Broadcasting
How Brands Should Leverage Digital Marketing to Capture Africa’s Future Customers
By Ebun Ikenze, Client Relations Director, Ad Dynamo by Aleph
Unless they cater specifically to an older niche, most brands want to grab the attention of young people. That makes sense too. Young people are tastemakers and the guardians of what’s cool and what isn’t. And, if you grab their attention while they’re still young, there’s a good chance they’ll stay loyal for a very long time. It is no wonder, then, that so many brands are showing an interest in Africa.
As other major population centres age out and face stagnant (or even decreasing) birth rates, Africa remains home to a young and growing population. In fact, as of 2022, around 40% of the population was aged 15 years and younger. Its overall population, meanwhile, currently sits at around 1.4 billion and is expected to grow to 2.5 billion people by 2050. And by 2030, young Africans are expected to constitute 42% of global youth.
But attracting all those young people to your brand is more complex than launching it and hoping they’ll come. You also have to market it actively. And the best way of doing so is through targeted, relevant messages on the digital platforms that most young Africans spend the majority of their time on.
Connected, savvy, and cool
That focus on digital platforms might seem strange given that overall levels of internet access in Africa (currently at 43%) remain below the global average (66%), but internet connectivity is growing rapidly across Africa. Thanks to the increasing number of undersea cables linking African countries with each other and the rest of the world, connectivity has become faster, more ubiquitous, and more affordable. That impact can be seen in the fact that, by 2022, the continent had more than doubled the number of internet users it had in 2015.
Internet traffic has grown too. In fact, between 2018 and 2022, Africa saw the most rapid growth in international internet bandwidth. While global average bandwidth growth during that period was 28%, Africa saw 44% growth in the same period. Young people are a major driving force behind that growth in internet adoption and traffic. While not an exact proxy for internet connectivity, it’s illuminating that in 2019, sub-Saharan Africa was expected to add more than 160 million mobile subscribers by 2025, driven primarily by the youth population.
With those improvements in connectivity come increased levels of consumer savviness. That means that consumers increasingly want the same kinds of brand experiences as their counterparts in other countries and will actively seek out those experiences.
Being where they are
Therefore, brands must do everything they can to be where those young people are when they’re seeking out those experiences.
That means those brands must have presences on major digital platforms, including those owned by Meta (Facebook, WhatsApp, and Instagram), as well as on the likes of Snap and Spotify. It’s also telling how invested those platforms are in the continent. Spotify, for example, views Africa as crucial to its ambitions of doubling its global user base by 2030.
They clearly see the potential in Africa’s young and increasingly connected population, so shouldn’t you too?
Partner with the experts
Of course, as much as those platforms have made it as easy as possible to advertise on them, brands can’t simply launch a campaign and hope for the best. They should instead partner with experts who can help ensure that their campaigns are as effective as possible.
Such a partner will have expertise in each of the most important platforms as well as extensive experience in the markets your brand is trying to break into. That on-the-ground knowledge in particular should never be underestimated. It can be the difference between a successful campaign and a total flop.
The right partner will also help you deliver creative excellence at a transparent price, maximising the impact of your digital campaigns.
Embracing Africa’s big digital shifts
There is no doubt that Africa is undergoing massive shifts and that its growing, youthful population represents a massive opportunity for the brands willing to take advantage of it. And if they’re to take advantage of that opportunity, they also need to ride the continent’s growing levels of connectivity. Crucially, they shouldn’t do it alone and should instead partner with people who understand both the continent and the most relevant online platforms used across it.
The brands that get that right stand to see serious and lasting gains.
National Broadcasting Commission (NBC) has said that Nigerians will no longer pay annual Digital Access Fees under the renewed Digital Switch Over (DSO) project.
Charles Ebuebu, director-general, NBC, disclosed this in an exclusive interview with the News Agency of Nigeria (NAN) on Wednesday in Abuja,
Ebuebu said viewers only need to purchase an approved decoder and satellite dish which cost below N20,000 to enjoy free television permanently.
“Previously, users paid an annual digital access fee of about N1,500, described as an administrative charge.
“The new system removes that annual fee. It provides free access to free-to-air television channels without any payment.
“Premium channels will be introduced later. Viewers who want those additional channels will be able to access them through paid services.
“Nigerian content on free-to-air channels remains free to watch. Unlike Pay TV, this platform does not require monthly subscriptions for its basic service,” he said
Ebuebu said approved decoders for the FreeTV will cost less than N20,000 and authorised sales outlets will soon be announced.
He urged Nigerians to wait for official information on approved dealers for the DSO decoders, warning that unauthorised sellers are exploiting growing public demand.
He reiterated that people only need a free-to-air decoder, along with a satellite dish instead of the old antenna system to receive the DSO signal.
“Once the equipment is installed, viewers can access all available channels across the country without paying any subscription fees,” he stressed
The DG dismissed claims by some retailers that there are different categories of decoders sold at varying prices, stressing that such sellers are not authorised by the commission.
