shows for digital platforms, co-produced by Raghu and Rajiv. We also co-produced ‘India’s Digital Superstar’ with Fremantle and worked on projects like a music show for Zee5 with Badshah called ‘Lockdown,’ uniting mainstream musicians and digital creators.
Q] How did you onboard Prajakta Koli, and in what ways did your collaboration help shape her journey as a content creator?
Prajakta Koli is one of our proudest case studies, her journey is remarkable. Her journey began when our colleague Sudhir met her as an intern at a radio station. Thankfully, she was not satisfied with her radio career at that time. We encouraged her to start a YouTube channel, leading to the launch of MostlySane. Over the past nine years, she has achieved remarkable growth, featuring in documentaries with Michelle Obama, serving on the Gates Foundation’s Goalkeepers panel, and becoming India’s first climate champion under UNDP. Prajakta has starred in three seasons of Netflix’s Mismatched and will lead a supernatural thriller from Excel Movies on Amazon Prime later this year. She’s also announced her first book, ‘Too Good To Be True,’ backed by Harper Collins, set for release soon. As a leading female content creator on Instagram and YouTube, she frequently speaks at events like the World Economic Forum and was invited to COP28 (Climate Change Conference) in Dubai by the UN. Her journey reflects our team’s support and the impact of her hard work and talent.
Q] Please elaborate on the significance of initiatives like MerchBay and PodOne, and how these ventures contribute to the company’s overarching goals?
We launched MerchGarage, our merchandising brand with a warehouse in Bhiwandi, where we design and print quality items like hoodies and t-shirts in-house. Each creator has a dedicated shop on MerchGarage.com, including Prajakta’s at mostlysane.merchgarage.com and Badshah’s at badshah.merchgarage.com. We also partner with brands like Pepsi for their merchandise.
Our ecosystem includes tech, product design, shipping, and customer care for smooth operations. We were early adopters of YouTube Shopping, displaying merchandise under creators’ videos.
In response to the podcast boom, we established PodOne, producing shows with our creators and others. Recent projects with Spotify include ‘The Sex Podcast’ by Leeza Mangaldas and ‘Shut Up’ by Sejal. We’ve launched Karishma Tanna’s podcast and are set to debut Ananya Pandey’s So Positive. While some shows are Spotify exclusives, PodOne distributes content across all platforms.
Q] Tell us a bit about Social Nation, and the response it has received.
We host one of the largest creator economy communities, Social Nation, which features a massive two-day celebration. The latest event took place on April 19-20, at Jio Garden in Mumbai. Since its launch in 2019, it has grown significantly, now boasting three stages, meet-and-greets, workshops, and experience zones, including gaming sessions by brands like Snapchat and YouTube. This year’s performances included top creators and surprise guests like Ananya Pandey and Varun Dhawan, with Vivo as the title sponsor alongside Spotify. Social Nation also serves as an online community at socialnationnow.com, offering daily updates, interviews, and a podcast on the creator economy. Our Social Nation Campus programme engages college ambassadors across over 100 institutions to connect them with content creators for their festivals. Additionally, the Social Nation Residency programme acts as a creator accelerator, hosting workshops with industry experts and brands like Pepsi. One Digital Entertainment also runs various creator executive programmes, including a partnership with YouTube to support female content creators with production and PR resources.
In a conversation with IMPACT, Aayushman Sinha, Founder & CEO, REPRESENT, discusses the dynamic evolution of his company from artist management to a leading force in shaping India’s pop culture. With a vision for global cultural impact, Aayushman reveals how REPRESENT is redefining the music talent management landscape. He shares insights into the innovative strategies and impactful partnerships driving the agency’s success as it aims to make a significant mark on the entertainment industry.
HOW IT ALL STARTED
“I didn’t start this company with a clear vision or specific goals. I became an artist manager because a friend, DJ Chetas, needed help. He had no one else, and since I was interested in music and events, he took a chance on me to handle his work and strategy. That’s how my journey began, and REPRESENT was born. Now, nearly a decade later, I have a vision. We are passionate about pop culture and India, viewing it as a powerful soft influence for the country. REPRESENT aims to be at the forefront of this movement. There is still so much more we want to achieve in the coming years.”
Q] How do you identify and nurture raw talent, transforming them into globally recognised artists?
The most important factor is gut feeling. After doing this for long enough, you develop an instinct for recognising when someone is truly special and worth investing in. It’s not about algorithms; my team and I scout for fresh talent and engage with promising individuals by offering support on small projects. We commit only when we’re confident they have a genuine vision and the passion to pursue it. Patience is key, so understanding their personality is crucial. Ultimately, it’s about gut feeling and compatibility.
