A humid, stifling afternoon, the set of a comedy sketch, and dozens of specialists bustling around. Lighting techs, a sound engineer, a makeup artist, a drone operator, and even a dedicated creator filming behind-the-scenes footage on camera. It feels like a small film production, not a social-media clip. Olufemi Oguntamu, CEO of the Lagos media agency Penzaarville Africa, emphasizes that producing this kind of content has become a full-fledged business: “They use drones, big cameras, buses to transport the crew. People don’t realize how hard it is to make something new every day.”
Production is getting expensive fast, and recouping the cost of daily output is becoming increasingly difficult. Viral success requires investments comparable to the budget of a short film, but the path to recouping that investment remains uncertain.
The market is growing at an almost explosive pace, but earnings aren’t keeping up
According to the Africa Creator Economy Report 2026, Africa’s creator economy is valued at $3.1 billion and is projected to grow almost sixfold, to $17.8 billion, by 2030. The numbers look impressive, but they mask a stark contrast.
More than half of creators on the continent earn less than $100 a month. Audiences are expanding, followers number in the millions, but the financial return remains disproportionately small.
Who is Broda Shaggi—and why his case is telling
Samuel Animashaun Perry, known to the public as Broda Shaggi, began his career by uploading comedy sketches while still studying at the University of Lagos. Today he is 32, has 11.9 million followers on Instagram, his own music releases, and roles in film and on television. Perry is considered one of the most prominent figures in Nigeria’s content-creator scene, which includes sketch creators, YouTubers, TikTok creators, podcasters, and streamers shaping audiences across Africa and in the diaspora.
Why monetization in Nigeria is stalling
The reasons for weak earnings form a chain in which each link reinforces the next:
- Platform ad revenue in the region is far lower than in North America or Europe, which means creator payouts are smaller too.
- Many creators are forced to rely on support from family and friends—and on brand partnerships—as their main source of income.
- Operational hurdles, including unstable power, expensive mobile data, and limited access to financing, make it hard to scale up production.
- More than a third of creators see their activity more as a hobby, because sustainable monetization systems for the region simply don’t exist.
Online-casino videos as a high-paying niche
The number of streamers offering viewers gambling-themed videos is growing rapidly, not only in Nigeria but also in developed countries – the UK, Australia, Germany. This is because virtual casinos are a high-profit business and they pay well for attracting new players.
Of course, on most platforms gambling-related content is banned or heavily restricted, but there are workarounds. One of the most common ways to get around restrictions is to use casinos with no deposit free spins for filming. Technically, it isn’t real-money gambling, although everyone understands that bonuses are only an entry point for newcomers. After all, most of them top up their account with real money after using the bonuses.
In addition, streamers use brand mentions without explicit ads and referral codes. Platforms are gradually closing these loopholes, but streamers simply adapt.
A shortage of public capital for digital creators
David Adeleke, head of the Communique newsletter and co-author of the Africa Creator Economy Report, states: “In Nigeria, public capital for digital creators is effectively nonexistent. Public money goes to filmmakers and to those building physical infrastructure.” It is precisely this barrier that prevents audience growth from being turned into a real business.
What measures could turn things around
Proposals are being voiced at different levels. Adeleke cites the UAE as an example, where a renewable 10-year “Golden Visa” is in place, allowing creators to live and work without the burden of taxes. He believes it is necessary to attract international companies that will help Nigerian creators access global monetization options. In Kenya, industry activists are pushing for the state and startups to allocate at least 10% of digital advertising budgets directly to creators and their platforms.
The state, taxes, and the government’s rationale
Nigeria is counting on the creative sector as a tool to diversify an economy long dependent on oil. There is no special tax for content creators, but income above 50 million naira (about £27,360) a year is taxed at up to 25% under the general bracket system for freelancers and remote workers. The industry’s position is unequivocal: first, conditions for growth are needed, and only then can one talk about increasing the tax burden.
The Lagos summit as a rallying point for demands
In January, the third African Creators Summit brought together thousands of participants in Lagos, including creators from other countries. Participants’ key demands centered on supportive policy, reducing bureaucracy, and updating the regulatory framework at the federal level. Concerns were voiced that the state prefers taxation rather than incentives.
Some speakers expressed concern that, under the banner of combating misinformation, the authorities could tighten oversight and effectively introduce online-content censorship. The balance between protecting audiences and creative freedom remains one of the most contentious issues.
New threats for creators beyond the financial ones
In addition to monetization problems, creators face intellectual property theft and AI-driven cloning of their likeness. Experts insist on coordination between national regulators and global tech companies. Officials say they are ready for dialogue, but admit they’re at a loss: the many competing creator unions make it hard to identify a single counterpart to talk to.
The industry lacks a single voice and basic working conditions
Baba Agba, an adviser to the Ministry of Arts, Culture, Tourism, and the Creative Economy, said bluntly at the summit: “The sector needs to unite and say what exactly it wants… and be ready to work with us, too.” Oguntamu shares this view: “I’ve seen many unions, but none of them carries weight… maybe that’s why the government still doesn’t take us seriously. We don’t have a single voice.”
In his words, negotiations with the state will become productive only when it comes to creating an “enabling environment,” in other words, a supportive environment. That includes lower data costs and safer conditions for filming outdoors. Right now, many popular creators are forced to limit themselves to indoor shoots, because every trip outside is associated with intrusive attention and real risks.
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