The event management industry in India is booming, with corporate events, weddings, product launches, and experiential marketing campaigns growing rapidly. However, for mid-size event management companies, scaling up while maintaining profitability and operational efficiency can be a daunting task. Unlike large firms with deep pockets or small boutique agencies with niche offerings, mid-size firms often find themselves in a challenging position. Here are some of the key hurdles they face:
1. Managing Client Expectations Within Budget Constraints
One of the biggest challenges is balancing high client expectations with budget limitations. Clients often demand top-notch experiences but hesitate when it comes to spending on quality services. Educating them on the cost implications of their ideas and aligning their vision with a realistic budget becomes crucial.
2. Vendor Management & Cost Fluctuations
Event execution depends heavily on third-party vendors such as caterers, decorators, AV providers, and logistics teams. Mid-size firms struggle with:
Fluctuating vendor prices, especially during peak seasons
Last-minute cancellations or delays
Maintaining a reliable vendor network without significantly increasing costs
3. Talent Acquisition & Retention
Finding the right mix of creative and operational talent is difficult. Many skilled professionals either prefer working for larger agencies or opt for freelancing opportunities. Retaining experienced employees requires competitive salaries, career growth opportunities, and a positive work environment.
4. Intense Market Competition & Price Wars
India’s event management space is highly fragmented, with a mix of freelancers, boutique firms, and large-scale agencies. Mid-size companies often struggle with:
Clients choosing cheaper alternatives without considering quality
Larger firms undercutting prices due to economies of scale
The need for constant innovation to stay competitive
5. Regulatory Challenges & Permissions
Event organizers must navigate multiple regulatory requirements, including:
Police and fire safety permissions
Excise permits for serving alcohol
Noise pollution and sound restrictions
These processes can be time-consuming, and last-minute changes in regulations can disrupt event planning.
6. Seasonal Revenue Fluctuations
Unlike corporates with year-round business, event management companies experience fluctuating revenue cycles. The busiest seasons (festivals, weddings, and corporate launches) are packed with events, while off-seasons can lead to low cash flow and underutilized resources.
7. Unpredictability in Execution
Even with detailed planning, events are prone to last-minute disruptions such as:
Technical glitches in sound, lighting, or presentations
Having contingency plans in place is essential, but it adds to the operational cost and complexity.
8. Limited Adoption of Digital Tools
While large event firms leverage advanced event tech solutions like CRM software, AI-powered attendee engagement, and virtual event platforms, mid-size firms often lag in tech adoption. Investing in digital tools can improve efficiency, but the upfront costs and learning curve pose challenges.
9. Client Retention & Lead Generation
Unlike product-based businesses, events are mostly one-time projects. This means mid-size firms must constantly generate new leads through networking, marketing, and referrals. Client retention strategies, such as offering bundled services or loyalty programs, become crucial for sustainable growth.
10. Proving ROI for Corporate Clients
Corporate clients expect measurable outcomes from their events. Whether it's customer engagement, lead generation, or brand awareness, demonstrating a solid ROI is challenging. Mid-size firms need to invest in data analytics and post-event reporting tools to provide clients with actionable insights.
Conclusion
Mid-size event management companies in India must strike a delicate balance between creativity, operational efficiency, and financial sustainability. Overcoming these challenges requires a mix of strategic planning, strong vendor relationships, investment in technology, and continuous innovation. By addressing these pain points, mid-size firms can carve out a niche and thrive in the highly competitive event industry.
Are you facing these challenges in your event business? Let’s discuss how you can navigate them effectively!
Indian foodtech players have transitioned beyond simple food deliveries. From groceries to fast delivery of essentials, companies like Zomato andSwiggyhave evolved to cater to the growing demand for instant gratification in accessing everyday necessities.
Last year marked a significant milestone in Swiggy’s journey. Following the footsteps of its rival Zomato, which had gone public in July 2021, Swiggy made its long-anticipated market debut with a blockbuster $1.3 Bn IPO — one of the largest public listings by a new-age tech company in India.
While Swiggy remained loss-making according to its last financial statement, it achieved profitability in its core food delivery business on the back of measures such as the introduction of a platform fee.
In addition, the company also increased its focus on growth avenues such as Dineout and other revenue streams, to further solidify its position. Though Swiggy paused experimenting with new verticals before its IPO, the company has resumed diversifying after its listing.
In December 2024, the company expanded its Dineout vertical by introducing Swiggy Scenes, a new feature enabling users to book parties, events, and live music experiences at partner restaurants. This move also underpinned Swiggy’s intent to not only deliver convenience but also curate experiences, further strengthening its position as a comprehensive lifestyle platform.
While Zomato launched District as a separate app, Scenes is currently available on the main Swiggy platform and is only limited to a few locations, including Bengaluru and Delhi.
