Showbiz
Nigeria’s Showbiz/Media Sector Will Generate $9.9b Revenue by 2022—PwC
By Modupe Gbadeyanka
A new report by PwC has disclosed that the entertainment and media (E&M) industry in Nigeria will generate a revenue of $9.9 billion by 2022 from the $3.8 billion raked in 2017.
In its ‘Entertainment and Media Outlook: 2018 – 2022: An African Perspective’ released today and obtained by Business Post, PwC said last year, Nigeria saw a huge 25.5 percent rise in E&M revenue, although $605 million of this $764 million rise was attributable to Internet access.
“A 21.5 percent CAGR rate is anticipated to 2022, with revenue reaching $9.9 billion in that year. Again, Internet access revenue will account for 89.6 percent of this absolute growth,” the report said.
PwC noted that in report that Africa’s entertainment and media industry has entered a dynamic new phase, a third wave of convergence.
It said the borders that once separated E&M, technology and telecommunications industries are blurring in the battle for the attention of the consumer in a world that is rapidly digitising.
As the mobile device cements itself as the pre-eminent source of the E&M experience, the most disruptive, forward-thinking companies are striving to create an integrated ecosystem suited to this consumer-driven dynamic, it said further.
According to PwC, by 2022, total E&M revenue in South Africa is expected to reach R177.2 billion, up from R129.2 billion in 2017. Internet (access and advertising) is expected to grow at a compound annual growth rate (CAGR) of 11.3 percent over the forecast period to reach R91.2 billion, up from R53.4 billion in 2017.
Overall E&M growth will be less reliant on Internet access revenue as organic growth opportunities in Internet connections start fading towards the end of the forecast period. Internet advertising will greatly exceed TV advertising in terms of growth, leading the way with a 13 percent CAGR over the forecast period to reach R9.4 billion and overtake TV advertising spend in 2022.
The Outlook is a comprehensive source of analyses and five-year forecasts of consumer and advertising spending across five countries (South Africa, Nigeria, Kenya, Ghana and Tanzania) and 14 segments: Internet, data consumption, television, cinema, video games, e-sports, virtual reality, newspaper publishing, magazine publishing, book publishing, business-to-business (b2b), music, out-of-home (OOH) and radio.
Vicki Myburgh, Entertainment and Media Leader for PwC Southern Africa, says: “It’s clear we’re in a rapidly evolving media ecosystem that’s experiencing Convergence 3.0. In Convergence 3.0, the dynamics of competition are evolving while a cohort of ever-expanding super competitors and more focussed players strive to build relevance at the right scale. And business models are being reinvented so all players can tap into new revenue streams, by, for example, targeting fans and connecting more effectively with customers to develop a membership mind-set.
“The pace of change isn’t going to let up anytime soon. New and emerging technologies such as artificial intelligence and augmented reality will continue to redefine the battleground. In an era when faith in many industries is at a historically low ebb and regulators are targeting media businesses’ use of data, the ability to build and sustain consumer trust is becoming a vital differentiator.”
South Africa’s E&M industry faced a challenging year in 2017 amidst economic and socio-political uncertainty. Total E&M revenue rose at a comparatively low rate of 6.8% year-on-year to R129.2 billion. A bounce-back in 2018 sees an anticipated 7.6% year-on-year growth, while the CAGR to 2022 is forecast at 6.5 percent.
South Africa will see a strong CAGR of 7.6 percent for consumer revenue to 2022, moving from R93.9 billion in 2017 to R135.7 billion in 2022. Beyond revenue from the Internet segment (buoyed by apps revenue) there are many success stories, most notably that of video games, which will surpass books, magazines and B2B to become the third-highest contributing consumer segment.
There is a striking difference in growth between digital and non-digital revenue, which have CAGRs of 11.4 percent and 1.8 percent respectively. Put another way, digital revenue will add R41.3 billion and non-digital revenue R6.7 billion in absolute terms to 2022. The non-digital elements of five different segments – books, magazines, newspapers, OOH and video games – will all decline to 2022.
Within this overall increase, the fastest revenue growth will be in the digitally driven segments. Virtual reality will lead the way, albeit from a low base, at a five-year CAGR of 55 percent to reach R671 billion in 2022, from R75 billion in 2017.
“The exceptional growth in VR reflects the excitement in this space. VR devices and experiences are in the early stages of being accepted by the mainstream, as VR now emerges as a viable long-term platform for unique, immersive experiences, attracting major investment from media and technology companies eager to seize a share of this fast-growing market,” Myburgh adds.
