How boAt Rode the CTV Wave Into India's Living Rooms

Key Takeaways

• boAt's move into CTV is a strategic graduation: from selling affordability at volume to selling aspiration at margin, using the one screen in the house that still commands full attention.
• CTV in India is real scale, not a pilot — roughly 40-60 million connected households growing around 21% year-on-year, with ad spend measured in thousands of crores.
• CTV's edge is the collision of two worlds: the immersive, non-skippable, big-screen storytelling of TV with the audience targeting, frequency control and measurability of digital.
• The living-room context changes the creative brief — CTV is watched by a household, on the best screen, with the sound on, so ads must be built for shared, lean-back attention, not thumb-stopping.
• The format's real frontier is shoppable and QR-driven interactivity that turns a brand impression into a measurable action — closing the gap between the big screen and the checkout.
• The biggest unsolved problem is measurement: India still lacks a standardized third-party CTV currency, so brands lean on platform-reported numbers and must triangulate impact themselves.
• For a challenger brand, CTV is where you go to look bigger than your ad budget — it borrows television's authority to make a young D2C label feel like an established household name.

The Party Moved to the Big Screen

Walk into an Indian home on a weekday evening and you will hear the country the way it actually sounds now. A phone playing a reel in one room. A pair of earbuds pumping bass into someone's commute-tired ears. A smart TV in the living room, mid-binge on a streaming series, the whole family half-watching. India has become, in a very real sense, one enormous headphones-and-speakers party — a nation that has decided its life comes with a soundtrack, and that it will pay for the hardware to hear it.

For a decade, boAt has been the house DJ of that party. It put affordable, good-looking, bass-heavy audio into the ears of a generation that could not afford a Bose and did not want to. It draped its logo over cricketers and film stars, priced its earphones to undercut every global giant, and rode India's smartphone boom to the top of the audio market. If your first pair of wireless earbuds cost under two thousand rupees and came in a colour, there is a very good chance they said boAt on the side.

But parties change. And the biggest change in Indian media over the last few years has not happened in anyone's ears — it has happened on the largest screen in the house. The television, long left for dead by every digital futurist, quietly grew a brain, got an internet connection, and turned into something new: the Connected TV. And boAt, the brand that built itself on the small screens people carry, has now pushed its way onto the big one that people gather around.

This is the story of that move — why India's most aggressive audio disruptor is spending money to reach you on your television of all places, what Connected TV advertising actually is and how big it has become in India, how the format works and where it falls apart, and what any marketer — whether you sell earbuds or enterprise software — can steal from the way boAt is riding the CTV wave.

First, Who Is boAt — and Why This Move Matters

To understand why boAt showing up on Connected TV is interesting rather than obvious, you have to understand what boAt is and, more importantly, what it has always been.

boAt was founded by Aman Gupta and Sameer Mehta, launching the brand around 2016 under their company Imagine Marketing. The origin was almost comically humble: before the earphones, they sold rugged, unbreakable charging cables — a small, unglamorous product that solved a real irritation. Gupta, who had earlier spent time at the audio company JBL, had seen the gap up close: India was full of people who wanted good sound and good design but could not, or would not, pay global-brand prices. boAt was built to fill exactly that gap — fashionable, affordable, unapologetically Indian audio for a young, aspirational, price-sensitive market.

The growth that followed was extraordinary. boAt rode India's smartphone and streaming explosion straight to the top of the audio category. By recent counts it commands roughly a third of India's wireless audio market — figures in the region of 32-33% of earwear shipments — and has held the leading share of the country's broader wearables market, reported around 38.5% in early 2025 industry data. Revenue climbed from about 701 crore in FY20 to well over 3,000 crore, with the company reporting a return to growth and crossing the 4,000-crore mark in the FY25 period after a wobble in between. In its category, boAt outsells the global giants — Sony, Apple, Samsung, JBL — in India, on volume. That is a genuinely astonishing outcome for a brand barely a decade old.

