Broadcasting
DStv Rules as TSTV, Others Chase Shadows

Over the past decade, various pay TV newcomers have tried to take on DStv, the digital satellite service owned by Multichoice, an arm of South African media giant, Naspers.
It is in a battle for a share of the 23 million subscribers that make up Africa’s fast-expanding pay TV market. So far, none has been able to win.
According to Quartz, the very authoritative digitally native news outlet, said that the latest to try is TSTV, a startup pay TV company that’s just launched in Nigeria.
Perhaps in a sign of concerns around DStv’s dominance as a premium TV distribution platform, Nigeria’s government has already given TSTV its backing by promising a three-year tax holiday to help it get off the ground.
From a programming perspective TSTV’s hopes of traction are largely hinged on offering popular premium sports content, one of the key elements satellite and cable TV distributors have used to build loyal (and at times, resentful) subscribers around the world.
But there’s just one problem with TSTV’s ambitions: it’s unclear if the company has any agreements to broadcast the most popular content of them all, the English Premier League (EPL).
TSTV lists beIN sports channels (which broadcasts the EPL in North Africa) as part of its programming package but that’s been shrouded in controversy with a purported letter from beIN refuting any agreement with TSTV making the rounds on social media in Nigeria.
beIN did not respond to Quartz’s emails seeking to clarify the authenticity of the letter but TSTV has denied infringing on beIN’s rights.

TSTV did not respond to Quartz’s email enquiries.
But despite the latest competition in Africa’s largest market, DStv is likely to retain its hold there as it has elsewhere.
Its dominance is down to a mix of its diverse content portfolio which range from exclusive rights to popular sports leagues to long-running investment in entertainment and movie content.
Backed by Naspers, Africa’s most valuable company with a market cap over $100 billion, very few competitors can match DStv’s deep pockets.
With more than 12 million subscribers DStv’s market share exceeds 50%, says Sa Eva Nebie, research analyst with Dataxis, a market research firm.
Its hold on broadcast rights of the EPL, arguably the most watched sports league in Africa, is an example of this. As the the value of EPL’s broadcast rights has risen sharply along with its global popularity in recent years, that cost presents a barrier to gaining market share for new entrants.
DStv has no such problem. Last year, it paid £296 million to secure rights to broadcast EPL in sub-Saharan Africa from 2016 to 2019, and, in April, it extended its agreement until 2022.
Its hold on the rights have even come under government scrutiny: in Kenya, regulators have unsuccessfully tried to get the company to resell its rights to local channels to “level the playing field.”
But soccer is not the only thing keeping DStv ahead. Its significant investment in original local content, especially the hugely popular Nollywood, through its Africa Magic channels, have also proven a major draw with subscribers that aren’t crazy about soccer.
Just as important are its broad offering of high-profile Hollywood content including movies and series as well as popular Indian soaps and Mexican telenovelas.
DStv’s dominance is also down to its wider reach and retail infrastructure—thanks to its 20-year head-start in the pay TV business.
One way competitors have looked to challenge DStv is by targeting the mass market many of which cannot afford DStv’s more expensive subscription prices.

StarTimes, a Chinese-owned pay TV company, has grown rapidly since the turn of the decade by offering cheaper monthly subscriptions (it’s most expensive bouquet is currently four times cheaper than DStv’s).
With prices as low as $2.50, the company has garnered 10 million subscribers across 30 African countries.
But DStv has since responded by launching GOtv, a less expensive pay TV company with monthly packages as low as $1. StarTimes offers a mix of news, entertainment and sports content (it will broadcast the FIFA soccer World Cup next year).
TSTV isn’t the first Nigeria-owned company that’s tried to test DStv’s hold on the Nigerian market. Back in 2007, newly-launched HiTV beat DStv to EPL rights and looked to build its subscriber base using football as its crown jewel. But that proved inadequate as, with much of its other content considered second-rate, many Nigerians maintained their DStv subscriptions. By 2011, HiTV had shut up shop amid allegations of high-level mismanagement.
As sports rights inflation rises quickly and many major African currencies crashing versus the US dollar in the last two years, it has forced DStv, like other African businesses, to raise their prices fairly frequently. This has engendered a lot of resentment with consumers who feel they have no choice but to use the satellite service with all the top programming. Some have called for tougher regulation of DStv.
Broadcasting
Canal+ to Cut Jobs as Part Sweeping Restructuring

Canal+ is to cut jobs at MultiChoice as part of a sweeping restructuring plan aimed at stabilising the African pay-TV operator, following years of operational and financial pressure.