Q] What challenges do you face while managing a diverse roster of artists and how do you address them?
The primary challenge in artist management is that each artist is unique, requiring tailored strategies instead of a one-size-fits-all approach. This makes the role both rewarding and demanding. Additionally, there’s a lack of formal training for artist managers, with no specific courses available. Training typically takes 14 to 16 months, and while demand for qualified managers is high, supply is limited. A proper training and education model is essential to develop skilled professionals in the field.
Q] Tell us a bit about the strategies behind your successful collaborations, such as Armaan Malik’s feature with Ed Sheeran.
When Warner Music India offered a collaboration with Ed Sheeran, Armaan, being a big fan, was a natural fit. He recorded the song in under 72 hours, impressing Ed and leading to a strong relationship. This culminated in a live performance together in India, further solidifying their friendship.
Q] How do you balance traditional artist management with expanding into areas like creator management and tech consulting?
We didn’t do tech consulting but formed key partnerships for Triller’s launch in India after the TikTok ban. Triller partnered with us to gain nearly 40 million users in India. We signed around 100 top artists and creators, including Diljit, Armaan, Badshah, Tiger Shroff, and Bhuvan Bam, to bring fresh content to the platform. Additionally, we partnered with JioSaavn, integrating Triller’s music videos into the app. Users listening to “Kesariya” on JioSaavn saw related Triller videos, boosting downloads. Recognising a gap in creator management, we’re exploring ways to help creators grow and will soon announce our full creator roster, aligning with our focus on developing authentic talent.
Q] How do you stay ahead of industry trends and ensure your artists remain relevant in a rapidly changing entertainment landscape?
We’re not chasing trends or trying to stay relevant; we aim to set them. My artists are the ones defining cultural phenomena in the country. Take MC Stan, who’s creating a new wave of Desi Hip Hop, or Anuv, who performs with just a guitar, inspiring many songwriters. Our artists are trendsetters, not followers. We focus on highlighting the most authentic aspects of their artistry, staying true to their universe. By amplifying their authenticity, they naturally remain relevant.
Q] What does your company’s revenue model look like and what are your key streams of income?
Our main revenue comes from talent commissions, with artists paid directly by brands, event companies, and music labels. We take a 15-20% commission at the end of each month. Rather than focusing on the top line, we facilitate transactions and invoice based on generated business. Our second revenue stream is consulting, charged at an hourly rate or flat fee for various projects. We’re also developing a third stream through angel investing, targeting startups we can help scale, generating revenue through future exits. Additionally, we facilitate market deals, even for non-roster artists, like signing Allu Arjun for Coca-Cola. We’ve grown 20-30% annually for the past three years.
Q] How do you leverage technology and social media platforms to enhance your artists’ reach and engagement?
Technology is central to everything we do. Artists create, develop, and deliver content through it, especially via social media platforms. Our goal is to provide high-quality, relevant content to users, which is the easiest way to grow. You don’t need deep analytics to see what’s working; it’s clear. We partner closely with major platforms like Meta and YouTube to understand what performs well. They provide us with prompts and ideas, and we collaborate to grow our artists on these platforms. Additionally, we use AI for ideation, storyboarding, and concept development, inspiring many of our marketing plans and content.
Q] What long-term goals do you have for REPRESENT, and how do you plan to achieve them in the coming years?
Represent aims to build pop culture in India, akin to Korea’s K-pop success. We believe India’s pop culture will become a significant global soft power. Our goal is to be a key player in establishing India as a major cultural influence and leaving a lasting legacy in the entertainment industry.
Over the past 20 years, OML has been at the forefront of culture, collaborating with top brands, platforms, and artists to create impactful stories and campaigns. In a candid conversation with IMPACT, Tusharr Kumar, CEO, OML Entertainment discusses the company’s evolution from a niche player in the Indie music scene to a global leader in content, artist representation, and creator technology. He shares insights into their strategic focus for the next five years, global ambitions with the creator tech platform Hypothesis, and OML’s commitment to innovation and its artist-first philosophy.
SUCCESS STORY
“We have been deeply involved in the creative and creator ecosystems, building businesses around artist representation, branded and non-branded content, and technology. We developed and sold Insider to PayTM and created complementary businesses to maintain profitability. Our approach balances initial high investments in new ventures with the stability of established ones, a strategy that has worked for two decades. Our key strength lies in our incredible teams, who keep us ahead in the market, and our adaptability. We’ve grown from 20 people in an apartment to over 220 while maintaining a startup mindset. Our agility in spotting trends and avoiding bureaucratic delays has driven our growth and profitability.”
Q] OML has represented numerous high-profile talents with international acclaim. What is your approach to identifying and nurturing such exceptional talent?
