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More than a Music Streaming Service – Why You Should Allocate Media Spend To Spotify

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Spotify music streaming service

By Carla Harrison

If I were to pick up your phone right now, there’s a very good chance that I’d find Spotify among your apps. It is, after all, the world’s most popular music streaming service, with 433 million users (188 million of whom are paid subscribers) in 183 countries. Since its launch in 2008, it’s transformed the way the world listens to music and helps launch the careers of artists around the world.

And if you use Spotify, you’re probably also aware that it’s expanded from just music streaming into podcasting, with some 4 million podcast titles joining its library of 82 million songs. But did you know that it’s also a powerful advertising platform with a growing focus on the African continent?

Any brand that’s serious about expansion, particularly in high-growth markets such as Nigeria, simply cannot afford to ignore it.

The pros of radio, plus more  

In order to understand what makes Spotify such an appealing platform for advertisers, it’s worth first reminding ourselves of the strengths offered by traditional radio. In general, for example, radio ads are more cost-effective than other forms. You can also get away with increased frequency, meaning that your message is more likely to stick.

Spotify offers all the benefits of radio advertising plus more. With growing numbers of people listening to digital audio streaming every day, you’re guaranteed an active and engaged audience. At the same time, you’re also reaching them while they listen to what they love. And because Spotify’s targeting options are so advanced, your brand can reach specific people based on age, gender, music genre, and playlist. Unlike radio, Spotify guarantees 100% completed listens in its reporting. It can also provide metrics around which type of audience engaged with your ad and a companion banner which allows users to click through to a webpage.

The streaming service is an innovator in the advertising space too. Its 3D audio feature, for instance, allows brands to provide premium quality advertising through an immersive, dynamic, and sensory audio experience. As a result, listeners don’t just hear an ad; they feel it.

But Spotify offers more than just audio ads. It also allows brands to reinforce their messages with high-impact display and video ad formats. Spotify video ads are actually the best performing in the industry, as they had to be built for viewability. The ads are 100% viewable and 100% audible, and Spotify only charges for 100% completion.

Making an impact in Africa 

It’s also worth pointing out that Spotify is seeing significant levels of growth across Africa. While the streaming service has been available in South Africa since 2018, its real expansion into Africa only came in early 2021, when it launched in an additional 40 countries.

But just a year after launching in Nigeria, the number of artists streamed per user had grown by 60%, and Nigerian music fans had created 1.3 million user-generated playlists. Additionally, nearly 21 000 songs had been added to the platform, placing Nigeria as the country with the second most streams after Pakistan in the new markets, with Kenya third in the ranking.

That growth isn’t likely to slow down anytime soon, either. According to Statista, music streaming revenues in Nigeria are expected to show an annual growth rate of 12.61% between 2022 and 2027. It’s also worth noting that penetration in the overall streaming market currently sits at just 4.1%. With an additional 35 million Nigerians set to come online by 2026 (all of whom will be hungry for the consumer experiences that come with affordable and ubiquitous access), Spotify looks primed for significant growth.

That comes with obvious growth benefits for advertisers, especially when you factor in that 39.6% of music streaming users are in the medium-income group. As Nigeria’s economy continues to grow, that income group will become larger and more valuable.

Partnering with the experts 

Brands looking to utilise Spotify as a marketing platform don’t have to go in blind, either. By working with experts that have specialist teams, they can get the most out of their campaigns. The right partners will also offer advertisers price transparency, ensuring that they get advertising on the platform at the most affordable rates.

In doing so, they can ensure that they always reach the right audiences at the right time with the right message. Moreover, with Spotify, they’re reaching people during the moments they love. And that’s always incredibly valuable for any marketer. Small wonder then, that Spotify is seen as the most trusted ad platform among consumers. Factor in the brand safety it offers, and you have a winning combination.

A culmination of factors 

Ultimately then, Spotify represents the culmination of a number of factors that should be of interest to anyone with a media budget that needs to be spent. And as Africa, and Nigeria in particular, that combination of engaged, active audiences, the ability to target specific audiences, and innovative advertising products will only become more important.

Carla Harrison is the East African Sales Manager at Ad Dynamo by Aleph

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Kunle Remi Clarifies Viral Remarks on AMVCA, Oscars Comparison

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Kunle Remi

Nollywood actor Kunle Remi has clarified that his recent social media comment comparing the Africa Magic Viewers’ Choice Awards to the Academy Awards (Oscars) was made in jest, following widespread reactions online.

The conversation began after the actor shared a video from the 2026 Academy Awards (Oscars), where Michael B. Jordan was seen having his award engraved shortly after his win. In his initial reaction, Remi suggested that winners at the AMVCA do not receive their plaques immediately, a claim that quickly gained traction across multiple media platforms.

However, in a follow-up video posted shortly after, the actor dismissed the comparison as a joke, noting that he is aware of how the AMVCA award process works.

“I was just messing around, and it was all a joke,” he said, adding that people had taken the remark more seriously than intended.

He reaffirmed his respect for the platform, describing the AMVCA as the only African awards show comparable to the Oscars.

“AMVCA is the only African show you can even compare to the Oscars,” he added.

The actor also confirmed his involvement with the awards, noting that he will be present at this year’s edition and is actively working on it.

“I’ll be at this year’s AMVCA, in fact, I’m working with them on this one.”

The exchange has since drawn attention to how awards are handled at the AMVCA. Winners receive their plaques on stage immediately after being announced and are subsequently directed to a designated media room, where engraving stations are set up to personalise each award in real time.

