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Nigeria’s Showbiz/Media Sector Will Generate $9.9b Revenue by 2022—PwC

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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.

Modupe Gbadeyanka is a fast-rising journalist with Business Post Nigeria. Her passion for journalism is amazing. She is willing to learn more with a view to becoming one of the best pen-pushers in Nigeria. Her role models are the duo of CNN's Richard Quest and Christiane Amanpour.

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Flora and Aikou Are BBNaija Season 11’s Gambits as Biggie Shakes Up the Game

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BBNaija Flora and Aikou

After days of anticipation, Flora and Aikou have been confirmed as this season’s Gambits after receiving the highest number of votes from viewers. This was revealed during Sunday’s live show, where host Ebuka Obi-Uchendu announced the pair as the viewers’ choices.

Introduced as a brand-new twist for Season 11, The Gambit guarantees two selected housemates a place in the House until the final day. Although they will participate in tasks and House activities throughout the season, they will not be eligible to compete for the grand prize.

Sunday’s live show also marked the end of the Ladies-versus-Gentlemen format that defined the opening weeks of the competition. With the teams officially dissolved, the housemates will now compete as individuals.

Biggie also unveiled this week’s wager task, Game On, challenging the housemates to define the identity of Season 11. Through a creative presentation incorporating elements such as a logo, slogan, song, artwork and props, the housemates have been tasked with capturing what they believe this edition of Big Brother Naija should stand for and how they want it to be remembered.

The excitement continues today with the second Head of House Challenge at 2:00 p.m., where housemates will once again battle for power in the House. This will be followed by this week’s nomination show at 7:00 p.m., when viewers will find out who will become the first set of housemates to face possible eviction.

With Flora and Aikou’s fate in the House secured till the last day and the housemates now playing as individuals, the stakes have never been higher as the battle for the grand prize gathers momentum.

Viewers can enjoy the 24/7 BBNaija Season 11 experience on DStv and GOtv, or stream every episode live on DStv Stream and GOtv Stream.

For more updates, visit Africa Magic’s Big Brother Naija page and follow #BBNaija on X (@bbnaija), Instagram (@bigbronaija) and Facebook (Big Brother Naija).

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Jude Okoye Rejects Mr P’s Claims on Royalties, Catalogue Sale

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Jude Okoye EFCC

By Adedapo Adesanya

Former P-Square manager, Mr Jude Okoye, has dismissed fresh allegations by his younger brother, Peter Okoye, professionally known as Mr P, insisting he never diverted the group’s earnings.

His response comes after Mr P claimed that the proposed sale of the defunct group’s multi-billion Naira music catalogue collapsed due to financial irregularities, including disputes over royalty payments, backend records and access to the group’s digital assets.

The music executive described the allegations as “blatant lies” and “manipulative tactics,” arguing that the issues raised by Mr P had already been investigated by the Economic and Financial Crimes Commission (EFCC) and are currently before the Federal High Court in Lagos.

“So, what is he doing, coming out again now, if not to spill emotional blackmail, manipulate, and make me look like a bad person by dragging Paul into this?” he said.

Responding to allegations that he diverted royalty payments, Mr Okoye said the disputed funds were distributed based on instructions contained in a June 1, 2016, email from Arrow Kings and IROKO.

According to him, the correspondence directed that Mr P receive $12,891, while $25,782 meant for Jude and Paul be paid into the Nosa Entertainment account.

He argued that Mr P presented only part of the transaction publicly, creating the impression that he and Paul had appropriated funds belonging to the entire group.

Jude also rejected claims that his younger brother was excluded from the group’s bank accounts.

Displaying what he said were account mandate documents from FCMB, he maintained that Peter, Paul and himself were all authorised signatories to P-Square’s accounts, disputing claims made by Peter.

He further claimed the matter was addressed during court proceedings, where Peter allegedly acknowledged being a signatory after documentary evidence was presented.

Addressing the controversy surrounding the proposed catalogue sale, Jude denied withholding backend records or streaming data from potential investors.

He said Peter requested royalty statements and catalogue documents on October 16, 2022, after which he immediately contacted Lex Records.