The move comes alongside a planned $115 million capital injection, underscoring the urgency of efforts to revive the business after the French media group took control.
The planned layoffs are expected to form a core element of a broader cost-cutting and efficiency drive, as Canal+ seeks to streamline MultiChoice’s operations and improve profitability.
The restructuring signals a shift toward leaner operations, with a focus on eliminating redundancies and optimising the company’s cost base.
MultiChoice has struggled in recent years with declining subscriber numbers across key African markets, weighed down by macroeconomic pressures, currency volatility, and changing consumer behaviour.
The rise of global streaming platforms has intensified competition, chipping away at the company’s traditional pay-TV dominance.
Canal+’s intervention marks a pivotal moment for MultiChoice, reflecting a more aggressive approach to repositioning the business.
By combining fresh capital with structural reforms, the new owners are aiming to both stabilise short-term performance and lay the groundwork for longer-term growth.
The $115 million injection is expected to provide immediate financial relief, supporting operations and potential strategic initiatives.
However, the accompanying job cuts highlight the depth of the challenges facing the company and the scale of transformation required to restore competitiveness.
Broadcasting
Nigeria tops global rankings for USDT, USDC ownership

Nigeria has ranked first globally in the ownership of the two largest stablecoins, Tether (USDT) and USD Coin (USDC), reflecting the country’s growing reliance on dollar-linked digital assets.

USDT, USDC
Stablecoins such as USDT and USDC are designed to maintain a fixed value against the U.S. dollar, allowing users to store money digitally while avoiding the price volatility associated with cryptocurrencies like Bitcoin.
According to the 2026 Stablecoin Utility Report released by BVNK, about 59 percent of Nigerian crypto users hold USDT, while 48 percent own USDC, giving the country the highest combined ownership rate among all nations surveyed.
The report placed Nigeria ahead of several major economies, including Australia and India, highlighting the country’s strong adoption of dollar-denominated digital assets. Australia ranked second with 34 percent USDT ownership and 29 percent USDC, while India placed third with 30 percent USDT and 27 percent USDC holdings.
The study also examined adoption levels across other regions. Countries such as Colombia and Singapore showed strong usage of both stablecoins, while adoption levels were also notable in South Africa and the United States.
Other markets included in the analysis were Philippines, Thailand and Argentina, where stablecoin ownership has also increased significantly. Among European economies, the report said France and Germany showed moderate levels of adoption, while Latin American markets such as Mexico and Brazil recorded smaller but growing usage rates.
The United Kingdom also appeared in the ranking with modest levels of stablecoin ownership. The report noted that USDT ownership exceeds USDC in many countries, including Nigeria, Australia, India, Singapore, the Philippines, Thailand, Argentina and France.
However, USDC is often viewed as a more compliance-focused stablecoin because of its stronger transparency and regulatory alignment. In some markets, including South Africa, Colombia, Germany and Brazil, the report found that USDC adoption slightly exceeds USDT.
More broadly, the data suggests that stablecoin adoption is being driven largely by emerging economies rather than advanced financial markets. According to the report, countries such as Nigeria, Argentina and the Philippines are among the biggest users of stablecoins, where people increasingly rely on dollar-pegged digital assets to protect savings from currency volatility and facilitate cross-border payments.
Broadcasting
Spotify’s Loud & Clear Report Reveals Over ₦60Bn Revenue for Nigerian Artists in 2025

Spotify has unveiled Nigeria-specific data from its annual Loud & Clear report, highlighting how Nigerian artists generated more than ₦60 billion in revenue from the platform alone last year, amid explosive growth in streams, local consumption, and global discovery.

The report, which analyzes millions of data points to illuminate music streaming economics, shows Nigerian artists’ revenue surged over 140% in the past two years.
This boom stems from rising global appeal and stronger domestic engagement, with 30.3 billion streams and 1.6 billion listening hours on Spotify in 2025. First-time discoveries of Nigerian music hit 1.3 billion, up 26% from 2024.
Locally, Nigerian tracks dominated Spotify Nigeria’s Daily Top 50, accounting for over 80% of features, while consumption of homegrown artists jumped 170% year-on-year.
“Nigeria’s music scene thrives on creativity, innovation, and global influence,” said Jocelyne Muhutu-Remy, Spotify’s Managing Director for Africa. “Loud & Clear spotlights how artists are forging sustainable careers and deepening local ties.”
Key highlights include:
55% year-on-year growth in local streams for Nigerian female artists.
75% surge in streams for independent Nigerian artists.
Independents and indie labels earning 58% of all royalties from Nigerian artists on Spotify.
Spotify’s editorial playlists featured nearly 2,000 Nigerian artists in 2025, boosting visibility. Nigerian music appeared in 320 million global user playlists and over 12 million in Nigeria, totaling more than 60 million playlists worldwide.
The report also notes evolving tastes, with top-growing genres in Nigeria over five years including pop urbaine, alternative pop, anime, emo, and drill.
For full details, visit spotify.com/loudandclear.
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