Notably, Zomato’s District app allows users to book tickets and make reservations for dining, movies, sports, and live performances, Swiggy Scenes is right now only available for booking tickets for comedy shows, live music and events at Swiggy partner restaurants.
This raises many questions — Why has the company launched a feature when it still feels like a work in progress? Is Swiggy Scenes the byproduct of any kind of FOMO? And finally, how does Swiggy plan to capitalise on and scale this offering?
A Move To Protect Itself Against Zomato?
Speaking with Inc42, an analyst at a stock broking firm said that one of the simplest reasons for the rushed launch of Scenes could be to keep pace with Zomato.
According to the analyst, Swiggy is already under pressure from its competitors in other verticals and cannot afford to lose ground in yet another segment. From a market capitalisation and profitability perspective, Swiggy significantly lags behind Zomato, making this move even more desperate.
“It is not clear what Swiggy’s strategy is for Scenes. I don’t think it’s a competitor to the District app at this point. Zomato’s District is a fairly evolved business, especially after acquiring Insider, considering the number of events listed, the cities covered, and the types and scale of events featured. The difference is like chalk and cheese,” Shreyas Srinivasan, the former chief product officer of Paytm and founder of Insider.in said.
She added that how Swiggy is functioning right now feels like it is trying to protect itself from Zomato’s growing influence. “However, the company will have to do more than just showcase to its customers that it is on par with Zomato. For them to compete, they’ll need to expand their scope to include concerts, comedy shows, and more,” Srinivasan, who quit Paytm last year, said.
Echoing the sentiment, Nishant Kini, the founder of Bengaluru-based branding and events agency The Nishé & Co, said that Swiggy’s entry into the events segment has only been prompted by its rival Zomato but the loss-making Swiggy has played it smartly by avoiding the acquisition route, staying clear of any kind of additional strain on its cash flow.
Swiggy Needs To Play To Its Core Strengths
While industry experts are not quite confident about Swiggy making any dent of sorts in the short term with Scenes, they have also not denied its capability to create new opportunities in the segment, despite it being late to the party.
However, at a time when many experts see Swiggy getting innovative with pricing, striking lucrative partnership deals and entering unclaimed zones, Srinivasan does not see much room for expansion.
“If you look at the “going-out” segment, BookMyShow initially spearheaded it, focussing primarily on movies, followed by events. Paytm followed a similar approach by offering movies and events, directly competing with BookMyShow. Zomato expanded this concept with Dineout, bundling dining, movies, and events into a single offering, as they viewed dining as a significant category,” he said, adding that it’s hard to identify a category that Swiggy can leverage to fundamentally alter the “going-out” experience
However, he said, there still lie opportunities in creating a highly innovative membership programme, offering better access and competitive pricing — something Zomato hasn’t yet integrated across its offerings. Zomato’s apps for dining, movies, and events operate independently, with separate reward cycles and memberships.
According to Kini, Swiggy’s strength also lies in its loyal customer base, which would give it a significant advantage as it expands into the events space. While BookMyShow is an established player, there are several smaller event listing platforms that Swiggy could effectively compete with.
Swiggy’s strength lies in its rich database of existing customers and its ability to seamlessly integrate new offerings into its platform. This will help Swiggy tap into its existing user base and offer a unified experience, positioning itself as a convenient and comprehensive lifestyle platform.
For instance, when users log in to order food on Swiggy, a well-timed pop-up or notification about exclusive events and ticket sales could immediately capture attention, he added.
“Besides, Swiggy already has an established presence across A, B, and C-category towns in India. This presents a unique opportunity for curating events tailored to these segments. In A-category cities, events and live performances are already thriving, while B-category cities are seeing growth but primarily on a smaller scale compared to A-level cities. The potential for growth in C-category towns—neither fully urban nor rural—is significant,” Kini said.
If Swiggy can penetrate these areas effectively, it could unlock a wealth of opportunities in the events segment. To capitalise on this, Swiggy will have to focus more on expanding its offerings in B and C-category towns, where untapped demands await.
What’s Next For Swiggy?
While it is difficult to foresee how Swiggy Scenes will shape up going ahead, what’s definite is that the company will require a significant investment in its pursuance to fully establish itself in the realm of entertainment and “going-out” segments.
In addition, the company will have to spend time and resources to build a hefty pipeline of exclusive event rights as events and movies are often exclusive, unlike restaurants that can list across multiple platforms.
“Most major events are listed on just one platform, and large movie chains like PVR often have contracts with only one or two providers. Building a robust supply chain in this sector takes significant time and effort, which is likely why Zomato opted for an acquisition strategy over building from scratch,” he added.
However, the only grace is that customer acquisition cost is lower in this segment. The advantage of a category with exclusive supply is that the supply itself drives traffic. For instance, if someone wants to watch a specific show, they will go to whichever platform offers the tickets, regardless of whether it’s Zomato, Swiggy, or another competitor. In such cases, the priority isn’t about generating traffic first but about securing the supply, the former Paytm COO said.
