Broadcasting
Gen Zs shaping musical preferences and growing artists’ fandom across Sub Saharan Africa
This past year has seen many artists drop countless brilliant songs which have been streamed numerous times on Spotify, particularly by Gen Zs, who are the most tech savvy generation currently alive. While a lot can be said about this generation, aged between 11 and 26 years, what we can all agree on is their influence on popular culture, music being no exception.
And while listening behaviours differ from one person to another, an exercise in which artists and tracks unite Gen Z across Sub Saharan Africa is perhaps one step closer to understanding what makes the Africasn Gen Zs move and groove, as seen in this year’s Spotify Wrapped.
Which artists came out on top?
Canadian rapper Drake takes up the number one spot in 2023, in part thanks to his collaborative album with 21 Savage on Her Loss which dropped late 2022, as well as the release of his highly anticipated album For All the Dogs in October.
Afrobeats continues to be a very popular genre amongst Gen Z’s as Nigerian Afrobeats artists such as Burna Boy, Asake, Davido, Rema and Omah Lay find themselves on the top ten list thanks to their consistent contributions throughout the year. Burna Boy, Asake and Davido all dropped new albums this year while Rema and Omah Lay released deluxe versions of their previous albums.
However, it was not only Afrobeats musicians who Gen Z gravitated towards this year, Drake’s Canadian counterpart The Weeknd was also streamed numerous times by Gen Z’s this past year which can be credited to the release of the deluxe version of his 2016 album Starboy. American Hip hop artist Travis Scott dropped his highly anticipated album Utopia which fans had been anticipating for 5 years, so naturally he too is in the top ten most streamed artists by Gen Zs in SSA.
Despite not releasing solo projects throughout the year, 21 Savage and Future are also on the list of most streamed artists by Gen Z’s across Sub-Saharan Africa, showing the generation’s affinity for international rap music.
Which were the grooviest songs of the year?
If the top songs streamed by Gen Z tell us anything, it is that they were in the mood to dance the whole year. Nine out of the top 10 songs are African and are either rooted in Afrobeats or Amapiano, with a couple of songs fusing both genres.
Despite being the only Hip hop song in the top 10, Sprinter by British artists Dave and Central Cee is in second place in a dance-genre-dominated list, which is no surprise as the song received global love from Gen Z, who enjoyed the banger made by two of England’s most popular stars.
Nigeria dominates this list too, with Ruger’s Asiwaju coming at the top, and also making an appearance is Asake’s Lonely At The Top, the artist’s testimonial on the life of fame. Off his highly anticipated album Timeless, Davido has two songs that the Gen Z’s cannot get enough of, FEEL and UNAVAILABLE featuring Musa Keys, both in the top ten.
Mnike, the Amapiano song that took social media by storm is the only South African song in the top ten, showing that there is something to be said on the power of virality. Meanwhile, Ayra Starr’s Rush is the only track by a female artist that’s in the top ten.
What does this tell us about Gen Z’s?
Gen Z’s are known for being hip and full of “vibes”, so it is no surprise that most of the artists and songs that they are streaming are mostly rooted in dance genres such as Afrobeats and Amapiano. Mnike, one of the biggest Amapiano songs to come out of South Africa this year, birthed several dance challenges on social media which had a huge role to play in the success of the song.
What makes these songs unite Gen Z’s is their ability to not only bring out the urge to dance, but also their spiritual and love undertones. Songs like Asiwaju and Sprinter are two completely different songs, but their subtle and less subtle braggadocious nature help represent a whole generation which has often been thought of as being too expressive, while Rush by Ayra Starr taps into Gen Z’s desire to grind and pursue success without the negative energy.
Gen Z’s value authenticity and self-expression, and all these ten songs capture these values either through the use of African music to tell authentic stories of love, success, and pain, or through Sprinter’s employment of UK rap which Gen Z’s have grown to love and appreciate over the past few years.
Spotify 2023 Wrapped data show that Afrobeats is not only the biggest genre across Sub-Saharan Africa, it also unites different generations in a region that thrives off authentic, self-expression music that captures their love for dance and a sense of freedom.
Broadcasting Organization of Nigeria (BON) has established six committees to help strengthen and modernize the country’s broadcasting industry.
The committees will focus on content creation, skills development, digital transformation, sustainability, policy and commercial opportunities
The initiative aims to support industry growth and improve collaboration between broadcasters, regulators and media experts
The official launch recently, was led by Tony Akiotu, president, BON and attended by media professionals, program directors, former journalists and heads of specialized media organizations.
