TALENTED young actress Ashi Singh has shown remarkable versatility in a short space of time.
She has followed up 1990s-set coming-of-age romance Yeh Un Dinon Ki Baat Hai and fantasy series Aladdin – Naam Toh Suna Hoga with one of Indian television’s performances of the year in ZEE TV drama serial Meet: Badlegi Duniya Ki Reet.
The versatile small-screen star has completely transformed her look, accent, and body language for the title role in Meet: Badlegi Duniya Ki Reet, which exudes girl power and is strongly connecting with audiences since it premiered in August.
Eastern Eye caught up with the 24-year-old actress to discuss her latest drama serial, girl power, high expectations, future hopes, and amazingly strong fan base.
What made you take on the lead role for Meet: Badlegi Duniya Ki Reet?
The character of Meet is very interesting and not like anything we usually see in daily soaps, which are not so experimental, so there was no reason for me to say no to it, as it was challenging, unique and so very different.
For those who haven’t seen the show yet, tell us about the story and character you play?
The story is about a girl who tries to set an example that ‘be it a girl or a boy, everyone’s equal in all means’. The show is not about any specific gender; it is about equality.
Is it fair to say this show is mostly about girl power?
This show is about many things and yes, girl power is one of them. We are showing how a girl is doing everything boys are expected to in a male dominated society and more. And how she does everything and manages it all in a very unique way.
Is it true you were nervous about the short-haired look?
Yes, I was, and remember when I was small, I didn’t like short hair. Even now, I am not a very big fan of shorter hair. When I got to know that my hair will be so short in the show, I felt low at that time and thought I have a chubby face, how will it go? Will I look odd? Initially, I was inundated with all these thoughts in my mind.
Meet is your third big lead role. How does it compare to others that you have played?
My first one (Yeh Un Dinon Ki Baat Hai) was a quite simple, sensible, and innocent girl, which I played on-screen, whereas my second role in Aladdin – Naam Toh Suna Hoga was of a fearless princess, who does a lot of action and is glamorous! This one is, of course, a tomboy character who speaks Haryanvi and does all that guys do. All the roles that I have played on-screen have been different in a way and I am lucky to be tagged as a versatile actor today, so can’t compare them.
What is the biggest challenge of playing this role?
There are many! The first thing I thought was whether I would be able to convince people or not because it was a big experiment and different from what I did earlier. I kept wondering if people will like me or not in this character? (Smiles) Like Meet can do things easily, in the same way, Ashi cannot in real life. This is a daily challenge for me, and it is a little difficult. But as an actor, I want to be recognised for my versatility. The biggest challenge while playing this character is people shouldn’t recognise me.
What do you mean?
They should think that Ashi and Meet are different and shouldn’t see that Ashi is the one who is playing Meet’s character. For instance, a few days back I was talking to a kid on a video call and when he saw me, he was like who is she, where is Meet? (Laughs) So, this is also one challenge I am facing where people don’t recognise me, and people don’t know the fact that I am the one who is playing Meet.
The expectations around you increase with each project. Does that put pressure on you?
Not really! I always think positive and try to perceive everything positively. Expectations
increase because people see you doing better with each passing project. And I try to fulfil all the expectations of people, but don’t let that get into my head or hamper my work.
What is it like working in lockdown?
I was at home when the first lockdown was imposed and not working on any project at that time. And in the start of the second lockdown, I was at home! In the middle of that I was offered Aladdin and felt blessed that I am working in lockdown because a large number of people lost their jobs and were at home for a very long time. So, I felt blessed and lucky that I got work and was working. It was risky to go on to the sets and meet hundreds of people, so I was filled with mixed emotions.
How much does your amazing fan support help you?
Fans make me feel motivated, like when I feel low or when I feel less of my myself, they always make me feel that okay, I am something and capable of doing something good or better. I cannot exactly explain in words how much they make me feel motivated, but they strengthen me in many ways.
You have made all the right moves, what is your plan going forward?
I guess life never works based on plans that we make. Talking about right moves, I never thought of outputs and believe in giving more than a hundred per cent. I signed seven to eight projects but something or the other happened and they didn’t work out. But whatever came to me later it turned out great. The three shows I have done have made me what I am. I am very glad to know that people loved me more than I ever imagined. I have just surrendered myself to God and his will.
Have you thought about acting in movies?
Yes, of course, working in movies was my childhood dream. To be honest, I’ve been lucky enough to play really good characters on television. I have auditioned for films and series, but I never got an interesting project to do and if I’ll be lucky enough to do a film, then I will surely do it.