All in all, Swiggy is currently on a diversification drive, and it is trying to achieve profitability by adding more revenue streams. Earlier this month, it entered the services marketplace with the launch of a new app, Pyng Professional, and introduced SNACC, an app focussed on delivering food within 15 minutes.
Imperative to mention that the foodtech major trimmed its consolidated net loss by 4.78% YoY to INR 625.53 Cr in the second quarter (Q2) of the financial year 2024-25 (FY25). Meanwhile, operating revenue zoomed 30% year-on-year (YoY) to INR 3,601.45 Cr during the quarter under review.
Its out-of-home business, which comprises exclusive events and experiences business Swiggy SteppinOut and restaurant reservations and booking platform Dineout, is close to achieving adjusted EBITDA profitability. Swiggy made INR 60 Cr in revenue from the Out of Home Consumption vertical in Q2 FY25, up 71% from INR 35 Cr in the year-ago period. Its loss declined 79% YoY to INR 9.26 Cr.
With prospects looking promising, it will be interesting to see whether Swiggy’s aggressive expansion succeeds or ends up joining Minis, the free no-code website builder platform, in the graveyard of forgotten ventures.
Comedy venues in India are grappling with financial losses, security concerns, and reputational damage as rising controversies lead to vandalism and abrupt show cancellations.
The Kunal Kamra controversy has once again raised the question of whether hosting standup comedy in India is a viable business or if the risk is becoming too high.
From vandalism to last-minute show cancellations, venue partners increasingly find themselves caught in the crossfire.
When a standup show is forcefully cancelled, venues bear a heavy financial burden. Ticket sales, food and beverage revenue, and other ancillary earnings take a direct hit. “A full-house standup event on a weekend contributes significantly to our monthly revenue. When a show gets cancelled, we lose not just ticket sales but also substantial food and drink sales,” said a venue owner from Mumbai.
Recently, Shiv Sena members vandalised the Habitat Centre in Khar, Mumbai, where standup comedian Kamra's show was held.
In his statement, Kamra said that an entertainment venue is merely a platform. "A space for all sorts of shows. Habitat (or any other venue) is not responsible for my comedy, nor does it have any power or control over what I say or do. Neither does any political party. Attacking a venue for a comedian’s words is as senseless as overturning a lorry carrying tomatoes, because you didn’t like the butter chicken you were served.”
Venue partners couldn't agree more.
Barely surviving
"Beyond immediate losses, recurring disruptions also create long-term financial instability. Venue partners often allocate resources such as marketing, logistics, and staff well in advance of an event. A cancellation means wasted investments, staff rescheduling issues, and operational inefficiencies," said Nishant Kini, who manages shows of comedians.
Dinesh Bhutani, Founder of SuperTalks India, a boutique comedy club, highlighted the struggles of venue owners hosting comedy shows, stating that many are barely surviving.
“They (venue owners) are unable to pay rents or retain staff, as most venues are run by comics themselves. Typically, a small team of struggling comedians come together to create a space, hoping it will serve as a launchpad for new talent. It’s more of a necessity than a business, and many venues shut down because the model isn’t sustainable.”
He noted that property damage can force venues to halt operations for 3-6 months.
A comic from Delhi who is also a venue owner where he hosts comedy shows said that it takes Rs 5-8 lakh to put together a small 30-35-seater room while a big set-up costs nothing less than Rs 25-50 lakh.
Unfunny business
Lalit Bhatia, who is a comic and runs Nerds of Comedy club in Gurugram, also bore the brunt of a backlash a comic faced.
"There was a situation when a comic in his YouTube video had said something that offended people. When his live show was happening at our venue, the area’s police made our life difficult. Some schedules were impacted and we were asked not to do shows."
Another venue owner shared a similar incident. "A comic had cracked a joke. Two audience members got offended, left the studio, returned with around 70 people, and demanded that we bring the comic out so they could hit him. Fortunately, the comic had left the venue. Such incidents take a mental toll on us. People should take a joke as a joke. If they don't like it, they should let it go."
A comedy club in Noida last year was raided by 15-20 people who went Insta Live from the venue to call more people. This was after a comic's video clip asking why people give respect to cows and not to bulls went viral. A month later, a fringe group threatened the venue owners that either they would present the comic to them or they would destroy the property.
"Just when the Kunal Kamra incident happened, there was another comic who was recording his solo show. He cancelled the show and refunded the money for an estimated 300-400 tickets that were sold. In such situations, everyone, from comics, venue partners to online ticket platforms from where people book tickets for such shows, loses money," noted Yash Bhatia, a Delhi-based standup comedian.
