How Bollywood Music Transformed to Digital Mediums?

The music journey and selling point have changed from time to time. And this is the era of digital mediums where any content which you want people to listen to is there on the internet. So, many companies have used this opportunity and Bollywood music is all over the charts because of this change of trends. Many platforms like Pagalworld have taken the opportunity and have grasped this whole vibe of the digital arena. Through this, they have been able to get many returns.

Like the mentioned one, also to transform to the digital side, the production of non-cinematic content is also a way to distinguish broadcast services from their competitors. Gaana, for example, launched Gaana Originals in 2017 and claims to have produced more than 120 transmissions from a 12-track lot launched in the “first season” and more than 220 million of the nine tracks from the “second season” in 2018.

Talking about musical transformation, headphones have transformed to earphones nowadays as the world has shifted from wired earphones to wireless earphones. As they are more convenient to carry and have great sound quality as well.

Opponent JioSaavn founded Artist Originals, which he calls the “national label for global artists of South Asia”, also in 2017. There are two major differences between Gaana Originals and JioSaavn Artist Originals. Ghana is not directly related to artists, but contacts them through their labels and, for the most part, has worked with Hindi and Punjabi composers who already have a successful career.

JioSaavn, on the other hand, has released more than a dozen singles, EPs and albums in various languages ​​and genres, both in established and future concerts, including bilingual singer and songwriter Prateek Kuhad. His most prominent success to date is “Bom Diggy” by British South Asian couple Zack Knight and Jasmin Walia, which was reviewed and minimally synchronized in the 2018 Bollywood movie “Sonu Ke Titu Ki Sweety.” The video for the remake is among the ten most popular in the history of the T Series.

Meanwhile, brands that have historically sponsored live music events, from festivals to group competitions, also support non-movie content. In addition to Sony and Universal’s relationship with 7Up and Sterling Reserve, YouTube has a series of video releases from Chinese manufacturer OnePlus Playback. The songs of Hindi and Punjabi pop groups like Randhawa and Kakkar and rappers Divine and Naezy became part of a series that began in 2018. But the music of the film will not lose its main status in the near future.

Despite all the hype surrounding the film, film music, which includes soundtracks in 16 languages ​​other than Hindi, still accounts for 80 percent of music consumption. As transmission platforms penetrate other cities, this proportion will continue to grow, albeit at a slower pace.

“From the point of view of absolute consumption, which is seen, the absolute number of new listeners who turn to stream services increases every day, and most of them come to Bollywood,” says Jah. “It is growing, but by 5 percent, while popularity, whose market share is 10 to 12 percent, is growing by 20 percent.”

On the other hand, there is a long-standing vision that Bollywood is not a genre, but a medium that is also an excellent combination of genres and styles that tend to change at any given time. “The answer to the question of whether Bollywood is losing its domain is ambiguous, because Bollywood is a medium that also stimulates popularity and, therefore, popularity is growing,” says Jah.

The opposite also seems true. It is alleged that VYRL Originals, directed by Takkar and the Hindu filmmaker Mohit Suri, sounds “in line with modern Bollywood music with great production values, although without the use of the film.” In All About Music, Soumini Sridhara Paul, by artist Aloud, a digital distribution service, said: “65 percent of the music without the movies we download sounds like normal Bollywood music.”