But — and this is the crux — that empire was built on a specific engine: affordability, distribution, and celebrity-fuelled mass reach. boAt's marketing playbook was loud, cricket-drenched and price-forward. It signed a small army of ambassadors — cricketers like Hardik Pandya, KL Rahul, Shikhar Dhawan, Rishabh Pant and Prithvi Shaw, and film and music names like Kiara Advani, Jacqueline Fernandez, Neha Kakkar and creators like Bhuvan Bam — and ran cheeky, meme-fluent campaigns like Baby ko bass pasand hai and Do what floats your boat. It called its community boAtheads. Its whole gravitational pull was: cool stuff, everyone has it, and you can afford it.

The problem with being the affordable everyone-has-it brand is that it puts a ceiling on you. Volume leadership at low prices is a brutal place to live — margins are thin, competition is savage, and the moment a cheaper rival appears, your customers can leave without a second thought. boAt has felt that squeeze; its own financials have shown the strain of competing on price in a commoditising category. The strategic escape hatch is obvious and hard: move up. Sell premium. Build aspiration. Get people to pay more for a boAt not because it is the cheapest, but because it is the one they want. And that is a completely different marketing job — one you cannot do with price tags and meme captions alone. It is a job that requires a stage grand enough to make a value brand feel premium. Which is precisely why boAt walked into the living room.

What Connected TV Actually Is

Connected TV — CTV — is one of those terms that gets thrown around as if everyone agrees on it, so let us be precise, because the precision is where the strategy lives.

A Connected TV is any television connected to the internet and used to stream video — a smart TV with built-in apps, or a regular TV made smart by a streaming stick or box or gaming console. CTV advertising is the ads served inside that streaming experience: the spot before your show on a free ad-supported streaming app, the break inside a web series, the promo on the home screen of the TV's operating system. It is television-shaped advertising delivered over the internet rather than broadcast over the air or piped through a cable.

That plumbing difference — internet instead of broadcast — is the entire point, because it means a CTV ad is a digital ad wearing a television's clothes. A traditional TV spot is a blunt instrument: you buy a slot on a channel at a time, and whoever is watching sees it, targeting be damned. A CTV ad is addressable. It can be aimed at specific households based on data, capped so the same home does not see it fifteen times, swapped by region or language, made non-skippable, measured for completion, and in the most advanced cases made interactive and shoppable. You get the emotional firepower of the big screen with the aiming system of digital. That is the promise, and it is a genuinely new thing in the advertiser's toolkit.

For a brand like boAt, that combination is almost custom-built for the problem it has. The big-screen, sound-on, full-attention format lets it finally show its premium products as objects of desire — the design, the finish, the craft — rather than as a price and a discount code. And the digital targeting lets it point that premium story specifically at the affluent, urban, streaming households most likely to trade up. Television's aspiration; digital's aim. That is the trade boAt is making.

The India CTV Wave Is Bigger Than You Think

It is easy to dismiss Connected TV in India as a rich-metro curiosity. That instinct is now badly out of date. The numbers describe a genuine wave, not a ripple.

India has crossed roughly 40 million CTV households by most industry counts, with some 2025 estimates putting the figure closer to 50-60 million as affordable smart TVs and bundled broadband push connected screens deeper into the country. Whichever end of that range you trust, the growth rate is the headline: CTV households have been expanding at around 21% year-on-year. That is a channel adding tens of millions of viewers on a compounding curve, powered by cheap smart-TV hardware, near-free data, and an avalanche of regional-language streaming content that gave families a reason to connect the big screen in the first place.

The money is following the eyeballs. Estimates of annual CTV ad spend in India have run in the region of 2,300-2,500 crore and climbing toward and past 3,000 crore, and the longer-range forecasts for the format are steeply upward — analysts model the India CTV advertising opportunity growing at better than 20% compound annual rates through the end of the decade. In global terms India is still early, but the trajectory is the kind that makes marketers move before the price of entry goes up.

