India’s music sync market is rapidly evolving, offering unique opportunities and challenges for artists, labels, and sync professionals alike.
In this exclusive interview, we sit down with Megha Godwani, Head of Sync and Licensing (India), and Pete Beck, Global Head of Sync at Believe, to delve into the intricacies of India’s music market.
They share their insights on its growth, cultural specificities, innovative strategies, and what the future holds for sync in one of the world’s most vibrant music scenes.
How would you describe the sync market in India right now compared to more established territories like the US or Europe?
Megha kicks off by saying, “The sync market in India is primarily driven by the film industry, where soundtracks generate a significant portion of revenue.”
“Sync revenue in India has been growing year on year, thanks to the boom in digital content creation and social media activity, and the explosion of digital creators is reshaping how music is used and shared.”
“Sync revenue in India has been growing year on year, thanks to the boom in digital content creation and social media activity”
“We expect far greater demand for artist-led tracks in the future, rather than just the traditional licensing and re-licensing of Bollywood music. For today’s youth-driven content, music must resonate with younger audiences, who are increasingly listening to independent artists outside of film music.”
“This shift is significantly boosting opportunities for artist-driven songs to be licensed. The market is also becoming more aware of the importance of obtaining proper licenses from rights holders to avoid infringement and – with the rise of digital platforms – tracking unauthorized uses has also become easier.”
Pete adds “I think what’s also interesting to note is that, unlike other ‘emerging’ sync markets, there is already a significant sync and licensing infrastructure in India. It just doesn’t look or operate like anything we see in the US or Europe. That said, as Megha mentions, the market is also undergoing change and we’re seeing more and more opportunities. That combination is really exciting.”
What makes India’s licensing environment unique, whether in regulation, business culture, or consumer habits?
Megha says “India’s music licensing environment is unique because of the dominant influence of the film industry, a still-evolving rights environment, and a complex regulatory structure involving multiple copyright societies.”
“While piracy has been curbed to some extent, educating both creators and users remains critical, and we are seeing AI tools and simplified licensing processes beginning to make things easier.
“India is also a value-sensitive market; licensing iconic international tracks is often unaffordable, so many projects rely on artist-led songs instead.”
“India is also a value-sensitive market; licensing iconic international tracks is often unaffordable, so many projects rely on artist-led songs instead. Consumer’s music tastes are often deeply rooted in film music due to its nostalgic value, though this is gradually shifting.”
“Micro-licensing techniques are also gaining traction, supporting independent artists at lower price points while still generating revenue.”
Pete says “Again, there are India specific, yet well established, practices at play here. I’d point to the broadcaster “satellite” deals for example, where catalogues are licensed on an individual basis to broadcasters, rather than via PROs. That’s a very different negotiation to a single track placement in an ad or TV show, and our teams have to be able to navigate both markets simultaneously.”
You’ve mentioned “innovative deals” coming out of India. Could you give us a specific example of one and why it wouldn’t work the same way in another market?
Pete explains that “It’s difficult to discuss without sharing specific deal terms, but what Megha has done in the Indian market is very interesting in terms of both finding new ways of structuring deals with our major partners, whilst also branching out into emerging ‘non-traditional’ sync opportunities across digital platforms.”
“Where we control both publishing and master rights to large, well-known, catalogues, we’re able to be more flexible and find ways of structuring longer term, mutually beneficial deals with our licensing partners. Our Indian sync team is also involved with broader marketing and audience development projects such as our recent release of the Netflix ‘Mismatched’ soundtrack.”
How does the way Indian audiences consume music influence the types of sync opportunities available?
Megha says that “India is transitioning from a piracy-heavy market to one dominated by ad-supported and subscription-based streaming services.”
“India is transitioning from a piracy-heavy market to one dominated by ad-supported and subscription-based streaming services.”
“As audiences shift toward OTT platforms and legal digital consumption, sync opportunities are increasing. With greater awareness and education around licensing, brands and creators are now proactively exploring licensed music instead of defaulting to unlicensed use.”
Is the demand in India mainly for local language music, or are you seeing strong sync opportunities for international artists too?
Megha explains that “India is primarily driven by Hindi music, followed by a wide range of regional languages. However, international music is also finding space in the market, especially when offered at value-sensitive rates. These tracks are mainly used in advertising and Hindi films rather than regional projects.”
Pete adds that “Something we’ve seen a bit more of is the other way round – placing Indian catalogue in international productions. It’s great to be able to use the knowledge and creativity of our local teams in India to inform pitches and licensing opportunities in other markets like the US and UK.”
“It’s great to be able to use the knowledge and creativity of our local teams in India to inform pitches and licensing opportunities in other markets like the US and UK.”
“As Megha mentions, there are lots of regional, language, and cultural specificities in Indian music, so to be able to use our local expertise and pass that knowledge on to our clients in western markets has been really useful.”
Are digital platforms (whether local like Gaana or global like YouTube) shaping the sync market in India differently than elsewhere?
Megha says “Yes. These DSP platforms are where music discovery happens – both for audiences and for sync coordinators tracking trends. Charts and streaming data often influence which songs get placed. That said, most syncs still arise from specific project requirements, rather than music being chosen as the central creative driver.”
What cultural nuances should a sync professional understand before entering the Indian market?
Megha explains “A sync professional must understand India’s regional diversity.”
“Each direction of the country has its own languages and cultural contexts, which are vastly different from one another. “
“Each direction of the country has its own languages and cultural contexts, which are vastly different from one another. Building strong local connections and engaging language experts is essential to navigate the nuances of these markets.”
What are the biggest challenges in closing sync deals in India, and how have you overcome them?
Megha dives in to tell us that “One major challenge is that India does not clearly separate publishing and master rights – labels often control both. This can be confusing for international players used to dealing with multiple rights holders. Understanding this structural difference, alongside India’s emotion-driven use of music, is critical to closing deals successfully.”
Pete adds “I think the other way around is true also. If you are looking to license international music in the Indian market, you must be prepared to guide clients fully through the process. That means making sure all your publishing, label, artist, and management stakeholders are aware of the opportunity and how the local process works. With the time difference, the difference in rights management, and often a language barrier, things can get quite complex quite quickly!”
Do you see any of these innovative approaches from India influencing sync strategies in other markets?
Pete says “Yes, absolutely. We put a lot of effort into ensuring our international sync teams are sharing ideas, innovations, best practice, and creative strategies as much as possible. I’m of the opinion that the “traditional” sync market will need to make some significant adjustments over the next few years if we are to keep pace with the rate of change in advertising, film & TV.”
“I’m of the opinion that the “traditional” sync market will need to make some significant adjustments over the next few years if we are to keep pace with the rate of change in advertising, film & TV.”
“Operating in a market like India, where we have culturally significant catalogue, a growing market, and a team who are willing to try new things to get ahead of our competition, means we can take some of that knowledge and apply it to the anglo-european sync markets of tomorrow.”
Finally, what has been your favourite sync placement this year?
Megha says “My favourite was 170 cm by Pal Dabba, used in an Apple ad. It was first discovered in Singapore and later localized for India during the cricket season, when audiences are at their peak. This was a perfect example of a regional language track breaking through into a global brand campaign.”
Pete says “There’s too many to choose from. You’ll have to check them out on believesync.com”
