The Indian Performing Right Society (IPRS) is expanding its regional footprint with a new stop in Ladakh. On July 12 and 13, the organisation will participate in the third edition of the Pahari Goat Festival – Goat Must Be Crazy in Leh, a grassroots music and culture event that spotlights emerging voices in hip-hop and regional genres across the Himalayan belt.
Held at 11,500 feet, the festival brings together independent artists and collectives like Art of Motion Ladakh alongside performers including TNAMMY, Tenzin Rytha, NOCHEN, Padma Ladoll, and G Tashi. This year, IPRS joins the lineup—not as a performer, but as a platform aiming to bridge the gap between creators and copyright.
IPRS’s presence at the festival marks a continuation of its growing efforts to connect with artists outside India’s metros. On-ground sessions during the event will focus on educating creators about copyright, royalty systems, and the tools needed to protect and monetise their work in the digital age.
“Many talented artists in India’s remote regions remain excluded from the benefits of copyright protections due to limited access and awareness,” said Rumpa Banerjee, Head of Corporate Communications and Member Relations at IPRS. “We see festivals like this as important meeting points—to listen, share knowledge, and create long-term infrastructure for regional creators.”
Founded by Kalsang Tsering “Trepz” and Kalden Regzin, the Pahari Goat Festival is managed by Planagement Global Events. Since its launch in 2021, it has grown into a vibrant platform for independent music from the Himalayas, blending rap, folk, and traditional elements.
As part of the collaboration, IPRS will pilot artist education workshops, host a help desk on-site, and initiate discussions with local cultural bodies and studios to explore the creation of regional IP hubs. These efforts are part of a broader strategy to build a more inclusive rights management ecosystem in India—one that reflects the country’s linguistic and geographic diversity.
Snehi Harsh of Planagement, the festival’s planning and management partner, welcomed the collaboration. “IPRS’s involvement is a timely and important step. Music is often born in communities like ours—but rarely are creators equipped with the business tools to sustain their practice. This is a start.”
IPRS’s participation in the Leh festival adds to its growing list of regional interventions, including recent outreach in the Northeast and other underrepresented zones. It also reflects a growing industry recognition that India’s music economy—particularly its independent sector—cannot grow equitably without structural support at the grassroots.
The collaboration comes at a time when interest in regional and multilingual music is on the rise. As music from outside traditional markets gains momentum online and offline, festivals like Pahari Goat 3.0 are becoming key nodes in the country’s creative map—not just for talent discovery, but also for institutional partnerships.