Crucially, boAt is not alone on this wave, which tells you it is a structural shift and not a one-brand bet. The same market reporting that flagged boAt's entry names a spread of advertisers leaning into CTV for their own reasons: Orient Electric using it to move awareness and consideration, Voltas activating hyper-local targeting around marquee moments like the IPL, and insurers like Axis Max Life reportedly routing a meaningful slice of budget — a figure cited around 30% of digital spend and 12% of overall brand media — into the format. When a fan brand, an appliance brand, an AC brand and a life insurer are all crowding onto the same channel, you are not looking at a fad. You are looking at the early land-grab phase of a new mass medium.

Why the Living Room Changes the Creative

Here is the mistake most brands make when they arrive on CTV: they take the vertical, muted, thumb-stopping creative they built for Instagram and Reels, slap it on the big screen, and wonder why it feels cheap. CTV is a different room, literally, and it demands a different kind of storytelling.

Think about how a phone ad is consumed versus a CTV ad. The phone is private, held inches from one face, watched on the move, usually on mute, competing with the next swipe that is always one thumb-flick away. You have half a second to stop the scroll and you design for that panic. The living-room TV is the opposite of all of it. It is the best screen in the house, watched from the sofa, with the sound on, often by more than one person at once, in a lean-back mood where nobody is about to swipe you away — many CTV formats are non-skippable, so the viewer is actually going to watch. That is a radically more generous canvas: bigger, louder, longer, shared, and attentive.

For an audio brand this is close to poetic. boAt sells sound, and the living room is the one advertising environment where the sound is actually on and the picture is actually big. A premium boAt speaker or a Nirvana-series headphone can be shown the way a car or a watch is shown — full-frame, richly lit, with audio doing half the persuading — in a context where the household is genuinely watching and listening together. The medium flatters the message. You could not ask for a better stage on which to convince a family that a boAt is not the budget option but the desirable one.

The transferable lesson is bigger than audio. On CTV you are writing for a household in a shared, lean-back state, on the highest-fidelity screen and speakers they own, with their attention more or less guaranteed for the length of the spot. That means story over stunt, craft over clickbait, and sound design that actually matters. The brands that win on CTV are the ones that treat it as television — with the emotional ambition television allows — while quietly exploiting the targeting and data that television never had.

The Data Underneath the Drama

The reason CTV is not just expensive TV is everything happening beneath the surface — the addressability and feedback loop that broadcast never offered. This is the digital half of the digital-in-TV-clothing equation, and it is where a performance-minded brand earns its keep.

On CTV, boAt can decide who sees the ad rather than praying the right people are watching. Audiences can be built and targeted by signals like geography, language, device, household attributes and inferred affluence, so a premium message can be steered toward the metro, high-income, streaming-heavy homes most likely to trade up — and away from the audiences it would be wasted on. Frequency can be capped so a single household is not battered with the same spot until it resents the brand. Campaigns can be split by region and language, so the same product gets a different cultural wrapper in Mumbai than in Chennai. None of that is possible on a linear TV buy, where you purchase a slot and take whoever happens to be in front of the set.

And then there is measurement — the ability to know something came back. CTV platforms report impressions, completed views, cost per completed view, video completion rates, and increasingly view-through effects: the searches, site visits and actions that happen after someone sees the ad. For a brand that grew up in the accountable world of digital performance, this is the comfort blanket that makes a big-screen brand buy tolerable. You are not just buying reach and hoping; you are buying reach and watching what it does. Getting this steering right is the same discipline as any serious [campaign planning](/guides/campaign-planning-guide) exercise — define the audience, control the frequency, instrument the outcome — just applied to the biggest screen in the house.

