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Exclusivity Element Important of Pay-TV Business-Hundah

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Joseph Hundah, managing director, Multichoice Nigeria, since assumption of duty ten months ago in Nigeria has rolled out initiatives aimed at consolidating DSTV’s position in Pay-Tv business.
He spoke to Chike Onwuegbuchi and Hilary Okeke on his achievement and other industry issue

What is the situation as regards the broadcast rights of the Fifa U-17 world cup?
I just sent a text to confirm from the CEO of SuperSports, but as far as we understand it, SuperSports has the exclusive pay-TV rights for the U-17 world cup. As to who has the free-to-air rights, I am not too clear. It is likely that AIT has the exclusive free-to-air rights. That being said, a situation whereby a free-to-air station has a pay-TV business, what they ought to do is when that particular match is being played on their free-to-air platform under the pay-TV network, they are supposed to blank it out and replace it with something else. They are not supposed to offer any service on their pay-TV platform that shows the games. We hope that they understand the limitations of their rights and comply with the rules. But I am not confirming that they have the free-to-air rights – I do not know. But as far as the exclusive pay-TV rights are concerned, we definitely have it, no one else but us in Nigeria.
What is the difference between Free-to-Air and Pay-TV?
Free-to-air is any television service that you receive without paying for subscriptions. All you need is the traditional antenna outside your house that picks up the signals and delivers the programmes to your television sets. Stations like AIT, NTA, Silverbird, are all free-to-air platforms; the subscribers do not need to pay them to provide that service.
What is the situation of your agreement with the Nigerian football Federation?
That is very much ongoing. In fact, we are looking at increasing the number of games that we show on the Nigerian Football League. We have invested so much money there. You might be aware that we actually acquired two outside broadcast vehicles some time last year. One is based in North Central part of the country that services the northern part of the country; the other one is in Lagos and services the southern part of the country. For us, we are very happy with the agreement; it is going on very well. Though there are problems as regards changes in fixtures sometimes, but it is something we are overcoming and I think it is a learning process. So, that is okay by us. We have commitments from the minister himself, as well as the DG of sports that they would continue to assist us in making sure that we are able to cover those games and all the issues that may come up along the line would be properly taken care of.
What are the security arrangements in protecting broadcast equipment from errant fans?
We take security very seriously. As you know, outside broadcast vehicles are worth millions of dollars. We take the safety of the equipment and that of our crew members at the venue very importantly. But so far, we have not had any serious incidence concerning our crew – we take precautions to ensure that all is safe wherever we are because any damage to equipment would affect the video coverage of the matches.
How would you assess your 10 months in Nigeria as MD of MultiChoice Nigeria?
Well, it continues to be a learning process. I learn new things everyday – about the market; about our new products; about how we can make it easier for our consumers to enjoy the products that we offer. It has been a success so far. We have grown significantly over the next 10 months and we continue to grow. We have added new channels on the bouquet and we continue to do so. As I have said before and reiterating now, we find it pleasant to increase access of our services to everyone and go as far around the country as possible. We are putting a lot of money into expansion; increasing our visibility among our subscribers, making it easier for them to pay their subscription fees. As we speak, almost 60 percent of our payments are made outside of our branches. There are new technologies coming up, like mobile banking. We just recently launched ATM banking; you can now pay your subscriptions on the ATM. We continuously look at innovative products. In the next 2 or 3 months, we would be launching high definition personal video recorder (PVR) to replace the one we have at the moment.
What are you doing about the cost of acquiring hardware for your services?
Note that all decoders are imported. With the 27 percent depreciation in the Naira, the fact that people can still buy the decoder at the same price is highly commendable. But all these fluctuations make it difficult for us to reduce our prices. However, it is something that we are looking into and for me, not only is it important for us to increase accessibility geographically, it is also important for us to increase accessibility monetary wise. So, it is something that we are kind of investigating – we want to find ways of reducing the entry level into our products.
What have you done in terms of content for your northern Nigeria subscribers?
We are opening a branch in Maiduguri in the next few weeks, and content has been our focus. I agree with you, content has to suit the market. There is not much Hausa content out there, but we are looking at giving them something that would suit them better. Just as before, we have launched Islamic channels, and we are seriously looking for ways to include Hausa movies on Africa Magic channel. We would constantly try to look for different ways of harmonizing our provision in the North because of their culture, and we would like to fit into them. Certainly, how to increase the level of content that suits that particular market is paramount in our minds.