After a breakthrough year, South Africa’s total e-sports revenue is forecast to rise from R29 million in 2017 to R104 million in 2022, a CAGR of 29 percent. A host of high profile events in 2017 helped to propel e-sport further towards the mainstream, and a number of similar events have been and are being held this year.
A booming social/casual sector is driving strong growth in the video games segment. Total revenue is forecast to rise from R3.1 billion in 2017 to R6.2 billion in 2022, a CAGR of 15 percent. TV and video will continue to be a major driver of consumer spend. Following growth at 4.8 percent CAGR over the forecast period, the total TV market will be worth R40.8 billion by 2022.
The shift from physical to digital media has been one of the core drivers of the global and local E&M market for many years. But different media segments have experienced strongly contrasting patterns of digitisation. In some cases, consumers have been quick to drop physical formats and embrace digital alternatives at the first opportunity.
Although the growth rate for physical books is moderate, it is notable that books are performing far better than any other non-digital sector.
“Permanency and collectability may be the reason for this. Books are seen as collectibles often owned and displayed for many years, making the loss of their physical presence more significant,” explains Myburgh. Although books currently seem to have the best prospects of any physical media format, they are, like every other media segment, just one disruptive digital competitor away from major upheaval.
Newspapers and magazines will see revenues decline over the next five years. In 2017, total newspaper revenue fell by – 2.9 percent to R8.6 billion. The forecast for the years ahead is for decline at -4 percent CAGR. By 2022, South African total newspaper revenue is expected to drop to R7 billion.
Despite 24/7 access to media and entertainment, the appeal of shared, live experiences still attracts audiences. Music events still draw large crowds, with ticket sales set to see an 8.0 percent CAGR to 2022, helped by major tours from popular crowd-pulling acts in 2018.
Recovering admissions and rising ticket prices together with improved offerings will see box office revenue deliver modest growth at a 3.5 percent CAGR through 2022. South African audiences are prepared to pay a premium to watch big-budget films with surround sound, vibrating seats, temperature change, strobe lights and so on. Radio continues to have a solid listener base in South Africa, and a weekly reach of 91 percent. Radio revenue is projected to rise 3.9 percent CAGR over the forecast period to surpass the R5 billion mark in 2022.
Chat apps and social platforms have become an increasingly important part of day-to-day life for consumers, both in South Africa and worldwide. As usage and entertainment rise, key players from across the E&M industry have teamed up with these platforms, growing them into ‘one-stop shops’ for consumer needs.
The report shows that advertising in the E&M industry was mostly affected by South Africa’s economic environment, with cautious growth of just 1.9 percent year on year. An improvement is expected to 2022, with a 3.3 percent CAGR bringing total advertising revenue to R41.5 billion, from R35.3 billion in 2017. New technologies and devices like artificial intelligence (AI), virtual and augmented reality, voice-based smart home devices and virtual assistants look set to drive innovation in online advertising on a global scale in the coming years.
The report also said Kenya’s E&M industry saw 17 percent year-on-year growth in 2017, again propelled by growth in the Internet sector. An 11.6 percent CAGR will take the country to $2.9 billion in 2022, from $1.7 billion in 2017. Outside of the Internet space, TV and video revenue dwarfs the other segments.
In addition, Ghana’s E&M industry has more than tripled in value since 2013. Total revenue reached $752 million in 2017. It is forecast to surpass $1 billion in 2019 and to total $1.5 billion in 2022, increasing at a 14.2 percent CAGR. As with Nigeria and Kenya, Internet access spend accounts for much of this revenue and growth. Ghana is in a strong position for further E&M growth as revenue gains critical mass over the next five years.
It further said total E&M revenue in Tanzania stood at $496 million in 2017, having risen 28.2 percent year on year. Continued momentum at an 18.3 percent CAGR will see revenue reach $1.2 billion in 2022, 2.3 times the size of the market in 2017. Tanzania’s E&M revenue make-up is ostensibly similar to that of Ghana, although here Internet revenue takes a slightly less dominant position.
Between them, the five countries considered in the Outlook will, driven by Nigeria, add $12.4 billion in revenue from 2017 to 2022, at a combined CAGR of 11.9 percent. Although much of this will fall into the hands of telcos, there are significant opportunities for content providers too. The engine of growth here will be organic, with increased populations and gradually increasing disposable income swelling the ranks of potential E&M consumers – and ever-increasing Internet access greatly expanding the range of E&M opportunities available.