At our company, talent representation focuses on driving value for the artists we represent rather than the number of artists we represent. While we started with Indie musicians and transitioned to comedy, we’ve expanded to represent diverse talent, including actors, illusionists, and influencers. Our priority is to ensure we can provide real value to each artist. We only consider expanding into new categories of representation, like sports, when we can genuinely support them. For instance, managing athletes might not be feasible until we’ve built an ecosystem to sustain that.
Q] How does Hypothesis, with its impressive database of over 212 million influencers worldwide, empower you to forge impactful and authentic influencer partnerships?
At OML, our passion for technology drives continuous innovation. We created Insider to meet our event production needs, as existing ticketing platforms lacked seamless data access for buyers and artists. We built a successful product and then decided to exit it. This decision was strategic, as we wanted to shift our focus from both the live and live ticketing businesses to concentrate on what we have now. About eight years ago, we entered influencer marketing with 1862, managing campaigns across 22 countries using data-driven strategies. Identifying gaps in creator tech, we developed Hypothesis, making use of our expertise in creator management and influencer marketing. This powerful tool helps brands find the right influencers through data filters and audience insights, simplifying campaign tracking and enabling real-time adjustments. By applying media planning principles to influencer marketing, we’re transforming brand-audience connections.
Q] OML’s GCN has delivered impressive results for brands like Netflix, Levi’s, and Tinder. What is the secret to creating content that resonates so well with audiences?
At GCN, we adopt the “brands as creators” philosophy to shape our campaigns and modern storytelling. Our creative team focuses on building fans rather than just consumers, and creating entertaining content instead of merely selling. We all know that the vast amount of content available is being driven significantly by creators. But how can a brand start to be viewed as a creator themselves? Some brands have done this remarkably well. Zomato and Netflix’s social media teams have developed handles that engage audiences, rather than merely selling to them. This approach has driven significant growth, making GCN the fastest-growing business at OML and evolving into a full-fledged creative agency, as seen in our recent campaign for Canva.
Q] How do you foresee the future of the talent management industry evolving, and what role do you see OML playing in that future?
At OML, we’ve always been an artist-first company. We began 20 years ago, representing independent musicians in a market dominated by Bollywood and regional music. We then went on to build the music festival - NH7 Weekender. We developed and sold Insider to PayTM and created complementary businesses to maintain profitability. As more agencies emerge, artists now have options beyond Bombay. This competition drives us to meet their needs, and we take pride in being one of the most honest and transparent agencies, with artist representation as our core focus. Hypothesis aims to take our creator tech global, building on our success with Bacardi, while our team in India will manage influencer campaigns worldwide.
Q] What are the unique challenges associated with managing influencers compared to traditional celebrities?
Managing artists, whether traditional celebrities or influencers, is fascinating as it involves shaping their careers and lives. It’s highly rewarding, as you’re responsible for their growth and revenue. While the core challenges remain the same, the context has shifted—previously it was about managing musicians’ equipment, now it’s about coordinating smooth shoots for influencers. Over the last five years, the artist management landscape has evolved, with more agencies and increased competition, leading to frequent artist switching. To succeed, agencies must consistently deliver value, stay ahead of trends, and identify emerging opportunities, just as we did with India’s comedy ecosystem.
Q] What are your long-term goals for OML in the next five to ten years, and how do you plan to achieve them?
OML’s long-term goal is to keep brands, platforms, and artists culturally relevant. Over 20 years, we’ve evolved from a countercultural presence in Indie music to shaping culture through artist representation, brand campaigns, and OTT content. In the next five years, we’ll focus on content, artists, and technology without branching into new areas. Hypothesis aims to take our creator tech global, building on our success with Bacardi, while our team in India will manage influencer campaigns worldwide. We’ll strengthen our creative capabilities in TVC and DVC, and continue producing unique long-form content. Instead of signing a hundred new artists, we aim to enhance opportunities for our existing roster of around 80 artists, potentially growing to about a hundred.
From humble beginnings in a garage to becoming a pivotal player in the multi-billion-dollar sector, Viraj Sheth, Co-Founder & CEO, Monk Entertainment shares the agency’s journey of overcoming early challenges, navigating the evolving landscape of digital media, and pioneering effective talent management. With a focus on maintaining authenticity and fostering long-term client relationships, he reveals how Monk E has successfully adapted to industry shifts and continues to drive growth.