Reputation at stake
Yash Bhatia pointed out that venues that host open mics in the past have covered their names using black curtains. "Also, if you book tickets of high profile comics, venue details are shared via email only after the tickets are booked so that people don't come in groups. While for a comic, word of mouth is important as it brings in more people and more ticket sales, these measures need to be taken for everyone's safety. Venue partners have become sceptical of political comedy shows and comics are not getting spots."
Bhutani said that a venue's reputation suffers the most in such situations. “First-time visitors are the most affected, leading to negative word of mouth. Violent incidents further instill fear, discouraging audiences from attending.”
Regular cancellations impact footfalls at the venue, as audiences may become wary of booking shows in fear of disruptions. “When people buy tickets, they expect a hassle-free evening. If a venue gains a reputation for frequent show cancellations, people hesitate to make reservations in the future,” said a Bengaluru-based venue manager. This, in turn, affects a venue’s overall brand perception, reducing customer trust and engagement.
Mental stress
Venue owners and managers say that it is not just the financial implications, they also go through emotional stress when handling cancellations, particularly if the reason involves vandalism or threats. A venue partner in Delhi recounted a recent incident where a show was abruptly called off due to external pressure: “We had to refund tickets, deal with angry customers, and ensure our staff’s safety. It was a nightmare.”
It takes weeks of preparation for venue partners to organise a comedy show and years of hard work for a comic to bring a smile to their audience’s faces.
Preparing for a standup show requires meticulous planning which includes sound checks, seating arrangements, security measures, and marketing efforts. “It takes weeks to plan, and when it gets cancelled, it’s like watching your hard work go to waste,” said another venue partner.
"The first video Kamra had put online, he had recorded 17 times. That’s the amount of hard work that is needed. It is also an expensive process. A comic needs to book a venue. Venue rents range from Rs 1,500-3,000 for a 20-25 seater for two hours when a show is not recorded. If a show is being recorded then it costs around Rs 22,000-25,000. If the capacity is 300-350, the rent ranges from Rs 80-90,000. Also, the editing process is expensive as one has to pay around Rs 800 per minute. This is just video editing, sound editing cost is separate. Behind a 45-minute comedy show, there is years and months of hard work of both the comic and venue partner," said Yash Bhatia.
Ahmed Shariff, a part-time comedian and content creator, said that the future looks very grim for standup comedy in India.
Is it worth the risk?
With increasing incidents of backlash, venue owners are now reconsidering whether standup comedy is worth the risk. The fear of controversy, potential threats, and forced cancellations make it a challenging proposition. Some venues have even started implementing stricter content guidelines or opting out of comedy events altogether, said Kini.
For open mic shows, owners of prominent venues ask the comics to send the videos in advance to check for any controversial jokes.
A venue owner in Pune said that a major concern is the lack of clear legal protection or assurances against disruptions. “If a show is cancelled due to pressure from fringe groups, there is no structured mechanism for us to claim damages. We’re left to fend for ourselves.”
Bhutani stressed that a comedian’s views are their own, not reflective of the venue. “These spaces exist for aspiring comics. Established comedians can reach audiences from anywhere—even their homes, which isn't the case with the beginners.”
Habitat, which was also in the headlines when YouTuber Ranveer Allahbadia's comment during India's Got Latent show sparked a row, in a statement after the Kamra show, said that they are shutting down until they figure out the best way to provide a platform for free expression. The statement said that just providing a stage helps people discover their creativity.
Bhutani added that venues are essential for emerging talent. “For every five well-known comedians performing at a single venue in a week, there are 50 beginners who come on the same stage in that week.”
Kini noted that there is a noticeable dip in the number of live standup comedy shows. "Many comedians are moving to online platforms or exploring international gigs to avoid domestic disruptions. This shift not only affects performers but also venue partners who rely on live entertainment as a key revenue stream."
While standup comedy remains a powerful medium of expression, its future in India is increasingly uncertain, he added.
No creator wakes up one day and suddenly signs a contract with Netflix or Prime Video; it’s a journey that embodies sweat and tears. Amidst the glam and glitz of creators, people seldom talk about the role of their managers in making them who they are. Talent managers of popular creators share insights on how a good talent manager can help them go from micro to macro
We frequently hear people saying, “Wow, Bhuvan Bam went from YouTube to TV in just a few years,” and we are amazed by their journey. But the question here is, do these creators reach these heights alone? Do they manage to sign contracts with brands, manage controversies, speak at events, analyse data, and reply to fans all alone?
Of course not!
A creator's journey to fame can be divided into six stages.
At stage 1, the influencer is just figuring out if content creation is really their “thing” or not but continuously flooding their feed with reels and hoping for one of them to go viral.
Let’s say one of these reels go viral. What then?
Then starts stage 2 of their journey, where most of their reels enjoy significant reach.
