Broadcasting
Dayo Samuel: An African Product Leader, Driving AI and Embedded Finance


Dayo Samuel
In this conversation, we’ll explore his journey, his approach to product leadership, and the lessons he’s learned along the way.
Dayo, Africa’s technology ecosystem is growing rapidly, but infrastructure challenges still exist. How do you approach building products that balance global best practices with the unique realities of African markets?
Dayo Samuel (DS): Yeah, so for me, it always starts with context. I’ve seen that when you just copy-paste global playbooks into African markets, it doesn’t always land because the realities on the ground are different. Things like payment infrastructure, internet reliability, and even how trust is built with users those are not the same as in Europe or the U.S.
So the way I approach it is to learn from global best practices things like user-centered design, iterative testing, strong product frameworks, research methodology but then adapt them with the realities here. For example, in embedded finance, you can’t assume every user has a credit card on file. You need to consider mobile money, offline access, or even social trust networks as part of the product design.
I prefer to run reasonably controlled, research-led experiments. What I mean by that is I spend time understanding the local constraints and user behaviors first through interviews, observation, or data and then I design quick pilots to test solutions against those insights. That way, the experiments are not just “try and see,” they’re actually grounded in the realities of the people we’re building for.
At the end of the day, I see my role as bridging both worlds: bringing in the structure and discipline of global product leadership, but staying close enough to the ground here in Africa to design for what’s real. That balance is what creates products that actually scale sustainably.
In markets where reliable data can be scarce or fragmented, how do you go about gathering and validating customer insights to guide your product decisions?
DS: Yeah, that’s a really common challenge here. Sometimes the data just isn’t complete or reliable, so you can’t just rely on dashboards or reports like you would in other markets. For me, it’s about triangulating insights from multiple sources. I combine whatever quantitative data is available even if it’s fragmented with qualitative research: talking directly to users, observing behavior in context, and understanding their real pain points.
Many African startups struggle with scaling beyond their first wave of users. From your experience, what does achieving true product–market fit in Africa look like, and how can companies measure it effectively?
DS: Yeah, achieving a product–market fit here is a bit different from other markets. In Africa, it’s not just about hitting growth numbers or downloads, it’s about building something that actually works for the people you’re serving, given local realities. For me, true product–market fit happens when users not only adopt the product but rely on it, tell others about it, and engage with it consistently, even in environments where infrastructure or trust can be challenging.
From my experience, getting there starts with really understanding the user: running research-led experiments, observing behavior in context, testing assumptions, and iterating quickly. For example, in embedded finance, we had to validate whether people would trust a new payment flow or rely on it for recurring transactions and that meant combining qualitative insights with small pilots before scaling.
As for measuring it, I focus on a few key signals: retention over time, engagement metrics that show real usage, and how much users become advocates for the product. In Africa, sometimes the numbers alone don’t tell the story so combining quantitative metrics with qualitative feedback is what really shows whether you’ve found a product that fits the market.
Monetization is often tricky in Africa, where consumers are highly price-sensitive. How do you design business models that are both inclusive and sustainable in the long term?
DS: Yeah, monetization here definitely has its challenges. For me, it’s about designing business models that meet people where they are affordable, accessible, and relevant while still making the product sustainable. I combine user research with small experiments to test pricing, payment methods, and value perception. For example, with embedded finance, we explored mobile-money-first flows and tiered pricing, validating what people would actually pay for before scaling. It’s all about balancing inclusivity with long-term viability.
There’s a growing demand for skilled product managers across Africa, but the talent pipeline is still maturing. How have you built or mentored product teams to deliver global-standard products while staying rooted in local context?DS: Yeah, building product teams here is definitely about balancing global standards with local realities. For me, it starts with hiring people who are curious and adaptable, not just technically strong, but willing to learn from the market and the users. Then, I mentor them through research-led, hands-on experiences: small experiments, pilots, and iterative testing that are rooted in local context.
I also emphasize frameworks and processes from global best practices things like structured roadmaps, clear metrics, and user-centered design but always adapt them to what actually works here. Over time, this approach helps teams deliver products that meet international quality, but are also deeply relevant and usable for African users.
With global tech giants entering African markets, how can local product managers differentiate their solutions and compete on both value and scale?
DS: Local product managers win by deeply understanding the market and designing for realities global players might overlook things like offline access, mobile money, and social trust. I focus on research-led experiments to test solutions quickly, combining local insights with global best practices. That’s how you deliver products that are both relevant and scalable.
Fintech, mobility, and e-commerce have all seen significant regulatory attention in Africa. How do you navigate shifting government policies while ensuring product innovation isn’t stifled?
DS: Regulation is definitely a big factor here, so I treat it as part of the product strategy, not a blocker. I stay close to policy updates, engage with stakeholders early, and design flexible solutions that can adapt as rules change. At the same time, I ensure experimentation culture to keep innovation moving, so we’re iterating and learning without risking compliance. It’s about being proactive, adaptable, and user-focused.
Partnerships with telcos, banks, and even governments often determine the success of African products. What’s your framework for evaluating and structuring partnerships that drive adoption?DS: Partnerships start with alignment, understanding what the partner can bring and how it adds value to the user. I evaluate potential partners based on reach, trust, operational capability, and shared incentives. Structuring the partnership is about clear roles, measurable goals, and flexibility to iterate. I also run small pilots early to test assumptions before scaling, so the partnership drives real adoption, not just theoretical impact.
Africa is made up of 54 very different markets. What strategies have worked best for you when trying to scale a product across multiple countries on the continent?
DS: Scaling across Africa is all about balancing standardization with local adaptation. I start with a core product framework that works universally, but I don’t assume it fits every market out of the box. I spend time understanding local behaviors, regulations, and infrastructure, then run small, research-led pilots in each market to validate assumptions before full rollout.
I also focus on building modular solutions things like flexible payment flows or language support that can be adjusted per market without redesigning everything. And finally, I prioritize partnerships and local teams who understand the context; they’re key to scaling efficiently while keeping the product relevant and trusted.
Finally, looking ahead, with technologies like AI, blockchain, and digital identity gaining traction, what do you see as the biggest product opportunities in Africa over the next decade?
DS: Looking ahead, I see huge opportunities at the intersection of technology and local needs. AI can help personalize financial services, credit scoring, and even healthcare in ways that were impossible before. Blockchain opens doors for transparent transactions, secure identity, and cross-border payments. Digital identity, in particular, is foundational once people can prove who they are, a lot of services become accessible, from banking to government programs.
For me, the biggest product wins will be solutions that combine these technologies with a deep understanding of local context solving real problems for users while building trust and accessibility. Products that do that will scale fast and have lasting impact.
Broadcasting
Nigeria’s Joeboy Headlines Easter Edition of African Voices