HOW IT ALL STARTED
“We started seven years ago, when ‘influencer’ and ‘influencer marketing’ were just emerging. Since then, the industry has grown into a multi-billion-pound sector, recognised by governments and the public. Today, becoming a YouTuber is a more popular aspiration for children than being an astronaut. Initially unstructured and dominated by Bollywood and cricketers, content creators now hold significant influence. Our aim has been to bring organisation, ensure fair compensation for creators, and help brands engage with this marketing form. We’ve assisted Indian startups from seed stage to IPO, with influencer marketing playing a vital role in their success.”
Q] As a 360° digital media organisation, how does Monk-E ensure seamless integration across its talent management, video production, social media management, and influencer marketing services?
Each unit in our organisation requires distinct skills and personalities. Talent managers must be outgoing, while our creative team needs to generate ideas effortlessly. The sales team focuses on identifying opportunities and solving marketing problems, and the post-production team—comprising photographers, videographers, and editors—must excel in their fields. Essentially, each unit at Monk Entertainment functions like its own agency, integrating elements of influencer marketing, talent management, and creative development. Our goal is to combine the strengths of multiple agency types into one cohesive entity.
Q] How do you stay ahead of trends in the rapidly changing digital landscape, particularly in influencer marketing?
Digital media, especially content, is constantly evolving. To stay ahead, we must stay active on the internet and monitor trends. Being engaged with Instagram is beneficial for this. By observing current trends and understanding what people are consuming and discussing, we can make informed predictions about future trends. This approach helps us stay ahead and anticipate what will work in the next two to three years.
Q] Monk-E works with notable brands like Nykaa Man, Puma, and Sony Music. What factors contribute to successful brand collaborations in the influencer marketing space?
Effectively servicing and understanding a brand is crucial yet often underestimated. Grasping a brand’s needs better than they do is essential. Our seven-year client relationships stem from patience and empathy. We avoid assumptions, ask insightful questions, and provide tailored solutions. When brands view us as an extension of their marketing team, it demonstrates our genuine care, fostering effective problem-solving and long-term partnerships.
Q] What challenges have you faced in scaling Monk Entertainment, and how have you navigated them?
Like many, we started in a garage and faced multiple challenges from hiring and finding clients to questioning the industry’s viability. Despite claims that influencer marketing is a bubble, we aimed to make it sustainable rather than a get-rich-quick scheme. The media industry, with its public nature and managing high-profile figures, adds unique difficulties. Our focus has been on cutting through the noise and prioritising revenue, as maintaining a steady revenue stream is crucial for solving many problems, despite the industry’s glamorous appeal.
Q] What does your company’s revenue model look like and what are your key streams of income?
We don’t follow the typical agency model with a retainer or a flat fee commission. Instead, with talent, we charge a commission percentage based on our representation. For clients, we charge a retainer fee for the services we provide. Essentially, we operate on these two distinct models.
Q] What kind of growth have you seen in the past year, and what is your target revenue for the upcoming year? Please share some figures or percentage.
We’re currently achieving 40 to 50% growth year on year, though this rate may slow as our revenue increases. There’s still significant potential in the industry, and we aim to capture more of it next year by encouraging marketers to invest more in digital channels. Digital media is increasingly taking share from radio and TV, with platforms like YouTube and Instagram gaining importance. Our goal is to continue adding value in this space, and I’m optimistic about the next five years. Even with a 50% annual growth rate, we’ll be well-positioned.
Q] Monk-E has grown rapidly, representing influencers across various niches. How do you maintain a personalised approach to managing such a diverse roster?
Hiring the right talent managers is crucial for us. We match each manager’s background with the talent’s location to ensure a better understanding of cultural nuances and improve communication. This approach, which considers regional differences, has been key to our success. It has enabled us to be genre-agnostic and work with a diverse range of talent, providing a significant advantage.
Q] How do you foresee the talent management industry evolving in the next few years?
The talent management industry will continue to evolve, with top talent possibly seeking to build their own teams. However, the need for management expertise will remain. Overall, the talent management industry has been around for about 20-25 years. Mahesh Bhupathi’s Globosport was one of the firsts in the industry, representing athletes. The fundamentals of those are pretty similar, if you help talent maximize their creative potential, you unlock their full capabilities. We’ve successfully done this for podcasters, chefs, musicians, storytellers, & comedians. Although the industry landscape may shift, talent management will remain crucial, especially as the talent pool expands.
With a keen eye for top-tier content creators and a passion for driving genuine engagement, Dot Media has rapidly evolved from a startup to a leading force in the industry. From managing a diverse roster of influential artists to pioneering innovative solutions in digital marketing and production, the agency continues to set new benchmarks in the field. In conversation with IMPACT, Shubham Singhal, Co-founder & CEO, Dot Media takes us through Dot Media’s journey, his vision for the agency and the future of talent management.