They have the reach, and brands are rushing in to collaborate with them, and they have no idea how to manage their relationship with brands, which brand to collaborate with, what to do, and what not to do.
So, at stage 3, the creator hires a talent manager.
Most creators are managed by talent managers who are seldom discussed in conversations over the Internet, but they are the ones working hard in the background, making sure their client gets the best deals and collaborates with the best brands.
"A manager can significantly influence the opportunities that come your way. I've seen instances where a brand expressed interest in collaborating with a creator, but the creator never found out because the manager stepped in and blocked the information," said Vipasha Joshi, an independent consultant in the creator economy space.
Now that we know that a manager can make or break a creator’s career, it is crucial to identify the right talent manager.
So, who is a good talent manager and how do you find the right one? Is it all about having the most number of connections, or is it more than that?
Well, it’s a lot more than that so creators listen in.
Who’s a good talent manager?
Nishant Kini
Nishant Kini, who has previously managed comedians Atul Khatri and Danish Sait, said, “A good talent manager must align with the creator’s long-term goals and comedic style, as comedians thrive on authenticity. The manager should believe in their brand of humour and potential. Finding someone well-connected with event organisers, OTT platforms, and media houses is essential to secure the right gigs.
Researching their portfolio is crucial; a manager with proven success across diverse platforms (stand-up, online videos, films) indicates versatility. Communication and chemistry are vital, as talent managers often become the closest confidants, understanding the creative process and being approachable. Additionally, a manager should have a strategy to expand beyond one niche, such as venturing into hosting, acting, or branded partnerships.”
Moving on, whatcriteria should creators consider when choosing the right talent manager?
Ayushi Rai
Sharing her thoughts on the issue, Ayushi Rai who manages (_potatoface__ and alma_hussein28), said, “While choosing the right manager, it is of utmost importance that the creator finds someone who is on the same wavelength as them and truly believes in the creator's talent. The creator is bound to spend a lot of time with the talent manager; they’re almost attached at the hip. So having someone who you can bounce ideas off, set goals, and trust blindly is the ideal individual! Trust is essential, as it forms the foundation of a sustainable working relationship.
The creator could potentially do a background check on the talent agency/manager to be able to check the kind of work that they have done. This helps provide a better understanding for the creator to foresee the kind of work that they can expect from the talent manager. Past work experience also helps determine the credibility of the manager’s potential.”
A good talent manager gets the most number of lucrative opportunities for the creator, but how do they do that?
Piyush Agrawal, Co-Founder of CREATE and known for managing the popular vlogger Monkey Magic, has secured partnerships with brands like Google, Nestle, CRED, Swiggy, and Coca-Cola for the creator.
Providing an insight into how he helped the creator in grabbing these opportunities, Agrawal said, “Talent managers stay updated by regularly following industry news, attending conferences, engaging with thought leaders on social media, and participating in webinars and workshops. They also use tools like social media analytics, influencer marketing platforms, and trend forecasting services to track shifts in audience behavior, emerging platforms, and brand collaboration opportunities.
Moreover, talent managers employ strategies such as refining content quality and consistency, optimizing social media platforms for maximum engagement, and tapping into cross-platform promotion. They also help identify and collaborate with influencers or brands for mutually beneficial partnerships that expand reach.”
Arinjay Das
Presenting an answer to the query, Arinjay Das, who manages Drew Hicks (the American creator who took Instagram because of how fluent he is in the Bhojpuri language), said, “When your intent is clear and your efforts consistent, opportunities will naturally come your way. Every creator has their own lifecycle, shaped by their vision and goals. When a creator reaches the peak of their career, the decisions made during that time are critical; they can either extend or shorten the artist’s direction.
It’s important to allow artists the freedom to explore their interests all while keeping a close watch to guide them effectively. Financial constraints should never lead to missed opportunities. Encouraging artists to try everything helps them discover their true passions and understand what aligns with their future aspirations and what doesn’t.”
Legal trouble
Creators who shoot to fame with that one reel going viral are like play-school kids trying to form an identity of their own in the world of marketing led by brands. This is stage 4 of their journey when they do not know who to work with and their goal is to secure their finances by signing as many brand deals as possible.
And, like a playschool child, they are prone to making mistakes. In a world full of opportunities, creators need to make sure they don’t commit career suicide by not promoting gambling apps so the right legal guidance is extremely important and that’s where the role of talent managers comes in.
Creators are known for getting into trouble and need a manager who can get them out of it. So how do managers make sure their client stays out of legal trouble?
Weighing in on the discussion, Das said, “For the bigger picture, a manager must address the legal and financial aspects of an artist’s career. Legalities might not seem pressing during an artist’s early growth stage, but they become important as the career progresses. Having a strong legal team in place is essential to provide guidance, whether it’s negotiating a small brand deal or securing rights for long-term intellectual properties (IPs).