Afro-pop star Joeboy takes centre stage this week as he features on the Easter edition of African Voices, the Globacom-sponsored magazine programme on CNN.

In this episode, the Nigeria-born singer sits down with show anchor, Larry Madowo, in Lagos, where he shares the story of his journey from a young university student with big dreams to becoming one of Afrobeats’ most recognised voices.
Long before global attention, Joeboy, born Joseph Akinwale Akinfenwa-Donus, started out experimenting with music and sharing covers online. His 2017 cover of Ed Sheeran’s “Shape of You” marked a turning point, helping him transition fully into singing and setting the stage for what was to come.
That moment soon opened new doors, including a connection with Mr. Eazi, who brought him into the emPawa Africa talent programme. This provided support and exposure for his music to reach a wider audience, laying the foundation for his professional career. The alliance also birth “Fààjí,” which featured Mr. Eazi in 2018, after which he was signed to Warner Music Africa.
Under this partnership, Joeboy released his hit single “Baby” in 2019, followed by “Beginning,” which has 23 million views on YouTube. He also released “Love & Light” the same year and featured Mayorkun in the tracks “Don’t Call Me” and “All for You”
Since then, the 29-year-old has gone on to release two albums, Somewhere Between Beauty & Magic in February 2021 and Body & Soul in 2023, while earning recognition across the continent, including awards for his contributions to African pop music. He won Best Artist in African Pop at the 2019 All Africa Music Awards and Best Pop at the 2020 Soundcity MVP Awards Festival.
The programme will air on Saturday at 7.30 a.m., with several repeat broadcasts scheduled across the weekend and into the following week. 11 a.m. on Saturday; on Sunday at 3.30 a.m. and 6 p.m. This continues on Monday at 3 a.m. and 5.45 p.m, and on Tuesday at 5.45 p.m. The schedule will be repeated next week until 3 a.m. on Monday.
Broadcasting
Appeal Court Upholds Ban on NBC’s Power to Fine Broadcast Stations

The Court of Appeal sitting in Abuja has dismissed an appeal filed by the National Broadcasting Commission (NBC), seeking to overturn a Federal High Court judgement that restrained it from imposing fines on radio and television stations across the country.