HOW IT ALL STARTED
“When I started Dot Media, I knew nothing about digital; it was purely a gut feeling that this space would boom. As a civil engineer with a background in my family business, I came from a different field but understood business at its core. I saw an opportunity to contribute to this exciting area. I had no prior knowledge of influencers or talent management, so I learned everything on the job, and it has been a rewarding journey.”
Q] What challenges have you faced in scaling Dot Media, especially with multiple IPs under its umbrella, and how have you overcome them?
Building a startup involves constant firefighting, so it’s challenging to pinpoint a single issue I’ve faced. However, what has driven our rapid growth is a deep commitment to understanding that achieving significant success requires surrounding yourself with a team of successful individuals. I prioritise ensuring that my team is well-supported and comfortable, which has been a key factor in our fast growth. By taking care of the people around us, we’ve been able to achieve great things together.
Q] How does Dot Media differentiate itself from other influencer marketing and talent management agencies in a crowded market?
When we started the company, we noticed many firms managing influencers, so we sought to stand out by focusing on exceptional content creators. I prioritise the quality of content over follower counts or engagement metrics. We work exclusively with respected creators, particularly in metro markets, whom brands want to collaborate with. This commitment to high-quality content has set us apart from other companies from the very beginning.
Q] How do you balance the commercial aspects of talent management with the creative needs of your artists?
We manage incredibly talented artists, supported by a highly competent team of around 15. Our content team assists artists daily, helping them stay ahead of trends and managing all the groundwork. We oversee brand campaigns, coordinate shoots, and handle campaign-related activities. This well-oiled machine takes care of daily content, PR, and the artists’ needs, ensuring extensive support for our talent.
Q] Dot Media offers a wide range of services, from digital marketing to live events. How do you maintain a cohesive strategy across these diverse offerings?
Understand that talent management is at the core of everything we offer. Our focus is on the artist. For example, in event management, we handle artist-specific events where our talents are involved. We manage singles, organise live events and comedy shows, and create IPs for our artists, which has also led us to develop brand IPs. Although we handle various tasks, our core remains artist and talent management. We are not a sourcing company and intend to stay that way for the long term.
Q] Could you share some insights on the success of TGB as a subsidiary of Dot Media, and how it complements your overall vision for the company?
TGB is our key vertical for managing artists and is our most successful and beloved area. We continually reinvent and explore new artist categories, ensuring we can provide work before onboarding new types. Expect many new developments at TGB in the coming year as we advance our plans.
Q] How does FinTroop integrate finance education with entertainment, and what impact has this had on your audience?
We initially considered managing finance influencers under TGB2 but realised they needed a different handling approach due to compliance issues. To avoid conflicts with SEBI and other regulators, we launched FinTroop, led by a CEO and co-founder. FinTroop now manages various finance talents and collaborates with multiple brands, ensuring strict compliance. We’re pleased with the positive market reception. All FinTroop content is talent-first; we provide guidelines on market developments and strategies, but the talent remains responsible for their content.
Q] What kind of growth have you seen in the past year, and what is your target revenue for the upcoming year? Please share some figures or percentage.
In our first year, we achieved a revenue of approximately INR7 crore. The following year, our revenue grew to around INR45 crore. Last year, we nearly reached INR100 crore. This year, we are targeting a minimum of 75% growth.
Q] How do you foresee the talent management industry evolving in the next few years, and what role do you envision Dot Media playing in that future?
In the coming years, we anticipate many new entrants into the talent management space. However, in four to five years, we expect the industry to consolidate, with a few top companies managing leading talents. Our goal is to remain a top player in India’s talent management sector, leveraging top talent and technology while executing significant brand work. Although the future is uncertain, we’re excited about the journey and committed to staying at the industry’s forefront.
Q] What long-term goals do you have for Dot Media, and how do you plan to achieve them while maintaining the agency’s core values?
I have ambitious goals for Dot Media: to quadruple revenue in the next two years, manage a top artist, and launch our own ad agency. With these exciting developments, the next four years will be very dynamic for us.
Since its inception in 2020, Trinity Gaming has been thriving in talent management and community engagement within the gaming industry. With a keen eye for emerging trends and a commitment to nurturing talent, the company has rapidly expanded its influence both in India and internationally. Abhishek Aggarwal, Founder & CEO, Trinity Gaming tells IMPACT the strategies behind their impressive growth, their innovative approach to talent management, and their plans for global expansion.
HOW IT ALL STARTED
“My co-founder Shivam and I, both engineering grads from the same college, started Trinity Gaming after I researched emerging industries and identified gaming and e-sports as promising sectors. While I was working at Ernst & Young and Shivam at Volkswagen IT Services, we strategised and launched the venture. Since then, Trinity Gaming has experienced steady growth each year.”