The honest caveat, which we will come back to, is that this measurement is not yet as clean or as trusted as the industry would like. But the direction is unmistakable: CTV lets a brand bring a performance-marketing mindset — targeting, frequency management, [audience precision](/resource/blogs/audience-targeting-meta-ads) and closed-loop measurement — into a storytelling medium that used to be a black box. That marriage of drama and data is the whole reason the channel exists.

Shoppable TV: Closing the Gap to the Checkout

The most futuristic — and most strategically important — thing happening on CTV is the collapse of the distance between watching an ad and buying the product. This is the frontier boAt, as a direct-to-consumer brand, has more reason to care about than almost anyone.

For its entire history, television advertising has had one structural weakness: the screen and the shop were in different places. You saw the ad on the sofa; you bought the thing days later, somewhere else, if you remembered at all. The link between the impression and the purchase was invisible and mostly assumed. CTV is beginning to dissolve that gap. Interactive and shoppable formats — a QR code on screen that jumps you straight to the product page, an overlay you can act on with the remote, a promo that hands you a code — turn a lean-back brand moment into a leaning-forward action, without the viewer ever leaving the couch.

For a D2C brand this is the holy grail, because boAt already sells directly through its own website and marketplaces. A shoppable CTV ad can, in principle, run from a premium brand story on the big screen to a scannable path to boAt's own checkout — connecting the aspiration and the transaction in a single, measurable arc. That is the promise the whole D2C-on-CTV movement is chasing: the emotional reach of television with the accountable, clickable directness of e-commerce. It is early, and the reality is messier than the pitch deck, but the logic is airtight and the experimentation is real. India's own CTV commentators describe the format as still branding-led today, with performance and shoppable use cases emerging fastest exactly where D2C and e-commerce brands are pushing.

The takeaway for any brand: CTV is quietly becoming a full-funnel channel, not just a brand-awareness one. The top of the ad can build desire on the best screen in the house; the bottom of the same ad can hand the viewer a way to act. The brands that figure out that hand-off first — and instrument it so they can prove it worked — will get disproportionate value out of the channel before the rest of the market catches up.

Punching Up Against the Global Giants

There is a competitive dimension to boAt's CTV move that is easy to miss, and it is arguably the shrewdest part of the whole play. CTV is where a scrappy, price-born Indian brand can stand on the same stage as the global premium giants — and, for the length of a thirty-second spot, look their equal.

In the premium tiers of audio, boAt is the challenger, not the champion. That is Sony's air, Bose's air, Apple's air — brands with decades of engineering mystique and marketing budgets to match, brands whose names are shorthand for the good stuff. boAt has always beaten them on price and volume in India; it has never beaten them on prestige. And prestige is precisely what you must have to sell a premium product at a premium margin. You cannot meme your way to prestige. You have to look the part on the kind of stage where prestige is conferred.

The living-room big screen is one of the last such stages left. When a boAt Nirvana spot runs full-frame, sound-on, in a premium streaming environment, next to the same slots the global brands buy, it borrows the authority of the medium. The format itself says this is a serious brand, because serious brands are the ones who show up here, done well. A young Indian label that grew up on cricket jerseys and discount codes gets to be seen, for a moment, in the same light as the incumbents it is trying to climb past. CTV lets boAt punch above its price-driven weight class and stake a claim to premium territory it has never quite been allowed into.

This is the deeper reason challenger brands should care about CTV, in any category. It is not only a targeting channel or a measurement channel. It is a status channel. It confers the visual and contextual signals of an established, premium player onto whoever is willing to invest in showing up properly. For a brand trying to graduate from cheap-and-cheerful to genuinely aspirational, that borrowed authority may be the most valuable thing the medium sells.

The Celebrities Come Along for the Ride

boAt did not build its fame in a vacuum; it built it on faces. The cricketers, the film stars, the musicians, the creators — the boAt brand is inseparable from the celebrity firepower it has spent years assembling. And Connected TV is arguably the best possible venue for that particular asset to finally breathe.

