Why are Indian comics now a staple on international stages? It could be because digital accessibility, relatable content, and a demand for original content is resonating with diverse audiences
Sumukhi Suresh, comic, writer and actor, is known from shows like Comicstaan, Go Straight Take Left and the Comedy Premier League
A decade ago, stand-up comedy in India was hardly seen as a variable career. It was a niche pursuit, with comedians themselves viewing the performing art form as a hobby rather than a sustainable profession. Fast forward to today, and the landscape has completely transformed. Indian stand-up comics are packing auditoriums, headlining international tours, and dominating streaming platforms, all while redefining what it means to be a comedian in this diverse landscape.
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What makes this transformation remarkable is not just the scale of growth of this performing art, but also the depth of its impact. Indian stand-up comics have re-defined boundaries of entertainment and crafted a business out of their skill that lies on relatability, boldness and the human appetite for laughter.
“When I was 19 and in college, my senior, Sapan Verma, introduced me to the concept of an open mic,” recalls Sahil Shah, a renowned comic who has performed in almost every major city worldwide. “He said it was a place to share jokes, so I went with a couple of friends. To my surprise, everyone there had a blast, and I was ecstatic. Stand-up comedy, back then, wasn’t even a thing—open mics were just small gatherings of like-minded people, and that’s why if you look at the original batch of comics, we all know each other because we all started in the same place” he says.
Rishabh Nahar; Prashisti Singh and Appurv Gupta
The Indian stand-up comedy scene owes much of its initial momentum to the digital revolution. Platforms like YouTube, which began hosting comedy sets in the early 2010s, provided budding comedians a stage to showcase their craft without the constraints of television or cinema.
“In 2016, a significant event marked a turning point for Indian stand-up comedy,” says Appurv Gupta, also known as Guptaji, who has been performing since 2013 and has over 3,000 shows to his name worldwide. “That year, the Internet became accessible to everyone across the country, cutting across socio-economic barriers. This opened the door for many to discover stand-up comedy as a form of entertainment. People would watch YouTube videos and share them with friends and family, not just in India but internationally as well. It really helped bring stand-up comedy to a much wider audience.”
The early days of Indian stand-up comedy were marked by relentless hustle. Pay was inconsistent, often dependent on ticket sales or modest fees from event organisers. “In 2011, when I was just starting out as a performing artist, there was an acute lack of infrastructure to support this art form,” recalls Aakash Mehta, stand-up comedian and founder of LassonLive, a production company that nurtures emerging talent. LassonLive signs artists in the early stages of their careers, guiding them as they progress through the ranks.
Sahil Shah believes that stand-up comedy has become a cultural phenomenon in India, producing stars that are making people laugh across the world
The absence of a structured ecosystem for comedy in its early days meant limited recognition for the art form. “Stand-up was a subculture in India’s urban spaces,” says Siddharth Dudeja, a comedian who has performed extensively across India and at numerous open mics abroad. “YouTube laid the foundation for us comedians, making our work easily discoverable. Today, thanks to other social media platforms, stand-up comedy has become more accessible and widespread. Watching a movie in a theatre is expensive, and many people don’t find much value in it. Stand-up offers a more affordable and engaging alternative.”
What was once considered a fringe art form has now emerged as a respected, standalone career option. Comedians are no longer viewed merely as jesters, but as cultural commentators who use humour to dissect politics, social norms, and hypocrisies. “As someone who quit their job to pursue this art form full-time, I can vouch for the fact that ‘brain drain’ is a very prominent phenomenon in our country, and comedy is something that helps people recharge” notes Prashasti Singh, a stand-up comic who rose to fame after her stellar performance on Amazon Prime Video’s Comicstaan and is preparing for her London tour this week. When we checked out tickets for her show online, we were informed that the shows were sold out, and cost an average of 26 pounds.
“My content primarily focuses on being an independent woman in the 21st century and the journey every such woman embarks on. This naturally resonates with women in the 25-35 age bracket, as they can relate to what I share,” says Singh. “Hence, internationally too, I attract a large and predominantly female audience because they are able to connect with my content.”