Q] What do you see as the future of gaming content creation in India, and how is Trinity Gaming preparing to lead in this space?
We’re a community-first organisation, focusing on the needs of gamers rather than profit. While I can’t predict the future of gaming content creation, I can highlight its evolution. When we started Trinity, most creators simply live-streamed gameplay. Now, brands are producing unique, curated content for events, boosted by AI—from Instagram posts to YouTube thumbnails. With technology advancing rapidly, it’s hard to forecast the industry’s direction in three years, but at Trinity, we’re adapting to these changes. I believe our efforts today will lead to significant growth in the future.
Q] What is your approach to identifying and nurturing top gaming talent like Dynamo Gaming, GodNixon, and Alpha Clasher?
Our dedicated team scouts talent without focusing on viewership or subscriber counts. We assess individuals based on consistency, passion, and creativity. They attend gaming events like BGMI tournaments in cities such as Bangalore, Hyderabad, Kolkata, and Delhi, engaging with talent in-person to explain our services offerings to support their growth. With established SOPs, Trinity effectively identifies and nurtures talent.
Q] What are some of the challenges you face in managing such a large pool of gaming influencers and how you overcome them?
Challenges arise from a lack of intent, but at Trinity, we are fully committed to supporting talent. India’s vast, diverse market presents language barriers, which we address by employing multilingual community representatives. Since gaming is a new category, many creators lack guidance on growth. While we can’t guarantee growth, we provide SOPs and use our partnerships with YouTube and Facebook for support. A current challenge is the hijacking of creator pages by foreign actors, with many gaming influencers reporting hacks. We work to recover these pages, and believe platforms are taking steps to address this issue.
Q] What does your company’s revenue model look like and what are your key streams of income?
Talent management is the main beneficiary, but our revenue is divided into three verticals: platform, publisher, and brands. Currently, publisher revenue is the top contributor. In 2022 and 2023, it was platform revenue. Now, it’s publisher first, then platform, and lastly, brands.
Q] What kind of growth have you seen in the past year, and what is your target revenue for the upcoming year? Please share some figures or percentage.
We have been growing steadily since our start in 2020. Both 2020 and 2021 were strong years, 2022 continued the trend, and while 2023 wasn’t as strong, it was still decent, showing continued growth.
Q] What are the key strategies you are employing to expand Trinity Gaming’s presence in Southeast Asia and MENA? How do you tailor your approach to different cultural contexts and market needs in these regions?
Our strategy is simple: operate in India while targeting global markets. Our core team in India uses successful strategies from the Indian market to scale internationally. We form local partnerships to manage these markets effectively, similar to how larger MNCs operate from one country to serve the world.
Q] How do you see Trinity Gaming’s role evolving in the global gaming and entertainment industry?
Trinity Gaming is active in India and strategising for expansion into emerging markets. We plan to intensify efforts in the Middle East, focusing on North Africa, the UAE, Turkey, Egypt, and Saudi Arabia. We’re also eyeing Latin America, a market similar to India but slightly ahead in mobile growth.
Q] Trinity Gaming has a threefold approach catering to publishers, platforms & brands. How do you balance and integrate these different aspects of your business?
All three verticals ultimately converge on community management. Each has its nuances, but they all impact the community and talent. For publishers, the focus is on empowering their gaming community. We bridge the gap between publishers and the community, facilitating feedback on game issues and helping test new games. For platforms, the goal is to encourage content creation. We align creators with platform SOPs and content standards, addressing content hygiene to support talent growth. With brands, we take a traditional approach, collaborating to craft and execute meaningful campaigns.
Q] What are your long-term goals for Trinity Gaming over the next five to ten years?
The market is evolving rapidly, making long-term predictions difficult. I don’t set specific goals; I believe in doing the right thing and letting results follow. I advise my team to stay aligned with the right people and opportunities. Our focus should be on consistent growth each year, whether it’s marginal or significant.
Panache Entertainment is a rising star in talent management, known for its innovative approach to creating impactful consumer experiences. The agency has quickly carved a niche by managing talent while also exploring broader content narratives. In an interview with IMPACT, Founder and CEO, Peeyush Pandey, shares the agency’s ambitious journey, from its inception to his vision for reshaping the industry. He discusses the significance of forging meaningful partnerships with iconic brands and producers, highlighting a recent collaboration.