On a phone feed, a celebrity endorsement is a small, muted, thumb-scrolled thing — a famous face compressed into a square and gone in a second. On the living-room screen, that same star is life-size, sound-on, watched by the whole family in a shared moment. The parasocial power of a Hardik Pandya or a Kiara Advani lands with far more weight when they are big and loud and central in the room than when they are a tile in an infinite scroll. CTV gives boAt's roster of ambassadors the theatrical scale their star power was always meant for.

There is a targeting angle too. Star power is not one-size-fits-all — a cricketer moves a different audience than a music creator, who moves a different audience than a Bollywood lead. CTV's addressability means boAt can, in principle, match the face to the household: aim the cricket-fronted premium spot at the sports-streaming homes, the music-and-lifestyle creator at the entertainment bingers. The celebrity strategy that boAt already owns gets sharper, not just bigger, when it runs through a channel that can choose who sees which star.

The broader point for marketers is that CTV is not a reason to throw out what already works — it is an amplifier for it. boAt's existing strengths, its celebrity relationships and its youthful, music-is-life brand voice, do not get abandoned on the new channel; they get a bigger, better-aimed stage. The smartest way to enter a new medium is rarely to reinvent your brand for it. It is to bring your sharpest existing weapon and fire it through the new format's superior barrel.

The Remix: One Story, Many Cuts

The last piece of the boAt-on-CTV logic is the most operational, and the most useful to steal: CTV does not have to be a separate, expensive, standalone production. It can be the anchor of a content system that feeds every other channel — a remix culture, in the language of the original headphone party.

A brand shooting for the big screen is, almost by accident, shooting the highest-quality version of its story it will make all year. That premium, sound-designed, full-frame CTV film is a master asset. From it, a brand can cut the vertical fifteen-second version for Reels, the six-second bumper for YouTube, the muted square for the feed, the stills for display and retail, the teaser for the pre-launch. One serious production, many derivative edits, every channel fed from the same creative spine — with the CTV cut as the prestige flagship that lends its polish to everything downstream.

For boAt, whose whole culture is remix-native — memes, mashups, creator collabs, music — this is a comfortable way to operate. But it is also simply good marketing discipline that any brand can adopt. It solves the eternal tension between quality and quantity: instead of choosing between one expensive hero film or a hundred cheap posts, you make one genuinely excellent thing and systematically atomise it into everything else. The CTV requirement to produce something worthy of the big screen becomes the forcing function that raises the quality of your entire content library.

This is where CTV stops being a media line item and becomes a content strategy. The channel does not just buy attention on the living-room screen; it justifies producing the kind of anchor creative that makes every other channel work harder. Plan the CTV flagship as the centre of the system, and the rest of the funnel — the [omnichannel paid-media machine](/resource/blogs/d2c-omnichannel-paid-media-scaling) that actually drives the sales — gets a better engine to run on.

The Catch: CTV's Unsolved Problems

A teardown that only lists the upside is a brochure, not an analysis. CTV in India is a genuine opportunity, and it is also a genuinely immature channel with real, unresolved problems that any brand — boAt included — has to walk in knowing.

The biggest is measurement. Linear TV in India had BARC, an imperfect but standardized, third-party currency everyone agreed to argue over. CTV has no true equivalent yet. Brands largely rely on platform-reported numbers — each walled garden marking its own homework — with no neutral, cross-platform verification of who really saw what. That makes it hard to compare one platform against another, hard to de-duplicate reach across apps, and hard to fully trust the completion and view-through figures the platforms hand back. For a data-native brand this is uncomfortable: CTV promises measurability, then delivers it in a fragmented, self-reported form that still needs independent triangulation to believe.