NBC
Delivering the lead judgement, Justice Oyebiola Oyewumi, on behalf of a three-member panel, upheld the earlier ruling and set aside the fines imposed by the NBC on 45 broadcast stations on March 1, 2019, for alleged breaches of the Nigeria Broadcasting Code.
The panel was presided over by Justice Abba Mohammed, with Justice Donatus Okorowo as the third member.
According to a statement issued by Idowu Adewale, Communications Officer of Media Rights Agenda (MRA), the unanimous decision of the Court of Appeal stemmed from a suit filed by the non-governmental organisation in November 2021, challenging the NBC’s powers to impose fines on broadcasters.
The Federal High Court, in its judgement delivered on May 10, 2023, by Justice James Omotosho, ruled in favour of MRA after the NBC failed to defend the suit.
The court held that fines are sanctions imposed on persons found guilty of criminal offences and, under Nigerian law, only courts of law have the authority to impose such penalties.
Setting aside the fines of ₦500,000 each imposed on the affected stations, Justice Omotosho stated that the NBC “is neither a court nor a judicial tribunal to make pronouncements on the guilt of broadcast stations, notwithstanding what the NBC Code says.”
He added that the Commission’s actions violated the Constitution.
Dissatisfied with the ruling, the NBC filed a motion in July 2023, urging the same court to set aside the judgement on the grounds that it lacked jurisdiction and had reached its decision without considering relevant facts.
However, in November 2023, Justice Omotosho dismissed the application, describing it as futile and an afterthought, noting that available evidence showed the Commission had been duly served but failed to appear in court to defend the case.
The NBC subsequently approached the Court of Appeal in July 2024, seeking to overturn the judgement.
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At the hearing on February 4, 2026, Mr Victor Ogude (SAN), leading Mr Kehinde Wilkey for the NBC, adopted his brief of argument and made additional submissions.
Counsel to MRA, Ezenwa Anumnu, also adopted his brief and responded accordingly.
In its ruling, the appellate court agreed with MRA’s position that the NBC, having failed to contest the suit at the Federal High Court, could not raise fresh challenges at the appellate level.
Justice Oyewumi held that the appeal lacked merit and accordingly dismissed it.
With this decision, MRA has secured victory in the first of two appeals involving the NBC over separate Federal High Court judgements barring the Commission from imposing fines on broadcast stations.
The second appeal, filed by the NBC against a similar judgement delivered on January 17, 2024 by Justice Rita Ofili-Ajumogobia of the Federal High Court, Abuja, is still pending. The Court of Appeal heard arguments in that matter on March 25, 2026 and has reserved judgement.
In that case, the NBC is challenging a ruling arising from a suit filed by MRA after the Commission imposed fines of ₦5 million each on a television station and three pay-TV platforms in 2022 for allegedly undermining national security through the broadcast of documentaries on banditry in Nigeria.
Broadcasting
NFVCB Boss Urges Stronger Distribution Channels @ Coal City Film Festival 2026

Dr.Shaibu Husseini, the Executive Director/Chief Executive Officer of the National Film and Video Censors Board (NFVCB), has called for stronger distribution frameworks within Nigeria’s film industry to ensure that locally produced content achieves global visibility.

He urged film festivals across the country to evolve beyond networking platforms into active marketplaces where filmmakers could secure distribution deals. He stressed that festivals must attract distributors, exhibitors, streaming platforms, and marketers to create tangible opportunities for filmmakers.
Husseini made this call while delivering the keynote address at the opening ceremony of the 2026 edition of the Coal City Film Festival held in Enugu.
“Film festivals must become gateways to distribution where filmmakers leave not just with applause, but with real opportunities,” he said.
Husseini expressed personal delight at hosting the event in Enugu, his birth state, noting the city’s rich cultural heritage and longstanding contribution to Nigeria’s creative landscape.
He commended the festival organisers, particularly the Festival Director, Uche Agbo, for their resilience and commitment in sustaining the
initiative. According to him, the Coal City Film Festival has grown into a significant cultural platform and a must-attend cinematic event in South East Nigeria.
Speaking on the festival’s theme, “Local Stories, Global Screens,” Husseini emphasised the importance of authenticity in storytelling. He noted that films rooted in local realities, languages, and cultural truth often resonate more strongly with global audiences.
He cited notable Nigerian productions such as King of Boys by Kemi Adetiba, The Wedding Party by Mo Abudu, Anikulapo by Kunle Afolayan,
“Black Book” by Editi Effiong, and “Lionheart” by Genevieve Nnaji as examples of culturally grounded stories that have gained international recognition on platforms such as Netflix and at global film festivals.
While acknowledging the growth in film production across Nigeria, the NFVCB boss identified distribution as a major bottleneck in the industry. He observed that many high-quality films struggle to reach audiences both locally and internationally due to limited distribution channels.
Reaffirming the Board’s commitment to industry development, Husseini stated that the NFVCB has continued to reposition itself as a partner in progress by engaging stakeholders, improving classification processes, and promoting a balance between creative freedom and social responsibility.
However, he raised concerns over increasing non-compliance with regulatory requirements, noting that some filmmakers bypass the Board by releasing unclassified films or operating without proper licensing.
He said all films and video works must be submitted to the NFVCB for classification and registration before being released on any platform, including digital platforms such as YouTube.
“This is a legal obligation, and the Board will not hesitate to take decisive action against defaulters,” he warned, adding that regulation is essential for protecting the industry, audiences, and national values.
Looking ahead, Husseini assured stakeholders of the Board’s continued collaboration with filmmakers and festival organisers to build a structured, sustainable, and globally competitive Nigerian film industry.
He concluded by commending the organisers of the Coal City Film Festival for their vision and contribution to Nigeria’s cultural economy, urging filmmakers to continue telling authentic stories that can resonate across global screens.
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