Connect with us

Broadcasting

Why Nigerians, Others Pay More for Pay-TV

Published

on

Kindly share this post

By Justus E. Fashedemi

Who do you think pays the eye-watering salaries earned by players in England’s Premier League, the Spanish LaLiga or Italian Serie A? It is not the clubs, but fans in those countries and around the world.

 

Wondering how? Here is it. The Premier League, the world’s favourite football league, for example, is broadcast in 212 countries to an estimated 4.7 billion people.

 

The 2016/17 season was the first in the current three-year broadcasting deal, which gives the Premier League £8.3 billion in television rights, with £5.41 billion of that coming from two UK broadcasters, Sky and BT.

 

It means clubs have larger sums to spend on players, who are earning bigger wages, and are less dependent match day income.

To cover the cost of the sum paid for the deal with the Premier League, Sky and BT jacked up prices by about 10% in 2016, meaning that the cost to the subscriber went up.

 

The two broadcasters were simply responding to the 71% jump over what was paid for the previous television deal. So, whatever commercial progress the clubs are making is at a cost, which is eventually passed on to fans around the world by television companies broadcasting matches of the Premier League everywhere in the world.

 

Being a red-hot property, a jewel in the Pay TV crown, rights to air Premier League matches are unlikely to attract lower sums when next they are up for renewal.

startimes.jpg

In fact, they will attract higher sums. Live sport, in general, is hot, hot property. The cut-throat competition for the acquisition of rights to broadcast or redistribute live sport content is unsurprisingly accompanied by stratospheric hikes prices demanded by content owners.

 

It is the same for content in other genres- movies, general entertainment, documentaries, kiddies’ content et al.

 

Being part of the global Pay TV landscape, operators in Nigeria are similarly victims of tough negotiations and astronomical content prices as operators in Europe, the US and Asia.

 

A big portion of the monthly subscription the consumer pays is comprises costs that Pay TV companies, which are essentially distributors or vendors, are required to pay to content creators or those that package Pay TV channels.

 

It means that for every household receiving that package, whether or not anyone in the household watches the channel, Pay TV providers pay a fee.

 

Content rebroadcast agreements usually contain clear and stringent rules on how content owners want their television shows and channels should be sold to viewers.

 

Content owners determine, for example, what packages can contain their channels. With content costs almost always denominated in the US dollar, Euro and the British pound, it is not possible for Pay TV subscription in Nigeria to remain the same for long, especially with the volatility of the exchange rate of the Naira to the aforementioned international currencies.

gotv.jpg

Even then, Pay TV prices in Nigeria are not anywhere near the steepest in the world as many often suggest. A look at the recent price adjustments made by MultiChoice on its DStv platform provides a confirmation. Under the company’s new price regime, the DStv Premium package, which currently costs N14, 700 will from 1 August rise to N15, 800.

 

Price of the DStv Compact Plus package has also been slightly bumped up from to N10, 650 from N9, 900. The Compact package, which currently costs N6, 500, will rise to N6, 800.

 

Prices of the Family and Access packages will equally go up to N4, 000 and N2, 000 respectively from the N3, 800 and N1, 900 currently being paid. Compared to the company’s new rates in Ghana, MultiChoice subscribers in Nigeria can have few complaints.

 

The West African country’s Premium subscribers will henceforth pay GH 365 (N27, 360.75), while those on Compact plus will pay GH 245 (N18, 365.44). Compact and Family subscribers in Ghana will pay GH 149 (N11, 169.18) and GH 85 (N6, 961.60) respectively.

 

South African subscribers of the company, erroneously viewed as sacred cows, will pay R809 (N21, 728.47) for Premium, R509 (N13, 670) for Compact Plus, R385 (N10, 340.49) for Compact, R249 (N6, 687.75) for Family and R99 (N2, 656.98) for Access respectively.

 

Similarly in Europe and the Americas, Pay TV subscribers pay more than Nigerians. In the US, Pay TV operator, Direct TV’s two biggest packages cost $110 (N38, 710) and $60 (N21, 660) respectively. For its third biggest package, Xtra, Direct TV charges $55 (N19, 855).

 

Its other packages cost $40 (N14, 440), $45 (N16, 245) and $35 (N12, 635). United Kingdom’s premier operator, Sky TV, charges £79.95 (N38, 167.33) for its fullest package and £47.50 (N22, 572.97) for that next to it. The third package attracts £40 (N19, 008.82), while the three below it cost £30 (N14, 256.61), £25 (N11, 731.54) and £20 (N9, 504.41) respectively.

 

In Mexico, where the provider offers four packages, the costs are higher than what is paid by subscribers in Nigeria. In the Central American country, Sky TV’s topmost package costs MXN 1039 (N19, 798.52). The three others cost MXN 829 (N15, 796. 52), MXN 649 (N12, 366.93) and MXN 569 (N10, 842.50).

 

Contrary to the widespread belief that Pay TV prices around the world are as stable as rock in a windstorm, the fact is they rise yearly.

 

Analysts reckon that programming costs have risen by eight to 10 percent in each of the past four years-driven by competition for content and other economic conditions, reducing Pay TV operators’ margins and compelling them to keep hike prices to remain afloat.

 

Competition has been made fiercer by the rise of streaming services, which are also in the game for compelling programming, offering another outlet to content owners. When this is added to global economic conditions, prices are unlikely to stay the same.

 

A 2013 research by Robert Gessner of America’s Masillon Cable TV Inc., warned subscribers to expect large increases in prices.

 

“Wholesale costs for the lowest level of TV service will increase by 11.5% in 2014; expected to increase 400% by 2020. Wholesale costs for Basic TV will increase by 11.7% in 2014 and double by 2020. Anticipated 2020 out-of-pocket Basic Cable program cost will exceed $80/month, more than $100 retail with no equipment, premium services, Internet or phone service,” wrote Gessner.

 

US website, consumerreports.org, also reported that most US Pay TV operators hiked their prices in 2018, with some introducing hidden fees, with operators blaming the development on the rise in costs paid for programming.

 

Industry watchers also posit that addition of new features and functions to services, leading to improved subscriber experience, also contributes to the rise in Pay TV prices.

 

Except the astronomical programming costs miraculously slide-appreciably, too-there is no chance of Pay TV prices remaining the same for a long time.

 

––Fashedemi, a public affairs analyst, writes from Lagos


Kindly share this post

Nigeria CommunicationsWeek believes that technology makes life more exciting and helps improve the lives of people around Nigeria and indeed the world. So since 2007, we have devoted our energy to independent reportage of technology and how they affect lives.

Broadcasting

Canal+ to Cut Jobs as Part Sweeping Restructuring

Published

on

Kindly share this post

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.

Canal+ to Cut Jobs as Part Sweeping Restructuring

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.


Kindly share this post
Continue Reading

Broadcasting

Nigeria tops global rankings for USDT, USDC ownership

Published

on

Kindly share this post

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.

Nigeria tops global rankings for USDT, USDC ownership

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.

 


Kindly share this post
Continue Reading

Broadcasting

Spotify’s Loud & Clear Report Reveals Over ₦60Bn Revenue for Nigerian Artists in 2025

Published

on

Kindly share this post

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.

Spotify's Loud & Clear Report Reveals Over ₦60Bn Revenue for Nigerian Artists in 2025

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.


Kindly share this post
Continue Reading

Trending