Then there is the branding-versus-performance tension. For all the shoppable-TV excitement, honest practitioners in the Indian market describe CTV today as still primarily a branding medium, with performance and direct-response use cases emerging rather than mature. If a brand walks in expecting a clean, attributable, last-click sales channel, it will be disappointed — the value right now is mostly upper-funnel aspiration and consideration, which is real but harder to defend in a spreadsheet than a click. There is also fragmentation across dozens of apps and operating systems, inventory quality and ad-fraud questions that come with any young programmatic channel, and a reach that, while growing fast, still skews toward the affluent, urban, English-and-metro-language households and does not yet blanket the whole country the way linear TV does.

None of this makes CTV a bad bet — boAt is right to be there early, and the problems are the normal growing pains of a medium in its land-grab phase. But it does mean the channel should be entered with clear eyes and honest expectations: a powerful, fast-growing brand-building and increasingly full-funnel channel, whose measurement and performance-attribution story is still being written. Treat it as a place to build desire and borrow authority, instrument it as carefully as you can, and do not ask it, yet, to be the tidy performance engine it is still growing into.

The Teardown: What Marketers Should Steal

Strip boAt's CTV move down to its transferable logic and you get a set of principles that apply far beyond audio, or India, or Connected TV specifically. This is the part to keep.

One: match the channel to the strategic job, not the trend. boAt did not move to CTV because CTV was fashionable. It moved because it had a specific, hard problem — graduating from affordable-volume brand to premium-aspiration brand — and CTV happens to be the channel purpose-built for that job: big-screen aspiration with digital aim. Always start from the business problem and let it choose the medium, not the other way around.

Two: go where the medium flatters your product. Audio on the one screen with the sound on; a premium product on the highest-fidelity screen in the house. boAt is exploiting a context that makes its product look and sound its best. Ask what environment makes your product most persuasive, and weight your spend toward it.

Three: use new channels to look bigger than your budget. CTV lets a challenger borrow the authority of television and stand next to incumbents it cannot outspend. For any brand trying to punch above its weight class, the value of a channel is partly the status it confers, not just the reach it delivers.

Four: bring your sharpest existing weapon through the new barrel. boAt did not abandon its celebrity roster or its youthful voice for CTV — it fired them through a format that made them land harder. New channels are usually best entered by amplifying a proven strength, not manufacturing a new personality.

Five: build one anchor asset and atomise it. Let the CTV-grade flagship be the master from which every other channel's cut is derived. It resolves the quality-versus-quantity fight and raises the floor of your entire content library.

Six: enter early, but enter honest. The land-grab phase of a new medium rewards the early — cheaper inventory, less clutter, first-mover learning. But it punishes the naive. Walk into CTV knowing the measurement is unsettled and the performance story is immature, instrument what you can, and set expectations accordingly. Riding a wave early is smart; pretending the wave is calmer than it is will drown you.

How to Ride the CTV Wave Yourself

If boAt's move has you eyeing the living-room screen for your own brand, here is the reverse-engineered blueprint — the steps you could brief this quarter, whatever your category.

Start with the job, not the channel. Write down the specific strategic problem you are trying to solve — build premium perception, enter a new segment, launch a hero product, defend against a challenger. If big-screen aspiration and household reach genuinely serve that job, CTV is a candidate. If your problem is bottom-funnel last-click efficiency, be honest that CTV is not that, yet, and size your expectations down accordingly.

Define the household you actually want. CTV's superpower is addressability, so waste it at your peril. Specify the audience — geography, language, affluence signals, content affinity — precisely enough that your premium message reaches the homes most likely to act on it, and set frequency caps so you build affection rather than fatigue.

Produce for the room, not the feed. Build creative for a shared, lean-back, sound-on, big-screen moment: story over stunt, real sound design, production values worthy of the best screen in the house. Then treat that flagship as your master asset and cut every other channel's version down from it.

Wire in whatever performance you can. Even in a branding-led channel, instrument everything available — completion rates, view-through, post-exposure search and site behaviour, and any shoppable or QR path that lets a viewer act. Build the measurement scaffolding now, imperfect as it is, so you can learn faster than competitors who are just buying reach and hoping.

