Vizag saw a run feast at the Women’s World Cup encounter between Australia and India with nearly 700 runs being scored in a day. The quality of cricket was top notch and yet the ICC championship does not attract crowd support. So, what could be done to rebrand women’s cricket? I thought of taking a parallel from the world of entertainment. There was a time when male rock bands ruled the charts, just as men’s cricket ruled the screens. Then came Madonna, Beyoncé, Taylor Swift, Rihanna …women who turned performance into power, music into movement, and personality into empire.
Women’s cricket today stands on that same threshold. The athletes are world class, and the emotional connection is deepening. Yet the challenge ahead isn’t just about winning matches. It’s about building brand magnetism, the kind that transforms a game into culture. And for that, cricket can take a few cues from pop.
Every pop diva has a carefully crafted persona. Beyoncé stands for excellence and control, Swift for storytelling and authenticity, Rihanna for rebellion and reinvention. Women’s cricket needs to create that same brand architecture of personality. Smriti Mandhana could embody elegance and grace; Harmanpreet Kaur, leadership and fire; Shafali Verma, youthful audacity; Jemimah Rodrigues, the digital-age entertainer. These stories should not be incidental; they should be deliberate.
As a renowned marketing strategist notes, “The next phase of women’s cricket isn’t about gender parity – it’s about personality parity. Fans must relate to players the way music lovers relate to their idols.” That’s how pop stars build tribes. And that’s how cricketers can, too.
A Beyoncé world tour or a Taylor Swift “Eras” concert isn’t just an event; it’s a cultural moment. Months of anticipation, limited drops, sold-out venues, documentaries, merchandise, fan art — all extending brand life beyond the stage. The women’s cricket ecosystem can learn from that tour-based amplification model. Treat every major tournament from the WPL to the T20 World Cup like a global concert tour. Use countdowns, behind-the-scenes content, regional storytelling, and post-tournament docuseries to keep the buzz alive year-round.
Pop reinvented itself through sound, visuals, and crossovers. Similarly, women’s cricket can have its own format innovation and storytelling tone. Fast-paced night matches, fan-voted all-star games, crossover content with influencers and creators …these can make the sport trend, not just stream. Commentary must evolve from borrowed phrases to a distinctly female voice …witty, youthful, inclusive. Broadcast packaging can borrow from pop visuals: color palettes, anthem-driven intros, and star-centric teasers. As a popular content creator and analyst quips, “If you market it like a cause, it will stay niche. If you market it like pop, it will scale.”
No pop star succeeds without her brand ecosystem …fashion houses, beverage brands, tech collaborations. These partnerships don’t just fund the music; they amplify the message.
Women’s cricket, too, must break out of the “CSR sponsorship” mould. Beauty, fashion, health, tech, and travel brands should view players as style icons, not just athletes.
Why shouldn’t a Harmanpreet be the face of a global athletic fashion line, or Mandhana front a smartwatch campaign?
The pop world shows us that equality isn’t about imitation; it’s about innovation and individuality. When women’s cricket stops comparing itself to men’s cricket and starts expressing itself like a pop revolution with confidence, colour, and cultural swagger …it will no longer need validation.
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