Siddharth Dudeja and Aakash Mehta
The ecosystem surrounding stand-up comedy is also growing beyond live performances. Comedians are now exploring diverse avenues like screenwriting, acting, and hosting, leveraging their wit to branch out. “As a comedian, writer, and actor, I can vouch that having a unique perspective and producing standout content is essential to succeed today,” says Sumukhi Suresh, known from shows like Comicstaan, Go Straight Take Left, Comedy premier League. her solo special, Don’t Tell Amma, and the web series, ‘Pushpavalli’. “I can’t just talk about the same old things and expect people to buy tickets, whether in India or internationally.” While short-form content generates buzz, it seldom fosters deep connections with the audience. The fleeting nature of these platforms prioritizes instant gratification over sustained engagement. Suresh, who wrote dialogues for the Ananya Panday-starrer CTRL earlier this year, adds, “Short-form content like Instagram reels is great for engagement and visibility, but it doesn’t guarantee ticket sales. At the end of the day, all the marketing and advertising need to convince people to buy tickets, or we don’t benefit financially. That’s why long-form content on YouTube is still crucial for creating recall value and attracting audiences who truly enjoy and relate to our work.”
Mehta also believes that his work on Instagram and shows on OTT platforms like Social Currency hasn’t contributed significantly to his growth. While he acknowledges that these platforms help him reach a larger audience, he notes, “Since June of this year, I’ve been conducting a survey at all my shows, and surprisingly, less than 0.2 per cent of my audience is coming through Instagram. Most are discovering me through BookMyShow or word of mouth, but this is specific to my case”.
Whether through short-form or long-form content, Indian stand-up comics have successfully expanded their reach across the globe. International tours, a hallmark of established artistes, highlight the vast reach of Indian stand-up comedians. “Humour is universal,” laughs Gupta.
Shah recalls his early international experiences: “Dubai was one of the first places I performed abroad. It’s an ideal place to start performing internationally—it’s close to India and filled with Indians. It’s a win-win situation.”
“Indian stand-up comics primarily perform for Non-Resident Indians (NRIs) and people of Indian origin (PIOs) living abroad,” notes Gupta. According to the Ministry of External Affairs, there are over 708 million Indians living abroad, including NRIs, PIOs, and Overseas Citizens of India (OCIs). “Take one of the comics under LassonLive—Madar Bhide—for example,” says Mehta. “He performs primarily in Marathi and has toured five continents with sold-out shows worldwide!”
The phenomenon is simple: when Indians move abroad, they often develop a deep yearning for their culture. “I don’t know what happens, but suddenly they’re all about ‘my culture, my heritage,’ and ‘mera Bharat mahaan,’” says Shah. NRIs, in particular, are eager to reconnect with their Indian roots, which is why Indian comedians do so well abroad—they bring a piece of home and familiarity with them.
But Suresh says keeping it hyperlocal may backfire. “... because the audience may not relate. For example, I wouldn’t joke about Dadar station in London,” she laughs.
International touring, however, presents unique challenges. “It’s very different from domestic touring,” says Rishabh Nahar, Senior Vice President, Creator Management and Leadership at Only Much Louder, an independent network of businesses including artist management. “On the international stage, your art form is evaluated for cultural relevance and impact, not just ticket sales. Promoters, festival programmers, and ministries assess performance success using data on audience demographics, pricing sensitivity, and previous artist performances in the region. This involves extensive data analysis to determine the best cities, audience clusters, and pricing strategies for each artiste”.
Nahar adds that each territory has its own marketing challenges, from selecting credible promoters to navigating visa approval processes. “One of the biggest challenges when it comes to international touring is the visa turnaround time and approval process since this is dependent on the workings of the authorities. You need to have an experienced and swift team of immigration lawyers. Since international tours occur across multiple countries, time is of the essence and you need an experienced lawyer to get you in and out efficiently.”
As the reception of stand-up comedy grows, discussions around revenue models have also increased. “There’s a difference in pay for Indian comics abroad versus domestically,” notes Mehta. “This is due to varying purchasing power and factors like exchange rates, visas, accommodation, and venue booking costs when performing abroad. However, compared to a music tour, a stand-up tour is more economical since there are fewer production costs involved.”
In discussing the growing international appeal of stand-up comedy and the varying revenue models associated with it, an important factor to consider is gender. “From what I’ve seen and experienced, the comedians who are doing well internationally, in terms of pay, are predominantly male,” reflects Suresh. “This is mainly because they’ve performed abroad more and are more established in those markets. Women comics, myself included, are only just starting to sell out shows,” she notes.
£25
Ticket cost at Prashasti Singh’s show at Soho Theatre, Dean Street, London
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