“To succeed in the future that’s taking shape, companies must re-envision every aspect of what they do and how they do it. It’s about having, or having access to, the right technology and excellent content, which is delivered in a cost-effective manner to an engaged audience that trusts the brand. For those able to execute successfully, the opportunities are legion,” Myburgh concludes.
Showbiz
Connections Tested as Heartbeat Heats Up in Episode 3
Episode 3 of Heartbeat picked up right where the drama left off, and this time, emotions ran even higher as new games, unexpected pairings, and bold choices changed the energy in the Love Pad.
After winning the kissing challenge, Igwe claimed the Love Nest key and chose Toria for a private night together. While the pair shared a cosy evening, the morning after came with mixed feelings. Toria admitted she felt uncomfortable being so exposed on camera and began questioning their connection, while Igwe seemed ready to move on, saying the spark just wasn’t there anymore. Just like that, what looked promising quickly cooled off.
But the house didn’t stay quiet for long. The singles were thrown into the Love Dip game, where everyone picked numbers, and anyone who matched automatically became partners for the night. The random twist led to surprising combinations across the house, forcing some singles to step outside their comfort zones.
Still, not everyone stuck to the rules. Despite being paired with other people, Ken and Latifah couldn’t resist each other. The two quietly slipped away from their assigned partners and ended up cuddling on the couch, proving their connection might be stronger than they’d like to admit.
Elsewhere, different emotions were brewing. Alvin’s calm and unreadable personality left Shekinah confused about where they stood, while Chidera and Kenna grew even closer, deciding to focus solely on each other rather than risk outside distractions. Their decision to “lock in” made them one of the most stable pairs in the house.
Then came a playful but revealing poolside card game, where singles had to complete daring or flirty tasks. From seductive dances to bold moves meant to send messages, the challenge stirred jealousy, laughter, and side-eyes across the group. Feelings were tested in real time, and it became obvious that everyone was still very much exploring their options.
But the biggest moment of the night was the official Heartbeat Game.
In this challenge, each male sat in the “hot seat” while the women had one minute each to impress him using props from a mystery box, from scarves to feathers and other playful items. The goal was simple: charm, tease, and create a spark. After every round, the men secretly scored each woman over ten.
The woman with the highest total score would win the ultimate prize, the Love Nest key and the power to choose who she’d spend the night with. One by one, the scores rolled in, and confidence filled the room as the women gave it their all.
When the final results were counted, Latifah came out on top, earning the highest ratings and securing the key. With all the power now in her hands, she had a major decision to make: return to Ken, the connection everyone already knew about, Henri, her new paired partner or Igwe, to explore someone new.
In true Heartbeat fashion, she chose unpredictability. Latifah made a bold decision about who she would take into the Love Nest, leaving Ken visibly stunned and the rest of the house buzzing. But who did she actually pick? Tune in next week to find out.
If Episode 3 proved anything, it’s that comfort zones don’t last long in Heartbeat, and one bold choice can change everything.
Catch Heartbeat every Sunday at 9 pm on Africa Magic Showcase, GOtv Channel 8.
To upgrade, subscribe, or reconnect, download the MyGOtv App or dial *288#. For catch-up and on-the-go viewing, download the GOtv Stream App and enjoy your favourite shows anytime, anywhere.
Showbiz
From Igwe’s Power Move to Latifa’s Shocking Decision, Episode Three Refuses to Calm Down
Episode three of Africa Magic Heartbeat picked up exactly where the tension left off, and if episode two was about shifting power, this one was about using it.
After winning the “Score the Kiss” challenge, Igwe made his choice and selected Toria to join him in the Love Nest. The decision felt deliberate and a little dangerous, confirming his growing reputation as the wildcard of the season. As the rest of the house watched, it became clear that Igwe was no longer just reacting to attention. He was actively shaping the chaos.
With the Love Nest decided, the remaining singles were left to chance. Numbers were drawn, and new pairings emerged for the night. Alvin found himself paired with Hilda, Queen Latifa with Henri, and Ken with Shekinah. But the pairing that raised eyebrows was Chidera and Kena, who once again picked matching numbers. At this point, it felt less like a coincidence and more like the universe insisting on unfinished business.
The next morning brought a poolside game that quickly turned uncomfortable. When Queen Latifa was asked to suck Igwe’s toe and did so without hesitation, all eyes shifted to Ken. The moment lingered, and the tension was unmistakable.