According to him, the financial statements were forwarded the same day, while the backend logs were received six days later and sent to Peter without delay.

He therefore dismissed claims that it took more than three months to provide the documents, describing the allegation as false.

Jude maintained that the disputed royalty payments, email correspondence and supporting documents had already been reviewed during the EFCC investigation.

He claimed Peter and his legal representatives were shown the records during the probe and raised no objections at the time.

Accusing his younger brother of attempting to retry the matter on social media while the case remains before the court, Jude said the videos were intended to manipulate public opinion and drag Paul Okoye into the dispute.

Jude said he would leave the issues to be determined by the court, adding that Peter had failed to attend some recent court sittings, resulting in the matter being adjourned until September. He also claimed his bank accounts, passport and travel documents remain restricted because of the ongoing proceedings.

“If I’m found guilty, if they prove I took even one Kobo that wasn’t mine, let them send me to jail. I’m ready for that,” he said.

As of the time of filing this report, Peter had not publicly responded to Jude’s latest claims. The criminal proceedings remain pending before the Federal High Court in Lagos, where Jude has pleaded not guilty to the charges brought against him.

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The Ade-Williams Are Back, But They Are Not The Only Ones Bringing Drama This August

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The Ade-Williams Tinsel DStv

There aren’t many TV shows that can make you remember characters more than a decade after you first met them.

Mention Sheila Gardia or  Freddy Ade-Williams and anyone who has followed Tinsel instantly remembers the boardroom battles, unexpected betrayals, complicated romances and family feuds that made it impossible to stop at just one episode. Through every season, viewers have watched alliances shift, businesses rise and fall, and relationships survive or crumble under pressure.

Now, the story continues.

Season 19 of Tinsel premieres on Monday, August 3, taking viewers back into the world of the Ade-Williams family, where the drama is far from over. This season, the Reel Group is looking to grow bigger than ever, but that growth comes with new enemies determined to bring the company down. As business rivalries heat up and people begin plotting against each other, familiar faces will also have to deal with personal challenges and unexpected investigations that could change everything. If there’s one thing Tinsel has always proven, it’s that just when you think things are finally settling down, another twist is around the corner.

The new season welcomes back familiar faces including Ireti Doyle as Sheila Gardia, Dozie Onyiriuka as Freddy Ade-Williams, Linda Ejiofor as Bimpe, Ibrahim Suleiman as Damini, Iyke Okechukwu as Chuks and Florence Uwaleke Okechukwu as Ene, alongside the gripping storytelling that has kept audiences invested for nearly two decades.

Catch new episodes of Tinsel every weekday from Monday, August 3, at 7:30 pm WAT on Africa Magic Showcase (DStv Channel 151 and GOtv Channel 8).

And just when you think the drama is over…

Africa Magic is also introducing a brand-new story that asks one simple question: What happens when the truth you’ve been protected from is finally revealed? Premiering on the same day is Secret Lives, a brand-new drama that explores what happens when hidden truths finally come to light.

The series follows Zee, whose life takes an unexpected turn after a shocking discovery puts her relationship and future in doubt. As she begins to uncover secrets that have been hidden from her for years, she is forced to deal with heartbreak, betrayal and difficult choices while trying to protect the people she loves.

Blending romance, family drama and suspense, Secret Lives stars Oluchi Amajuoyi, Keppy Ekpeyong, Nonso Odogwu, Eyiyemi Olivia Rogbinyin, Ejiro Badare, Floyd Igbo and Favour Etim in a story where every episode promises fresh twists and emotional turns.

The series, produced by FEEMO and helmed by AMVCA-nominated showrunner James Omokwe, explores themes of love, identity and generational secrets, making it the perfect follow-up for viewers who enjoy emotionally layered dramas.

Secret Lives premieres on Monday, August 3, with new episodes airing weekdays at 8:30 pm WAT on Africa Magic Showcase (DStv Channel 151 and GOtv Channel 8), with episodes also available on DStv Stream.

Whether you’re returning to the familiar world of Tinsel or diving into the mysteries of Secret Lives, one thing is certain: August is bringing the kind of stories that will keep you counting down to the next episode.

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.

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