Finance, on the other hand, plays a central role in shaping an artist’s lifecycle. Even when an artist is at their peak, earning significant income, a good manager should prepare for potential downturns. Building a financial safety net ensures that challenging times don’t disrupt stability. Additionally, strategic investments are equally important. Creating future returns that sustain the artist’s career and lifestyle regardless of fluctuations in income.”
Remember how Kapil Sharma once posted about paying high taxes at 3 am and woke up to see him making headlines or when Samay Raina wrote sexist tweets at 2 am? We could go on and on, but you get the point that creators are often driven by impulse and do not always understand how their popularity affects people.
Sure, a comedian can get away by saying, “I’m a comedian; people don’t have to take me seriously,” but this statement does not sit well with their audience all the time, so they need a crisis manager. But how can they help?
In the words of Das, “Crisis management truly tests the capabilities of an artist manager. A skilled manager always acts with the bigger picture in mind, even if their decisions might initially seem questionable to the artist. Trust is of great importance in such situations. When an artist believes in their manager’s instincts, they’ll eventually understand the reasoning behind those choices. It’s equally crucial for a manager to keep the artist informed by clearly explaining the pros and cons of every decision. This transparency not only keeps the artist in the loop but also creates a stronger sense of collaboration and mutual respect in their partnership.”
Comedians and backlash on social media is a duo we can never get tired of. Be it Vir Das, Munawar Faruqi, or Kunal Kamra, they have all faced backlash for their comments.
Here’s Kini’s advice for the talent managers of comedians who frequently find themselves cleaning up the mess.
“Comedians frequently walk a fine line, and a skilled manager acts quickly to diffuse negative PR, ensuring prompt and genuine responses without compromising the comedian's integrity. If a comedian has an off day or faces logistical issues during a show or gig, managers step in to manage audience and client expectations while safeguarding the creator’s reputation. From burnouts to creative slumps, a good manager ensures the comedian stays motivated and on track by providing emotional support and practical solutions. Should a joke or act lead to controversy, managers mediate between stakeholders, leveraging legal teams or issuing public statements as needed,” Kini quoted.
Stage 5: Mapping a creator’s career
Now that we have gotten the creators out of trouble, their careers must grow as well. You need a manager here too. How can they help though?
In a country where every engineer wants to be a stand-up comedian, a good manager can help you clear the clutter. For Indian comedians looking beyond gigs, here’s how a manager can aid you.
From the horse’s lips, Kini (ex-manager of Atul Khatri) said, “Talent managers don’t just book gigs—they create a roadmap for a comedian's career. From open mics to Netflix specials or hosting award shows, their goal is to keep the comedian relevant across diverse formats. Comedy is relatable, and brands love that, so managers negotiate partnerships that resonate with the comedian’s style, keeping collaborations authentic. They also open doors to acting roles, writing gigs, or podcasting opportunities, helping comedians explore lateral growth.
For Indian comedians, the diaspora is a massive audience, and managers strategise international tours and virtual shows to expand their reach. Talent managers are not just logistical experts; they’re architects of a comedian’s career. They focus on creating a solid foundation while adapting to an ever-changing creator economy, ensuring that the comedian stays ahead of the curve.”
Giving a piece of her thought on how creators can continue to be relevant, Rai said, “Every creator is unique in their way, so it's essential to identify what sets them apart, understand their audience, and align with their goals. This involves implementing multiple strategies, such as focusing on their content and encouraging them to create a diverse range of material to determine what resonates best with their audience. Experimentation is key. It’s also crucial to incorporate topical themes, challenges, or trends to ensure creators remain relevant on the platform. Brand collaborations are another significant aspect, but they should maintain a level of authenticity, ensuring the brand aligns well with the creator's followers. Community building is equally important. We always advise creators to actively interact with their followers—whether through comments, Q&A sessions, polls, or other engagement methods. This helps foster loyalty and supports organic growth. Lastly, conducting regular performance analyses is vital. Diving into insights helps creators understand which content is resonating most with their audience, enabling them to refine their strategies effectively.”
Stage 6 (Building a personal brand)
Yes, the creator has a successful career at this point, and the income from brand collaborations is stable, but considering the short life spans of actors, musicians, and creators, creators must build a personal brand that can help them establish a business.
Providing insight on building a personal brand, Agrawal (who manages Monkey Magic) said, “Talent managers help creators build and maintain a strong personal brand by guiding them to define a clear and authentic identity that resonates with their audience. They focus on understanding the creator's unique qualities, values, and niche, and help craft a consistent, engaging narrative across social media, content, and public appearances. Managers also assist with content strategy, ensuring that the creator’s messaging aligns with their brand image and appeals to their target demographic.
They advise on collaborations, partnerships, and public relations efforts that enhance the creator’s visibility and reputation. Additionally, they monitor trends and audience feedback to keep the brand relevant and adaptable, while also managing the creator’s professional image to attract new opportunities and build long-term loyalty with their fanbase.”