The event brought together several prominent figures in Nigeria’s media industry, including veteran broadcaster and trainer Bimbo Oloyede, Tony Uyah of M4S TV, Kingsley Uranta of Channels Television, Ismael Sani of Platinum TV and Ibrahim Shehu of Trust TV.
Together, they are expected to help drive innovation and support the growth of Nigeria’s broadcasting sector.
According to Akiotu, the committees are intended both to help shape industry policy and to provide a forum for dialogue between BON and broadcasting experts.
Akiotu said the ad hoc committees were intended to strengthen BON’s work and ensure that the umbrella body for Nigeria’s broadcasters played a more direct and meaningful role in developing the country’s broadcasting sector.
The six committees reflect the sector’s main priorities. The first focuses on collaboration and innovation to promote content creation.
The second is dedicated to training and talent development, while the third focuses on industry sustainability by improving the sector’s long-term financial viability.
A fourth committee will focus on digital transformation and work with the National Broadcasting Commission (NBC) on regulatory issues.
The remaining two committees will oversee public policy advocacy and the development of sports and commercial rights to help broadcasters increase revenue and attract more investment. Together, the committees are expected to guide BON’s efforts to modernize and strengthen Nigeria’s broadcasting industry.
The committees, chaired by members of BON’s General Assembly and supported by the organization’s Secretariat, have an initial 12-month mandate that may be renewed if necessary.
They are required to submit a progress report within three months and implement approved recommendations within the following six months.
The arrangement is intended to ensure close oversight and the timely implementation of their work.
Akiotu also reminded committee members that Nigeria pioneered television broadcasting in Africa and urged them to carry out their work with greater effectiveness and efficiency.
Nigerian Education Loan Fund (NELFUND) says it is investigating about 34 tertiary institutions over allegations that they failed to refund students whose tuition fees were paid twice under the Federal Government’s student loan scheme.
The Managing Director of NELFUND, Mr Akintunde Sawyerr, disclosed this during an interview on Arise Television.
Sawyerr said the agency had deployed a five-member investigative team, including operatives of the Economic and Financial Crimes Commission (EFCC) and internal auditors, to examine the allegations.
According to him, the investigation was prompted by numerous complaints received from affected students.
“As of right now, there are 34 institutions that we are looking at closely with respect to this issue,” he said.
Sawyerr explained that the double payment issue arose because President Bola Tinubu directed that the student loan scheme commence in the middle of an academic session instead of at the beginning.
He said the decision compelled many students to pay their tuition fees to meet registration deadlines while awaiting approval of their loan applications.
“What happened is that a lot of schools got double payment; some from the students and some from us,” he said.
“The refund process is entirely out of our hands. It is the recipient of the double payments that is obliged to make refunds to the students.”
The NELFUND boss noted that many students had borrowed money from family members, friends and other sources to pay their tuition with the expectation of receiving refunds once the loans were disbursed.
He said while some institutions had promptly refunded affected students, others had failed to do so.
“Some have been very good at this. Others haven’t been so good at it,” Sawyerr said.
“I reserve judgement on the intentionality around it because, for some of them, they just didn’t have the process to make refunds.”
Sawyerr disclosed that NELFUND was exploring a tokenised payment system that would enable students to authorise tuition payments directly to their institutions, thereby reducing the likelihood of duplicate payments.
He said the agency deliberately chose not to disburse tuition loans directly to students to minimise the risk of fund diversion.
“Paying the funds to the students could really lead to the temptation for them to divert and do other things,” he said.
The managing director, however, acknowledged that NELFUND lacked the statutory powers to compel institutions to refund students or prosecute officials found culpable.
He added that many frustrated students had submitted complaints not only to NELFUND but also to anti-corruption agencies, including the EFCC and the Independent Corrupt Practices and Other Related Offences Commission (ICPC).
Sawyerr also expressed concern over increases in tuition fees by some institutions following the introduction of the student loan scheme.
He said NELFUND had declined to pay institutions that increased their tuition fees beyond acceptable levels.
“Some schools, because they get paid easily, started to put up their fees. We refused, point blank, to pay institutions who had hiked their fees beyond a certain level,” he said.
He reaffirmed the agency’s commitment to investigating every reported irregularity and strengthening the implementation of the student loan programme through continuous monitoring and internal reviews.
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