Ashi Singh in Meet: Badlegi Duniya Ki Reet
Why should we all tune into Meet: Badlegi Duniya Ki Reet?
First of all, it gives out a good social message. Apart from that, it has a different
story, little drama, comedy and is an amalgamation of everything. It is interesting if you’ll watch it. I know that surely you will watch it on repeat. So, you should give it a chance. You will surely start liking it because of the unique concept. The whole team has put more than a hundred per cent efforts. We just need half an hour of your time every day to watch it and I am sure you will enjoy it.
Panellist Hailey Willington (BPI), Roshan Chauhan (Daytimers), Indy Vidyalankara (UK Music/BPI), Kara Mukerjee (Warner Music Group), Mithila Sarna (Arts Council England), and Jataneel Banerjee (PRS for Music) at Lila’s “Future Unveiled” event, held at the BPI office in London on September 16, 2025
Only 28% of South Asian musicians in the UK can rely on music as a full-time income
Around seven in ten say they are overlooked or unseen in key industry roles
Artists face repeated challenges like family worries about stability, difficulty accessing money, and no guidance from mentors
The community agrees the path forward needs proper guidance, visible decision-makers, and financial support tailored to their journey
Surveyed artists work across multiple genres and aim for global audiences but face structural challenges
When the lights went down at the BPI’s London office for Lila’s “Future Unveiled” event in mid-September, speakers and delegates were not gathering to celebrate a triumph. They had gathered to confront a simple, brutal truth: the music industry was failing them. For South Asian artists and professionals, the dream of a lasting career was crashing against a set of measurable, stubborn barriers. The South Asian Soundcheck changed that. It was impossible for the industry to continue ignoring the data since it was evident and impossible to overlook.
Panellists Hailey Willington (BPI), Roshan Chauhan (Daytimers), Indy Vidyalankara (UK Music/BPI), Kara Mukerjee (Warner Music Group), Mithila Sarna (Arts Council England), and Jataneel Banerjee (PRS for Music) at Lila’s “Future Unveiled” event, held at the BPI office in London on September 16, 2025
Data reveals daily struggles behind the statistics
Statistics, however damaging they may be, cannot tell the complete story. Each percentage point represents a daily struggle. The survey, run by the non-profit Lila, gathered voices from 349 creators, managers, producers and industry workers, revealing a community bursting with talent but stranded without a map to sustainable work.
Financial precarity and invisibility
The numbers are stark and consistent. Consider the financial reality: only 28% can actually make a living from their music. For the vast majority, it's a side hustle. Compounding this is a deep-seated sense of erasure: nearly seven in ten (68%) feel they are either poorly represented or entirely invisible within the business. The study laid bare the personal toll.
Lila’s Data Consultant Sania Haq presenting the findings of the South Asian Soundcheck
The weight of stereotypes and family pressure
Imagine constantly being told what kind of music you should make, based purely on your name or skin colour; 45% of respondents face that very stereotype. Then there’s the pressure at home, with two in five (40%) navigating family concerns that this path is just too unstable. And cutting through it all is the blunt reality of prejudice: a sobering 32% have faced direct racial discrimination in their careers.
Beyond prejudice: the missing links of money and mentorship
These aren't abstract figures. They outline the reality of versatile professionals. Respondents said they work across an average of seven genres, yet are systematically shut out from the rooms where line-ups are decided, artists are signed, and real power is held.
The report also flagged practical barriers beyond prejudice. More than half, that is 54%, said they struggled to access funding, and similar numbers described gaps in industry networks and business knowledge such as contracts and rights. That combination; lack of money, know-how and connections is what stalls careers, not a shortage of talent.
Sophie Jones, CSO at the BPI, delivers the opening speech of the evening
The “Progress Paradox”
Lila founder Vikram Gudi framed the findings with a phrase the report uses repeatedly: the Progress Paradox. While 69% of respondents say they have seen improvements in South Asian visibility over the past two years, that perceived progress has not translated into representation where it matters: the boardrooms, A&R desks and festival programming committees that allocate budgets and define careers.
“Seventy-three percent earn some money from music, but only 27% earn enough to rely on it as a sustainable career,” Gudi told delegates, summarising a gap that numbers alone struggle to convey. The report also notes the headline figure of 28% who can rely on music full-time. Think about that. Nearly three-quarters are making some money from music, scraping together a living from their art. Yet barely a quarter can actually depend on it to pay the rent. That void, between grinding away and truly building a life, is where the real story lies.