Adding to Agrawal’s statement, Duresha Menon - Senior Talent Manager Nofiltr Group who manages popular influencers like Manav Chhabra said, “To secure diverse opportunities, I stay proactive and collaborative. For example, Manav Chhabra’s association with Qatar Airways and Hungarian Grand Prix & Unnati Malharkar’s Samsung, Maybelline & Tumi associations were achieved through consistent relationship-building and creative pitches.
The goal is to secure partnerships that not only resonate with their audience but also elevate their brand because building a strong personal brand is a continuous process. I help creators define their USP, curate content strategies, and maintain consistency. Eventually, the goal is to create a niche and excel at it!
TheZomato and Paytm Insider dealis definitely one of the most high profile acquisitions in India. But the question that many are asking is: did Zomato overvalue Paytm Insider in the INR 2,048 Cr deal.
Zomato and its CEO Deepinder Goyal have been in this situation before, and had to answer a similar question two years ago.
In 2022, when Zomato and CEO Deepinder Goyal decided to spend roughly $568 Mn (INR 4,447 Cr) to acquire quick commerce platform Blinkit, many were left scratching their heads as to whether this is the right valuation for Blinkit which had just pivoted to quick commerce after years of operating Grofers in a hyperlocal model.
There were plenty of questions about the rationale behind the deal, particularly a year after Zomato’s public listing, and with pressure to turn profitable. Would acquiring and growing Blinkit disrupt Zomato’s path to profitability, analysts wondered.
As it turns out, Zomato got its share of the quick commerce boom for a bargain. Today, Blinkit’s valuation is estimated to be close to INR 1 Lakh Cr or just over $12 Bn. The quick commerce app has the largest presence in India with over 630 dark stores around the country, and a major presence in key metros.
Blinkit brought in over INR 2,000 Cr for Zomato in FY24, and doubled the revenue on a YoY basis in the last quarter (Q2 FY25), so it is on pace to make Zomato’s acquisition price look like a drop in a bucket.
But assuming that Zomato and Goyal will pull this off again is a fallacy. The factors that worked for quick commerce cannot be applied to movie and events ticketing.
The transaction size of 2,048 Cr is 6 to 7 times the revenue that Paytm Insider reported in FY24. Many industry watchers are shocked to see the rich valuation for a player that is a distant second to BookMyShow. So has Zomato overpaid for Paytm Insider?
Is The Price Right?
Multiple analysts and those in the events industry believe that Zomato’s valuation is overpriced by as much as 60%.
As per industry benchmarks and Paytm Insider’s revenue trajectory, the price should have been in the INR 700 Cr-INR 800 Cr range, given the FY24 revenue of INR 297 Cr and EBITDA of INR 29 Cr.
Karan Taurani, SVP at Elara Capital, who closely watches the media and consumer tech market believes that Paytm Insider was certainly given a premium with regards to the valuation, but he also noted that Zomato’s history of turning around businesses can actually deliver good ROI for the group in the medium to long term.
“A lot depends on Zomato’s execution strategy and its track record of handling incumbent players which can fetch the company sizable returns in the long term,” Taurani added.
Nishant Kini, founder of Bengaluru-based branding and events agency The Nishé & Co, added that the price seems particularly high considering Paytm Insider had a stronger presence in Tier 1, 2 towns. On the other hand, Zomato’s plan to add Paytm Insider to its District going-out vertical seems to be centred around metros.
Going-out is the next big thing for Goyal. He wants to bring the same tech-led aggregation and feature set that has created Zomato and Blinkit to this relatively underserved space.
The thesis is built around the fact that Zomato’s core base of millennials and Generation Z Indians has overlapped with the target audience for quick commerce and going out.
However, Paytm Insider’s business is built around ticketing, which is a subset of the going-out vertical for Zomato. In this light, Zomato’s valuation for Paytm Insider seems even richer.
Then there’s BookMyShow, a cash-rich company with nearly 20 years of experience in the movie and events ticketing business and a separate event management vertical as well. The Reliance-backed startup is also profitable, and has been in the news for a potential $300 Mn infusion by KKR.
Reliance Industries, with 37% stake in BookMyShow, is a significant advantage for the company, particularly after the inception of the Nita Mukesh Ambani Cultural Centre (NMACC) in Mumbai in 2023, which has become the destination for large international cultural shows and performances, including some high-profile musicals.
The company also has exclusive ticketing rights for large events that are owned and managed by its in-house team such as Lollapalooza India.
Will Zomato dive into managing and owning live event properties?
What Makes Going-Out So Attractive?
It’s as if the pandemic touched a raw nerve — Indians have increased discretionary spending on outdoor media and entertainment with great enthusiasm. Rising per capita income in the metros has led to a significant growth in spending on ticketed events, with all categories — music concerts, comedy performances, sports and other live events — growing in 2023.