According to him, the NBC will soon publish the list of approved dealers, official prices, and locations where genuine decoder boxes and accessories can be purchased.
The NBC boss said the DSO project is designed not only to improve television broadcasting but also to stimulate economic growth by creating jobs, attracting investment, and opening up opportunities for businesses that support the broadcasting industry.
Ebuebu noted that content producers and broadcasters stand to benefit significantly from the nationwide reach of the DSO platform.
Unlike the previous system, where many stations had limited regional audiences, he said the new platform will make their channels available to viewers across Nigeria.
He added that the introduction of audience measurement technology will provide scientific and reliable data on television viewership.
Ebuebu added that audience measurement technology will give advertisers greater confidence in placing adverts and enable broadcasters to demonstrate the true size and reach of their audiences nationwide.
Uchenna Mbunabo, Nigerian filmmaker, has raised concerns over the alleged unauthorised broadcast of Nollywood films by some Ghanaian television stations, calling on Ghana’s National Film Authority (NFA) to strengthen the enforcement of copyright laws.
Uchenna Mbunabo, Nigerian filmmaker
Mbunabo made the remarks during a conversation with James Gardiner, deputy CEO of the National Film Authority (NFA) of Ghana.
He questioned whether it was permissible for television stations in Ghana to download Nigerian movies from YouTube and air them without obtaining permission from the producers.
“I noticed that Ghanaian TV stations, the way they are stealing our films and showing them for free with impunity. Is it legalised in your country for TV stations to go on YouTube, download people’s sweat and show it for free?”
According to Mbunabo, some Ghanaian television stations have been downloading newly released Nollywood films from YouTube and broadcasting them without authorisation, depriving producers of revenue generated through the platform.
He also stated that he had not witnessed Nigerian television stations engaging in similar practices and questioned what measures Ghana was taking to protect filmmakers’ intellectual property.
Responding to the concerns, Gardiner acknowledged that the issue exists and said the National Film Authority had begun engaging relevant stakeholders to address it.
He disclosed that the NFA has held discussions with the Ministry of Communications, the National Communications Authority (NCA) and the National Media Commission (NMC) on improving copyright enforcement.
Gardiner explained that while Ghana has copyright laws, enforcement remains challenging because many television stations now operate digitally and may not have physical offices within the country.
“There are copyright laws, but they are not effective because a lot of the TV stations don’t have offices. Most of them are now digital, so they operate from anywhere. They can even have a Ghanaian TV station but be operating from Austria simply because it is digital.”
He added that authorities are considering a new licensing framework that would require broadcasters to undergo a fresh licensing process to improve monitoring and enforcement.
According to Gardiner, television stations found guilty of illegally broadcasting copyrighted content would be required to compensate affected producers through fines.
He added that repeat offenders could face suspension of their broadcasting licences, while a third violation could result in the revocation of their licences.
Although he did not provide a specific timeline, Gardiner said the reforms were already underway and expressed hope that significant progress would be seen next year.
Mbunabo welcomed the proposed measures but urged the National Film Authority to expedite the process, stating that unauthorised broadcasts continue to affect filmmakers’ ability to recover production costs through legitimate distribution channels such as YouTube.
He also stressed that his comments were not directed at Ghana’s film industry, noting that he has worked with several Ghanaian actors over the years and supports collaborations between Nollywood and Ghallywood.
FAAN to Replace Physical ID Check with V-Pass Biometric Verification
World Bank Says 79 Percent of Nigerians Still Trapped in Poverty despite Reforms
SEC Begins Drive to Recover Unclaimed Dividends
ntel Plays Down Calls and Data Services, Moves to BET Agenda
Nigeria Facing Rising Cybercrime Losses – Report
NRC, Ponzi Scheme Collapses Resulting Loss of Billions of Naira
Nigeria Launches FreeTV Nationwide
NASENI Moves to Digitize CCB’s 5m Assets Declaration and Operations
Lebara Nigeria Launches Lebara Play, Africa’s First Telecom-Owned Micro-Drama Platform
CANAL+ Partners Samsung to Pre-Load DStv Stream on New Samsung TVs In Nigeria, Other African Countries
E-Business2 days agoTD Africa Sponsors Check Point Secure 360 Summit to Boost Cybersecurity in Nigeria
Telecom2 days agoMTN Foundation, MUSON Celebrate Emerging Music Talents at 2026 Graduation Ceremony
Telecom2 days agoNITDA Calls for Digital Infrastructure Expansion to Drive Nigeria’s Industrialisation
E-Financial2 days agoNext Currency Crisis May Turn $300Bn in Stablecoins into National Currencies
News2 days agoGuinness Rolls Out Nationwide Consumer Rewards Promotion
General News2 days agoFirst Trustees Advocates Estate Planning as an Essential Tool in Every Wealth Creation Strategy
E-Financial2 days agoGigbanc Nigerian Fintech Startup Closes Shop after 3 Years
Broadcasting2 days agoMbunabo, Nigerian Filmmaker Accuses Ghana TV Stations of Pirating Nollywood Films