Things escalated further when it was Igwe’s turn. Asked to walk up to the person he found most attractive and kiss them, he initially moved toward Chidera, clearly enjoying the suspense. At the last second, he switched direction and kissed Queen Latifa instead. The reaction was immediate. Ken later admitted it was difficult to watch, and episode three made it clear that jealousy was no longer subtle.
As the day progressed, it became obvious that some of the earlier pairings were already losing steam. They struggled to find rhythm, except for Chidera and Kena who continued growing closer. Elsewhere, Shekinah appeared to shift her focus toward Igwe, a move that felt less about connection and more about sending a message to Alvin.
Toria, meanwhile, pulled Alvin aside for a heart-to-heart conversation. She openly expressed her discomfort, pointing out that he seemed torn between her and Shekinah. Calling herself possessive and jealous, she asked him to be honest and clear the air. Before the conversation could settle, Shekinah arrived, and the tension became too much. Toria chose to walk away.
As night fell, host Seyitan Atigarin introduced a new Heartbeat challenge centred on seductive dancing. This time, the women took the floor while the men watched and scored. According to Seyitan, the goal was simple: explore, take risks, and avoid locking into early comfort zones. Toria sat out the challenge due to feeling unwell, but the rest of the ladies came prepared.
Queen Latifa dominated the round, repeatedly scoring perfect tens from the men. When the final scores were tallied, she emerged the winner and earned the power to choose who would join her in the Love Nest.
All eyes turned to Ken. But Latifa had other plans.
Instead of choosing familiarity, she announced she wanted fresh blood. The decision landed like a bombshell and brought episode three to a close on a cliffhanger that promised even more disruption.
If episode three proved anything, it is that comfort does not last long on Heartbeat. Power keeps changing hands, jealousy is no longer hidden, and choices are starting to carry real consequences.
Catch the next episode of Heartbeat on Africa Magic Showcase, DStv Channel 151 and GOtv Channel 8, at 9 pm on Sunday. If you missed episode 3, catch up on Showmax, the DStv or GOtv Stream apps or via the Catch Up feature on your decoder.
Showbiz
Nigerian Record Labels Reject Plans by NCC to Pay Royalties to MCSN
By Adedapo Adesanya
Major Nigerian record labels have kicked against a plan by the Nigerian Copyright Commission (NCC) to disburse music copyright levies to the Musical Copyright Society Nigeria (MCSN).
According to a report by Pulse Nigeria, the opposition is being led by the umbrella body representing several leading Nigerian record labels – Record Label Proprietors Initiative Limited (ReLPI) – an industry group that includes Mavin Records, Chocolate City, and Davido Music Worldwide (DMW) among others.
According to the publication, ReLPI argues that the NCC’s decision to channel the levy solely through MCSN is flawed and does not reflect the structure of rights ownership in sound recordings. MCSN is recognised by the NCC as the only Collective Management Organization (CMO) allowed to license, monitor, and distribute royalties for Musical Works and Sound Recordings in Nigeria.
However, at At the centre of the dispute is the private copying levy, a statutory compensation meant to remunerate rights holders for unauthorised private copying of copyrighted works, such as music copied onto personal devices.
According to ReLPI, sound recording owners—primarily record labels—are major beneficiaries under the law but were not adequately consulted or represented in the proposed distribution framework. They maintained that Section 89(3) of the Copyright Act 2022 allows the NCC to disburse such levies not only to approved collective management organisations (CMOs) but also to other representatives of rights holders.
ReLPI formally raised concerns with the NCC, stressing that MCSN does not have the mandate to collect or distribute royalties on behalf of its members in a letter dated January 21, 2025.
The controversy has also drawn international attention, particularly from the International Federation of the Phonographic Industry (IFPI), which represents record labels worldwide. Pulse Nigeria reported that the body wrote to the NCC on January 22, 2026, urging transparency and fairness in the disbursement process.
IFPI emphasised that the portion of the levy attributable to sound recordings must be paid directly to legitimate rights holders or bodies with a clear and unequivocal mandate to represent them.
Despite these objections, the NCC has reportedly maintained its position, insisting that MCSN remains the only recognised CMO in the Nigerian music sector and will therefore receive the funds. ReLPI members claim they have been informed that the commission intends to proceed with the payment.
Business Post reports that this development has reignited broader debates about governance and transparency in Nigeria’s music copyright ecosystem.
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