HOW IT ALL STARTED
“The journey of Panache Entertainment has evolved as envisioned, inspired by my early experiences at Puppet Stint, where I observed the mobile industry’s growth in India. Working with telecom giants like Idea and Airtel, I gained insights into content consumption and monetisation, collaborating with brands like PayTM. My transition to talent management, where I worked with icons like Sachin Tendulkar and major brands like Coca-Cola, deepened my understanding of brand solutions and content creation. My time at Viacom, leading talent management for over three years, taught me how to leverage channels for tailored brand solutions and pioneered influencer marketing. This blend of talent management and digital monetisation laid the groundwork for my entrepreneurial journey. The COVID-19 pandemic accelerated the shift to digital, leading to the launch of Panache Media Group. Initially focused on talent management, we expanded into creative production and strategic IP execution, collaborating with major events like the IPL and Paralympics. Our approach is akin to a ‘mini-Dharma’, integrating talent, creativity, brand engagement, and PR for comprehensive value.”
Q] What were some of the initial challenges you faced in the industry?
Building Panache posed challenges, particularly in securing funding in Bombay, where investors often require proof of concept. Initially, I faced typical startup struggles, but the pandemic shifted focus toward digital, allowing for organic growth. As influencer marketing gained traction, we started with smaller engagements and gradually built our business, now handling multi-crore deals for broadcasting rights. We prioritised diverse revenue streams for our talent, initially working with B and C-level stars, as A-list talent had established ecosystems. Embracing a digital-first approach from the start, we integrated offline elements for a balanced strategy.
Q] Who are your top clients currently, both in terms of talent and brands?
We collaborate with major brands like Etisalat, Coca-Cola, and Vadilal, managing significant campaigns, such as Vadilal’s major launch last year. While our engagements with top-tier brands are primarily transactional, we play a more integral role with SMEs and startups, often acting as their exclusive creative agency or taking on tactical roles. On the talent side, we connect with a wide range of talents spanning acting, music, and influencers. In the regional space, we work with notable talents like Hamsa in Andhra and have longstanding connections with figures like Nawazuddin Siddiqui. Our track record includes successful collaborations with talents like Surya Kumar Yadav and Kunal Khemu.
Q] How do you approach managing regional stars and what unique opportunities do you see in this market?
When it comes to regional stars, two key insights emerge. First, growth is shifting from urban to vernacular markets, supported by platforms like Facebook offering multiple languages. Unlike Mumbai’s agency-dominated ecosystem, these markets are managed by smaller, local players. For example, I worked with Viacom during their acquisition of ETV and collaborated with stars like Puneeth Rajkumar and Allu Arjun. The South consists of four distinct regions, each with unique audience behaviors and emotional ties to stars, making it essential to understand these nuances as South Indian films increasingly outperform Bollywood. Our strategy focuses on grasping the dynamics of talent, business, and audience consumption, as what works in one state may not in another. We’re currently engaging with top production houses to monetise their projects through brand alliances. In the South, talent is revered differently, with immense fandom and fans celebrating stars’ birthdays in unique ways. Stars take endorsements seriously, often refusing to promote products like gambling due to their responsibility to fans. This deep emotional connection contrasts with more pragmatic audiences in other regions, necessitating tailored approaches for success in each market.
Q] How has the agency contributed to major national campaigns like the Swachh Survekshan, and what impact has this had on your reputation?
We closely collaborate with the Ministry of Housing and Urban Affairs, producing around 70 to 75 spots over the past three to three and a half years. We also work with the Olympic Association and the Paralympic Committee, aiming to convey their messages nationwide. Our digital-first approach is essential in today’s media landscape, allowing us to incorporate digital expertise alongside traditional methods like Doordarshan and satellite channels. Influencers play a key role in these campaigns, as we leverage content and technology for greater impact. Under PM Modi’s leadership, there’s been a greater openness to integrating digital and content strategies. We work with officers and joint secretaries to push boundaries, ensuring their initiatives reach all corners of the country. Our integrated approach combines talent, content, and production, making us a unique collaborator. We’ve expanded our work from one ministry to four or five and aim to grow further in this space for an even bigger impact.
Q] How do you manage the diverse needs and career aspirations of artists across entertainment, sports, music, and digital platforms?
Digital is integral to every stream—music, sports, and entertainment—and we were early adopters, offering innovative digital solutions. Our experience in entertainment and sports, including work with Sachin Tendulkar, helped us develop effective content strategies for platforms like Facebook and Twitter. We learned to monetise digital rights internationally, understanding the evolving cost structures and packaging dynamics, such as the shift in music consumption to platforms like Spotify. Guided by the principle that “your customer might not always know what they need,” we aim to demonstrate the larger value our solutions can create—whether immediate, tactical, or part of a long-term vision.
