Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Sidhu Moosewala’s official Instagram page announced a 2026 world tour titled Signed to God.
The Punjabi singer-rapper was killed in 2022 in Punjab at age 28.
The tour will use digital tech, possibly holograms, to bring Moosewala ‘back’ on stage.
No official dates or venues announced yet; fan reaction online has been a mix of awe and confusion.
On Tuesday, the late Punjabi singer-rapper’s official Instagram handle dropped a teaser for a 2026 world tour called Signed to God. The announcement stunned fans and sparked immediate speculation over how a concert by a deceased artist is even possible. While the organisers have kept technical details under wraps, reports suggest cutting-edge tech like 3D holograms or augmented reality will be used to recreate Moosewala’s presence on stage.
Sidhu Moosewala, Indian Singer (Photo: @sidhu_moosewala) www.easterneye.biz
How will the Sidhu Moosewala tour work in 2026?
The teaser post simply featured the tour title and year: 2026, with no explanation on format, locations, or ticket sales. However, sources quoted in Tribune India suggest that the organisers plan to use high-tech visuals, potentially combining holographic imagery with pre-recorded vocals and augmented reality.
This approach is similar to posthumous concerts held for global artists like Tupac Shakur and Michael Jackson, whose likenesses were projected via holograms for live audiences. If confirmed, Signed to God would be India’s first full-scale digital tour for a deceased artist, and possibly the first in Punjabi music history.
Fan reaction to the announcement has ranged from excitement to disbelief. The Instagram video gathered over a million likes in 24 hours, with many users commenting "Welcome back, Legend" and "Forever in our hearts." Others were more puzzled, asking: “But who’s going to perform?” and “Is this real or just promotion?”
One user wrote, “Bro took ‘dropping from heaven’ literally,” while another speculated, “They might be doing a hologram show. That’s why it’s 2026.”
While many expressed joy at the idea of seeing Moosewala’s presence honoured live, others questioned whether it would feel authentic, or even appropriate.
Fans react with shock and excitement after Moosewala’s posthumous tour is announcedInstagram/sidhu_moosewala
What does this mean for Sidhu Moosewala’s legacy?
Sidhu Moosewala, born Shubhdeep Singh Sidhu, rose to global fame with hits like So High, *47*, and The Last Ride. His unique style of Punjabi folk, trap, and drill made him a voice of the youth, especially among the South Asian diaspora. In 2020, he was listed by The Guardian as one of the 50 most promising new artists worldwide.
His murder on 29 May 2022 in Punjab’s Mansa district sent shockwaves across India and abroad. He was shot dead by six assailants, with gang-related motives behind the killing. Moosewala was only 28.
Since his death, posthumous songs and videos have kept his presence alive online. His parents, Balkaur Singh and Charan Kaur, even welcomed a baby boy via IVF in 2024, calling him "Shubh’s little brother," further cementing the idea that Moosewala’s memory is still very much alive in his family and fan base.
Though full details are awaited, the Signed to God tour has already triggered conversations about the future of entertainment and how technology can reshape memorialisation. For Moosewala’s fans across Canada, the UK, Punjab, and the US, this may be a rare chance to experience his stage presence again, digitally.
If successful, the tour could spark a wave of posthumous concerts across South Asia, opening up ethical and creative debates around legacy, digital resurrection, and fan engagement.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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