This is in line with the growth trends seen since early 2022, however, movie ticketing has not grown as significantly.
For instance, PVR-INOX, one of the largest multiplex operators in India, saw revenue from sales fall to INR 594 Cr in the April-June quarter of FY25, compared to INR 695 Cr one year ago.
This is why despite movie ticketing almost constituting a 70% of its annual revenue base, BookMyShow has invested millions into exclusive international events such as the Sunburn Festival and Lollapalooza India.
One source privy to the events operations at BMS said that the company bought exclusive rights to host Sunburn Festival for Hundreds of Crores a few years ago, and this has mostly been a profitable investment.
In addition, BMS also invested an undisclosed sum to buy the India rights for the legendary international music festival Lollapalooza, which it aims to take to breakeven by next year. The first two editions of Lollapalooza India give us an indication of why BMS has invested millions in this vertical.
BookMyShow retains the entire consideration paid by visitors to Lollapalooza India and other festivals, with ticket prices ranging from INR 5,000 to INR 25,000 in some cases. Besides this, BMS earns revenue from exhibitors and merchants at these festivals
The return of mega events can be attributed to the revenge spending trends seen in travel and retail shopping, which have reversed the lower consumer spending for these areas during the pandemic years. Sports events constitute more than 80% of the event ticketing market, and therefore this will be a major focus for Zomato in addition to movie ticketing.
A March 2024 EY-FICCI report claims the live events and ticketing business in India grew by 20% in 2023 to reach a market size of INR 8,800 Cr and is expected to touch INR 14,700 Cr by 2026.
“The proliferation of online ticketing platforms has made it easier for consumers to discover, purchase, and attend events and has aided in event marketing to create increased awareness,” the EY-FICCI report added.
Organising and owning large scale event IPs has its risks as well. While the revenue upside is clear, BookMyShow has to bear full losses for event cancellations due to any reason.
For example: in September last year, BookMyShow came under fire after standup comic Trevor Noah’s shows in Bengaluru were cancelled. In this case, BMS was criticised for haphazardly cancelling the show and also not maintaining the high production value standards required for such events.
“We tried everything but because the audience can’t hear the comedians on stage there’s literally no way to do a show,” Noah tweeted about the reason for the cancellation.
This shows that producing events is not a matter of will, but comes down to execution and the details. This is also why these events are typically in a higher price bracket than events where the platform is only selling tickets.
Zomato’s Need For Events IP
“Movie ticketing has seen a slump in the wake of OTT entertainment, but live event ticket pricing has surged, and this does pose a challenge in attracting users beyond the affluent class. Hence platforms are looking to buy out large scale events knowing exactly what kind of consumer to attract,” added The Nishé & Co’s Kini.
Sources told Inc42 that BookMyShow is looking to consolidate revenue from live events. It is looking to sign deals with artists, comedians, musicians to create a pipeline of live events where it can maximise revenue collection.
Zomato is also likely to focus on music festivals, especially targeting international artists, with its upcoming Dua Lipa concert for Feeding India being a prime example. The company does have some experience with its Zomaland carnival organised in several Indian cities, but there is no doubt that Zomato will have to invest in building new live properties and a steady stream of events to justify the high price it is paying for Paytm Insider.
Paytm Insider does not have event IP expertise as it has only been a ticketing player and has not gone into event operations and management.
“Much will depend on how the two entities are brought together and the users on Paytm and Zomato given some over the top discounts on highly priced tickets to these big events which could get them a breakthrough,” the founder of an event management company told us.
However, there’s no denying that Zomato has the base and the track record of executing the right things to achieve growth.
As Elara’s Taurani added, “Going out businesses have reported healthy margins in the recent past. This gives a strategic boost to Zomato, which already has a large consumer base of young people on its apps who could ultimately be convinced to buy tickets online.”
Him and others clarified that there is no short-term threat to BookMyShow in terms of market share in movie ticket booking and the live events verticals. One thing Zomato is trying to do is to differentiate itself in terms of user experience.
For instance, the Dua Lipa concert has a ‘Buy and Sell Later’ option that lets users resell their ticket in case their plans change. This is perhaps the first such feature for a ticketing platform in India. It shows that Zomato is not afraid to take risks to attract users.
Another factor that could work in Zomato’s favour is its pull with Industry players, particularly F&B brands that are a key part of the live events space. Zomato has also curried the favour of several high-profile celebrities through endorsements in the past few years, which can also work to boost the live events business in the short to medium term.
Plus, event sponsors, brands and organisers have been looking for an alternative to BookMyShow which wields considerable power in negotiations on commissions and pricing. While BookMyShow is ahead for now, Zomato can gain some ground in the early days by looking to break this ‘monopoly’.
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