06 March,2026 09:00 AM IST | Mumbai | Athulya Nambiar
Urooj Ashfaq
The stand-up comedy scene in India is still in its evolving phase but one that is progressing positively. At the beginning, the scene was dominated by men, with very little woman. Among them was Urooj Ashfaq, who slowly built a space for herself with her distinct voice, making acute and humoruous observations about her everyday life. From cracking up Mumbaikars with her hilarious narration of a cab ride from Mumbai to Navi Mumbai and to making international audience crack up with her interesting take on her childhood and therapy sessions. Over the past few years, she has emerged as one of the most compelling voices in Indian stand-up, blending vulnerability with humour that resonates across audiences.
In a space that has historically been dominated by men, voices like Ashfaq's represent a shift in the Indian comedy landscape- one where women are claiming the stage with confidence, nuance, and authenticity. However, she does not feel she is the right person to answer the question about audience acceptance of female comedians. Having built an audience for herself with her style of comedy, Urooj feels the audience reacts more to how they place you.
"I have built my audience," she tells mid-day, adding that her audience today is aware of her existence as a comedian and can look beyond her gender. However, that is not case with people who are new in the scene. "If I were to go today and nobody knew me in a room in India, then I would be able to tell you the vibes. When I was starting out, there was a clear vibe." That initial perception can influence how audiences receive a comedian's material. Early in her career, Ashfaq recalls being acutely aware of these subtle dynamics- reading the room carefully and figuring out whether resistance came from the jokes themselves or from gender bias.
Because of this acceptance, she admits she sometimes feels slightly removed from the struggles that newer comedians face while trying to establish themselves. For performers who are just starting out- particularly women- the experience can be very different. "When people don't know you at all, the first thing they register is your gender," she explains.
Today, she is curious to hear from younger comedians entering the scene.
For Ashfaq, comedy is not just about writing punchlines; it is a process that evolves on stage. "I'm a very mood-based person," she says about her creative rhythm. When things are going well, she finds herself extremely productive, but on difficult days, the process slows down. Her writing method, she explains, begins with an idea that she tests live in front of an audience before shaping it into a polished routine.
"I go on stage and try to say things. I keep an angle in mind, and something usually comes," she says. Over time, she refines the material-writing, testing, rewriting and performing again- until the show feels complete. For Ashfaq, developing a stand-up set is not quick work. "It takes me a good year to make sure the show is complete and good."
Performing at home in India, she says, comes naturally. The shared language, cultural references, and lived experiences make it easier to connect with the audience.
"When I perform in India, I can default to our own language. I have more options to play around with because everybody is me," she explains. However, performing internationally requires building a different skill set. There is often a gap between her experiences and those of audiences abroad, which means finding ways to bridge that difference on stage.
At the same time, she notes that audiences outside India can sometimes be gentler. "They don't want to make a faux pas or be mean," she says, adding that Indian audiences tend to keep things more real and expect comedians to deliver quickly.
Like every comedian, Ashfaq has had her share of moments when jokes simply don't land. But rather than panic, she has learned to embrace the reality of bombing on stage.
"A joke not working is not the end of the world," she says. With years of experience behind her, she believes the key is to remain calm and self-aware. "The audience panics if you panic. You have the mic- you are the captain of the ship."
Off stage, Ashfaq is also aware of the constant commentary that comes with sharing content online. While she believes it is important to listen to audiences, she has also learned to filter feedback carefully.
"You don't want to be delusional, but people are people," she says, reflecting on the nature of online reactions.
"If too many people say something wasn't my best work, I'll introspect," she explains. "I'll ask myself- have I become lazier? Is the writing not good?" Ultimately, however, she believes it is up to her to exercise judgment about what to take seriously.