How possible is it for you to share your rights with other players within the industry?
We have never been closed to doing transactions in partnership with other players in the industry. For every pay-TV operator in the world, including Nigeria, exclusivity is the most important element of our business. The moment you have a service or product that can be seen on other platforms, it becomes less attractive for your own platform because people do not need to subscribe to yours as against other s. So, all these kind of nuances are quite important in serving the market and we are not completely closed to it. If we are presented with a proposal like that, we would try to consider it and see if it makes business sense.
What lessons can be learnt from GTV’s experience?
If you look at most developed markets in terms of television, they do not have more than two or three direct-to-home (DTH) pay-TV operators. It is quite a few places where you do not have many pay-TV players because that is the nature of the business. It is an extremely capital intensive business, it requires a lot of investment over a long period of time. For us, we only started making profit about 5 years ago – after 10 years of pumping money into content and technology. The reason for that is that the cost of rights is extremely high. One has to be in it for the long haul, it is not a quick profit kind of business. It requires a long term view and approach. When acquiring rights, do not overpay for them. Part of the reasons why we did not acquire EPL for example, was because the cost of the rights was too high, even though our business has reached a certain developed level. So you can imagine – GTV came along and paid what we thought were extremely high fees. That put pressure on their ability to develop other channels and content. Pay-TV is not about one product; it is about offering an array of channels. That is why it is called the multi-channel platform. It is about offering different kinds of options for a subscriber to be able to enjoy. You also have to understand that when you start a business, you have to market. So you could have high marketing cost, high programme cost – you need a big budget to survive, and also note that it would take some time for profit to start rolling in.
What are your strategies for staying afloat while the economic crunch continues?
To be honest, we have absorbed the full impact of the Naira depreciation onto our bottom-line; we have no choice. We just have to absorb all of it. When times are tough, people ask you to reduce your marketing, which is strange. Quite often, people tend to curtail their business when times are tough. But we are saying no, and trying to expand our business during these tough times. At the same time, making sure that whatever money being spent is rewarded with profit.  In an extremely competitive environment, it does not make sense to start cutting down on your expenditure, marketing and programming because your competitors are going to start investing in those and  pretty soon, you would find yourself out in the streets. So, we are fairly aggressive in that aspect; we are fairly aggressive in our expansion plans, our marketing and in acquiring our rights that have been lost. We are not going to rest until we get those rights back. We are going to bid for EPL rights as high as we possibly can. It is always regretful to lose any content that you have. We are certainly not going to leave any stone unturned in terms of acquiring those rights back. If we are not able to at some point, what can we do? But we would always try to put our best foot forward. Unfortunately, it is a tough time for everyone.
Does digitisation pose a threat to your business in terms of losing market share?
It is a two-pronged issue here. We think every country needs to go digital because that makes more sense. But it does offer a competitive test because you now have a multiple channel environment on a free-to-air basis. We strongly believe that our superiority is not just about gaining channels – there are many channels out there. There is a perception in the market that there are not enough channels available for other people and that is why HiTV and Daarsat have not been launching. For us, what matters is how you package, market and sell these products. I guess that is where we have an edge. I think that if we maintain our business strategy and our leadership role, our business would be sustainable and we would continue to grow.

 

 


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Nigeria’s Joeboy Headlines Easter Edition of African Voices

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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.

 


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Appeal Court Upholds Ban on NBC’s Power to Fine Broadcast Stations

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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.

Appeal Court Upholds Ban on NBC's Power to Fine Broadcast Stations

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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.


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NFVCB Boss Urges Stronger Distribution Channels @ Coal City Film Festival 2026

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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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