Triangulate, do not trust blindly. Because there is no neutral CTV currency in India yet, corroborate platform-reported numbers against your own signals — brand-search lift, direct traffic, geo-based sales patterns, incrementality tests where you can run them. Assume the walled gardens are flattering themselves and check their homework.

Fold CTV into the whole funnel, not beside it. CTV builds the desire and the authority; your [performance-marketing](/performance-marketing) engine converts the demand it creates. Plan them together — the big-screen story feeding the lower-funnel machine — so the channel's upper-funnel lift actually shows up as pipeline and sales downstream, rather than floating free as un-attributable brand warmth.

The Party Isn't Over — It Just Got a Bigger Speaker

boAt spent a decade turning India into a headphones party — putting a soundtrack in the ears of a generation and building a billion-rupee brand on affordability, celebrity and swagger. The move into Connected TV is not a departure from that story. It is the next verse of it.

What boAt is really doing on the big screen is trying to change what its own name means. For ten years, boAt meant good enough, and cheap, and everywhere — a fantastic thing to be, and a ceiling. On the living-room screen, sound-on and full-frame, standing in the same slots as the global giants, boAt is auditioning for a new meaning: not the affordable option, but the desirable one. That is the hardest transformation in branding — value to aspiration — and CTV is the most credible stage in India on which to attempt it.

Whether it fully succeeds is not yet written. The channel's measurement is unsettled, its performance story is immature, and turning a price-brand into a prestige-brand is a multi-year act of will that no single medium can complete. But the strategic instinct is exactly right: find the channel that does the job your business needs, arrive while it is still a wave rather than a crowd, bring your sharpest weapons through its superior format, and use its authority to look bigger than your budget. That is not just how boAt is riding the CTV wave. It is how any brand rides any wave worth riding.

The party that boAt started in India's ears has simply moved to the biggest speaker in the house. And boAt, characteristically, made sure it got there first — turned it up, put a familiar face on the screen, and invited the whole living room to listen.

Sources and a Note on the Numbers

The market figures here — India's roughly 40-60 million CTV households, the ~21% year-on-year growth, the thousands-of-crores ad-spend estimates, the roster of brands entering CTV, boAt's market share and revenue milestones, and boAt's own late-2024 CTV entry around its premium ranges — are drawn from industry reporting and market research. Estimates for a fast-moving new channel vary between sources and dates, so treat the specific figures as directional rather than precise, and the growth trajectory as the reliable signal.

• [Inside CTV's explosion: how brands are leveraging immersive storytelling and data — Storyboard18](https://www.storyboard18.com/how-it-works/inside-ctvs-explosion-how-brands-are-leveraging-immersive-storytelling-and-data-62756.htm)
• [What is Connected TV Advertising? An India guide — The Media Ant](https://www.themediaant.com/blog/what-is-ctv-advertising-india-guide/)
• [Smart TV buyers in India and CTV advertising growth 2025 — The Media Ant](https://www.themediaant.com/blog/smart-tv-buyers-ctv-viewers-india-2025/)
• [India Connected TV Advertising (CTV) Market Size and Forecasts — Mobility Foresights](https://mobilityforesights.com/product/india-connected-tv-advertising-ctv-market)
• [boAt marketing strategy: how it became India's biggest audio superstore — Buildd](https://buildd.co/marketing/boat-marketing-strategy)
• [How boAt became India's top audio brand — PrivateCircle](https://blog.privatecircle.co/tuning-into-profits-how-boat-became-indias-audio-giant/)
• [boAt business model, revenue, profit and SWOT analysis — StartupTalky](https://startuptalky.com/boat-business-model/)
• [boAt Lifestyle: the inside story of plugging into Nirvana — The Story Watch](https://thestorywatch.com/boat-lifestyle-the-inside-story-of-plugging-into-nirvana/)