Vikram Gudi presented key findings to label executives festival programmers and trade bodies
The invisible wall of representation
That gap is compounded by what respondents described as an “invisible wall”: the absence of people who look like them in positions of power. Two-thirds of those surveyed identified the lack of South Asian professionals in industry roles as the single biggest barrier to progression. Without visible senior figures, the path into senior programming, label deals and streaming strategy remains shadowy and difficult to navigate.
Without mentors who have lived the same experience, many feel they are learning the rules of the business in public. One anonymous respondent summed it up bluntly: “There are virtually no visible and successful South Asian artists in the mainstream, people simply do not know where to place us.”
A three-part solution
The Soundcheck does more than catalogue obstacles; in fact, it points clearly to remedies. So, what’s the way out? The response from the community was crystal clear. Roughly three-quarters agreed on a three-part prescription for survival.
First: mentoring that actually teaches you the rules and points you to decision-makers. Second: real representation in the rooms that sign, programme and pay artists. And third, they need dedicated funding and actual financial pathways that are accessible and understand their unique journeys.
The report makes it clear these aren't just items on a list; they are interconnected. Without funding, representation is an empty gesture. Without mentorship, that funding is likely to be wasted. Each element needs the other to actually work.
Suren Seneviratne from the DAYTIMERS Collective
The emotional cost of being boxed in
Respondents described the everyday consequences of those structural gaps. Artists who work across multiple genres said they were routinely typecast: an electronic producer might be nudged towards “Asian Underground” tracks; a classically trained musician expected to add bhangra flourishes regardless of artistic intent. For 40% of respondents, pursuing music means repeated conversations at home about financial security.
For many, the prize of mainstream validation remains distant, and the cost of trying to bridge that gap is emotional as much as economic. One participant put it simply: “All I want is to tell my mum I have been booked to play at my favourite venue and for her to be excited, but I cannot.” These testimonies are threaded throughout the report to give voice to the statistics.
The global ambition vs. local limits
The study also highlights a further artistic anxiety: 45% worry that specialising in South Asian music will limit their broader industry opportunities, and 71% believe the industry has limited acceptance for artists who do not fit traditional categories. In short: artists are ambitious and global in outlook, but the industry still thinks in narrow boxes.
Members of Warner Music’s ERG with some of the Lila TeamAudience at South Asian Soundcheck The Future Unveiled showcase at Tileyard Studios,London
Industry reaction and next steps
Industry bodies took the findings seriously at the launch. The Soundcheck is supported by major organisations including UK Music, the BPI, the Musicians’ Union (MU), Warner Music Group (WMG), the Music Managers Forum (MMF), Arts Council England and PRS for Music, and the research also consulted groups such as Bradford City of Culture and the Association of Independent Festivals. Lila unveiled eight key insights at Future Unveiled on 16 September 2025, in a preview hosted by BPI in partnership with Warner Music Group and Elephant Music, an assembly of partners that suggests the report has the power to move institutional levers if they choose to act.
From talk to tangible change
The survey reveals a tension that defines many of their careers: this gap between putting in the work and finding security shows why targeted help is necessary. After the report came out, the room’s discussion turned straight to solutions: pilot mentorship programmes, clearer access to funding, and real initiatives to bring in fresh talent.
The response from music publications and activist circles hasn't been an outright celebration, but wary optimism. Coverage in specialist outlets described the Soundcheck as the missing piece of evidence needed to shift diversity conversations from moral urgency to measurable targets. Commentators emphasised the report’s value in informing pilot programmes like mentorship schemes, targeted grant funds and recruitment pipelines, and in providing a baseline against which progress can be tested.
Members of Warner Music\u2019s ERG with some of the Lila Team www.easterneye.biz
The real test: action or another interim?
Implementation will reveal whether the Soundcheck becomes a catalyst for change or another well-documented interim. The report’s message to the industry is blunt: warm sentiments won’t cut it anymore. What’s needed are tangible, funded pathways. That starts with grant programmes and fellowships built specifically for South Asian artists, rather than asking them to contort themselves to fit outdated criteria. It means pushing the doors open, hiring programmers, A&Rs and commissioners, and making a real, public effort to find this missing talent.
And mentorship can’t be a coffee meeting that goes nowhere; it has to be a dedicated bridge, linking emerging artists with established figures who have the clout to actually pull them up. The ultimate goal is to plant champions in the rooms where it counts, people who grasp the cultural context and will fight for their work when the final selection is decided and the big money is allocated.
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