With a focus on becoming a leading brand in entertainment aggregation and talent management space, Black Hat Talent is redefining how clients engage with artists and celebrities. Raj Bhanushali, Managing Director, Black Hat Talent Solutions & Consulting shares insights on the evolving market, the challenges faced by talent agencies, and the company’s commitment to professionalism and innovation.
HOW IT ALL STARTED
“I founded Black Hat in 2007 after five years in talent artist relations at a reputable event agency. I identified a significant market gap: few agencies managed talent professionally, and most lacked specialised managers. With artists receiving 100% payment before events, clients often struggled to meet their expectations. This inspired me to create Black Hat to safeguard client interests and offer comprehensive talent management.
Today, there are around 5,000 recognisable talents in India across 21 categories, including singers and comedians. We streamline the selection process by presenting suitable options with profiles and video links, similar to MakeMyTrip or Booking.com. Our model prioritises client needs and often secures better prices without agency fees, adding substantial value in today’s digital landscape.”
Q] What unique challenges have you encountered in the talent management industry, and how have you addressed them?
The challenges in the talent management industry have improved significantly over the past 15 years. While complex situations still arise, many earlier challenges are now manageable. One major issue was that managers often imposed tougher demands than the artists themselves, leading to frustrations for clients. Today, event agencies would likely agree that managers can still be difficult and often more expensive than the artists. However, the increasing number of artists has created a sense of insecurity among even the biggest celebrities. They understand that unreasonable behaviour could cost them business, leading to an overall improvement in how they approach negotiations. Agencies now value not only the artist’s performance but also the behind-the-scenes experience they provide clients. Additionally, many of the earlier managers were less professional and often operated as a one-person team, lacking the polish and education necessary for effective management. Today, about 90% of those individuals are out of the endorsement and event space, replaced by educated professionals who possess a better understanding of the industry. This shift has contributed to a more streamlined and effective talent management process.
Q] How do you manage the diverse needs of talent across 20+ categories and ensure meaningful engagement for each?
At Black Hat, we focus on what we do best. We don’t manage artists exclusively because that would shift our focus to pleasing them. From the start, we aimed to prioritize client needs. Our client servicing team has a deeper knowledge of a diverse range of artists across 21 categories than most talent agencies, which dedicate their time to a limited roster. With the largest talent database in the country, we can provide clients with a wealth of options. The founder’s philosophy greatly influences our team’s approach. We maintain a balanced perspective and advocate for clients when artists are unreasonable, as we are not burdened by the need to please any single celebrity. While we respect the talent for their contributions, we do not entertain unreasonable demands. Our goal is to negotiate effectively on behalf of our clients and ensure that the deliverables from celebrities are met. As we aggregate more work, celebrities and their managers are inclined to cooperate, knowing that their reputation can impact future opportunities.
Q] What emerging trends do you see in the talent management space, and how is Black Hat adapting to these changes?
The landscape for artists in India is evolving rapidly. Over the past 15 years, the number of recognised artists has surged to around 10,000, and this trend will likely continue as more people view artistry as a viable path to wealth and fame. Indian artists, including cricketers, are well-compensated, and our hospitality often impresses international talent. Social media and content creation have lowered barriers for aspiring artists, leading influencers to often surpass traditional artists in popularity and earnings. In the future, we may see a standardised online booking process for certain artists, streamlining client interactions. While this may not apply to top-tier talent, it could simplify bookings for others. Interactions with artists are improving, with more professionals emerging in the industry. As a process-oriented company, Black Hat is leveraging automation, utilising a CRM system to track inquiries and streamline proposals. In the influencer space, automation is already prevalent due to varying budget sizes and the need to manage large campaigns efficiently.
Q] How do you manage talent across diverse geographies, and what challenges do you face?
The challenges we face are manageable compared to other industries. One issue is destination entertainment—clients hosting events abroad often want local talent, and we specialize in providing these options. India also has a market for unique international acts, and the event ecosystem is well-developed. Cultural differences present another challenge. In India, clients expect immediate quotes for celebrity appearances, but internationally, especially with top-tier stars, offers and negotiations follow a more formal process unfamiliar to Indian clients. Timing is also key—while Indian artists are often booked on short notice, international performers schedule well in advance. For example, acrobatic acts from China typically work in tours, not single events. Adapting to different time zones, working styles, and contract terms is essential.
Q] What are your long-term goals for Black Hat, and how do you plan to achieve them?
My vision for the next five years is to establish our company as a leading brand in talent and entertainment aggregation. While many outside the event and advertising industries are unfamiliar with talent agencies, we aim to become as recognisable as Booking.com or MakeMyTrip. We strive to be a secure platform, especially since clients pay 100% upfront. Our goal is to be the most professional and dependable agency for booking talent, simplifying the process for everyone seeking entertainment.