The engraving process is completed on the night of the event, with winners finalising their plaques while also engaging with the press through interviews, photography, and official media documentation.

Industry sources familiar with the production confirm that this system has been consistently implemented across previous editions, with visual documentation from past ceremonies showing the engraving process and post-win media interactions.

The clarification comes amid ongoing conversations about production standards across global award platforms, as African film and television continue to gain wider international visibility.

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MultiChoice Talent Factory Extends Application Deadline for 2026 Intake

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MTF

By Modupe Gbadeyanka

The application deadline for the 2026 intake of the MultiChoice Talent Factory (MTF) has been extended to Monday, April 27.

The deadline for the pan-African film and television training institution was earlier fixed for February 27, but it has now been extended by two months, giving aspiring African filmmakers, directors, producers, scriptwriters and storytellers across the continent additional time to apply for its fully funded, industry-accredited training programme.

The programme is open to young creatives aged 18 to 35 with a passion for the screen industry. Applicants may hold qualifications in film, television, media, drama, or related creative disciplines or possess one to two years of industry experience. A formal film degree is not required.

Participants will be exposed to a structured 12-month programme across key areas, including scriptwriting, production management, directing, cinematography, editing, sound, and various post-production specialities, gaining experience in bringing stories to life. The programme is fully funded, covering tuition, production costs, and monthly stipends, allowing participants to focus entirely on developing their craft.

MTF operates academies across four African cities: Johannesburg (South Africa), Nairobi (Kenya), Lagos (Nigeria), and Lusaka (Zambia), ensuring a diverse pool of talent is trained to contribute to the growth of Africa’s film and television industry.

The initiative was established in 2018 by MultiChoice Group, a CANAL+ company, to discover and nurture the next generation of storytellers by providing access to mentorship, technical training, and real-world production experience in film and television.

Almost 300 filmmakers have been trained by MTF, with participants producing over 42 movies during the programme. These projects are broadcast on DStv and GOtv channels, including Maisha Magic, Zambezi Magic, and Africa Magic. MTF graduates have earned nominations and awards at major platforms such as the Africa Magic Viewers’ Choice Awards (AMVCA), Uganda Film Festival, and Women in Film Awards. Alumni also collaborate in global creative spaces, including the European Film Market and Durban FilmMart.

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UK, Nigeria Partner to Boost Creative Economy

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British Council

By Aduragbemi Omiyale

Nigeria and the United Kingdom have forged new pathways aimed at tapping into the growing global creative economy.

The UK, through the British Council, will help Nigeria build stronger systems, infrastructure and professional capability to unlock opportunities in the sector.

The collaboration will support the development of creative systems and partnerships by focusing on artistic collaboration, creative infrastructure, institutional capacity, skills development and exchange.

This is an offshoot of the two-day state visit to the UK by President Bola Tinubu on Wednesday and Thursday. The President returned to Nigeria on Friday.

The deal with the UK concerning the creative industry aims to deliver practical, long-term value through stronger partnerships and technical cooperation.

The sector is recognised as a key engine for job creation and foreign exchange earnings, with explicit targets to increase the value of creative industries and strengthen infrastructure, digital integration, and international market access.

In the UK, the creative industries are recognised as one of the country’s highest-growth sectors, supported through government funding, investment incentives, and industrial strategy to boost innovation, skills development, export growth, and international partnerships.

Already, the Nigerian government has articulated a comprehensive vision to grow its creative economy through initiatives such as the Nigeria Destination 2030 creative economy framework, skills development priorities, strategic policy reforms, and fostering public–private partnerships aimed at scaling creative business outputs and increasing global competitiveness.

Through one of the partnerships between both nations, the UK/Nigeria Bilateral Season, there would be a focus on strengthening creative systems and production infrastructure, including the adoption of emerging technology; supporting skills development and leadership across arts, culture and education sectors; improving access to UK and international markets through structured mobility pathways and industry engagement, and enabling UK and Nigerian creative institutions to form lasting partnerships that continue beyond the Season.

Activities will take place across both countries in 2028, following two years of partner engagement involving visiting delegations and programme incubation, unlocking resources in both countries to catalyse greater cultural collaboration.

The other arm of the collaboration is the launch of the British Council SCALE UK-NG Creatives Entrepreneurs Award Programme (2027/28)

The British Council and the Department for Business and Trade will partner on the new SCALE (Supporting Creative Acceleration, Leadership & Exports) Programme.

SCALE will enhance international connections and export readiness, supporting both the Nigerian and UK creative economy growth and trade.

The Award and associated fast-track training programme will draw on a decade of learning gained from the delivery of the British Council Young Creative Entrepreneurs Programme and from DBT’s sector expertise and network of investors.

“Culture has an amazing power to bring people together. When we work together, we open our eyes to new creative possibilities and build opportunities to grow our creative sectors.

“With the UK being home to the largest Nigerian diaspora in Europe, we’re perfectly placed to make the most of these opportunities.

“So many of our brightest stars have shared heritage across Nigeria and Britain, and I look forward to these cultural bonds only growing stronger through the joint Season of Culture in 2028, the UK’s Arts Minister, Ian Murray, said.

Also commenting, the Country Director for British Council Nigeria, Donna McGowan, said, “The UK/ NG Season will involve a range of innovative initiatives to be designed by diverse UK and Nigeria creative organisations, with activity taking place in both countries.

“SCALE is a transformative initiative that aims to empower the next generation of Nigerian creatives.

“By fostering innovation and providing vital resources, we are not only investing in individual talents but also strengthening the cultural and economic ties between the UK and Nigeria.”

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