The creator-focused feature that YouTube has been testing for the past two years is finally being released. Known as multi-language audio, it is basically a dubbing tool that enables video producers to post their work in several languages without having to create multiple channels or upload it more than once. The capability is now being...

The post YouTube Rolls Out Multi-Language Audio Dubbing Feature for Creators Worldwide appeared first on TechTrends Africa.

Malgré la sortie de son dernier titre « Tout va bien », Tiesco Le Sultan peine à capter l’attention du grand public sur YouTube. Constatant la lente progression des vues, l’artiste a lancé un appel émouvant à la légende du football ivoirien, Didier Drogba, via une publication sur Facebook. Dans son message, il invite l’ancien capitaine des …

L’article Tiesco Le Sultan interpelle Didier Drogba pour booster son clip « Tout va bien » est apparu en premier sur Africa Top Success.

Aya Nakamura continue de briller sur la scène musicale mondiale en établissant un nouveau record impressionnant. Avec 291 millions d’écoutes mensuelles sur YouTube Music, la chanteuse d’origine malienne s’impose comme l’une des artistes les plus écoutées au monde. Ce chiffre la propulse devant des icônes internationales telles que Beyoncé (209 millions), Gims (175 millions), The …

L’article Aya Nakamura : la chanteuse établit un nouveau record est apparu en premier sur Africa Top Success.

On the evening of March 24, the launch of Kava, a new streaming platform for Nollywood and African content, brought together the worlds of music, film, and technology. Prodigy saxophonist Temilayo Abodunrin serenaded actor Shaffy Bello, who danced joyfully amid industry veterans, filmmakers, and investors.

Set to launch in August 2025, Kava, a subscription-based platform, is a collaborative effort between InkBlot Studios, an industry heavyweight behind box office hits, and Filmhouse Group, West Africa’s largest cinema chain. 

“We’re building a platform that doesn’t just stream films—it fuels careers, drives innovation, and connects African creativity to audiences around the world,” said Kene Okwuosa, Kava’s co-CEO and head of Filmhouse Group.

In a panel discussion, Kava’s co-CEOs, Okwuosa and Chinaza Onuzo, revealed the venture’s ambitious origins. What began as an idea five years ago only started taking shape three months prior. Onuzo, whose production company has collaborated with Filmhouse for nearly a decade, asserts the timing is now perfect for their vision: to build a sustainable digital ecosystem for African storytelling.

Kava has a point to prove

Nollywood has a remarkable history of reinvention, continuously adapting its distribution model from VCD rentals to cinemas and now, streaming. Today, global giants like Netflix and Amazon Prime, alongside YouTube and local pioneers like IROKOTV, offer vast movie catalogues.

Despite Nollywood’s increasing popularity, especially among the diaspora, no platform has yet cracked the code on making African stories a global streaming staple and a sustainable business. U.S. giants like Netflix and Amazon Prime, after significant investments, are scaling back operations in Nigeria..

Homegrown platforms like IrokoTV also exited the Nigerian market, with founder Jason Njoku candidly stating, “Between the revenues we generated and the venture capital we raised $35 million over the first ten years, we easily spent $100 million trying to win. We were just there, in full survival mode, operating in the toughest conditions possible.”

However, Damola Ademola, co-founder of Inkblot and Kava’s product head, remains optimistic. He told TechCabal that IrokoTV “may have been ahead of its time,” noting that when the company launched nearly a decade ago, “broadband networking was not as penetrative on the continent.” Now, he argues, “a lot more people are used to the concept of streaming. It’s an easier sell.” 

Ademola draws parallels to successful niche services like Crunchyroll for anime and Shudder for horror, asserting, “African movies can easily be just like that.” He even cites a surprising example of Nollywood’s global reach: “Before the Ukrainian war, every time we released a Nollywood movie, we would see a spike in Ukraine… it means that our content can be universal, can be global.”

Kava Co-CEO Onuzo further emphasises the existing global consumption of Nigerian content: “One of the things that the streaming era showed us was that our content is consumed all over the world. I don’t know how many Nigerians are in Brazil, or Argentina, but you find that our content trots well and people engage it.”

Kava aims to capitalise on this interest by delivering high-quality, diverse content at scale. “When we’re able to deliver content at scale to audiences that are not just us, they will understand and fall in love with the stories that we have. They just don’t know it yet, but they will fall in love with us.”

At launch, Kava will feature over 30 premium Nollywood titles, with fresh releases weekly, including Alakada Bad and Boujee, Owambe Thieves (starring Zubby Michael, Odunlade Adekola, and Solo Sobowale), What About Us (featuring Kuni Remie and Uzor Arukwe), and House Job with Erica Nlewedim. Beyond licensing, the co-CEOs are committed to original content. 

Onuzo notes, “The beauty of this platform is that it allows us to scale our ability to tell stories…in different identities, different languages, different versions.” While Nigeria and Nollywood are the starting point, Kava envisions programming in many African countries.

Funding the vision 

This ambition requires significant funding. Kava has secured initial investments from a “family and friends” round and financiers like Vested World and TLG Capital. While the specific amount wasn’t disclosed, product chief Adedamola told TechCabal the company will soon raise more funding for rapid expansion across Africa and into Europe, particularly the UK.

This optimism aligns with a recent surge of investment in Nollywood from Nigeria’s tech sector. Since 2023, African startup founders and VCs have been increasingly backing films directly, with firms like Voltron Capital reportedly achieving up to 3x returns on projects like The Black Book and Gangs of Lagos. Dedicated film financing marketplaces like TalentX Africa are also emerging.

Ladun Awobokun, Kava’s Head of Content Acquisition, encapsulates the platform’s expansive vision: “Kava will champion African music, movies, fashion, culture, and voices, creating a space where creators across Nigeria and the diaspora can shine.”

The global success of Afrobeats and African fashion offers a compelling precedent for Nollywood. Onuzo reiterated, “One of the things that the streaming era showed us was that our content is consumed all over the world… you find that our content travels well and people engage with it.” Kava aims to leverage this existing global interest. “And we believe that when we’re able to deliver content at scale to audiences that are not just us, they will understand and fall in love with the stories that we have,” Onuzo concluded. “They just don’t know it yet, but they will fall in love with us.

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Not long ago, giant video streaming platforms like Netflix and Amazon Prime Video were hailed as the future of television in Nigeria. They offered an escape from the limitations of cable television and promised premium on-demand content. But today, they face a powerful competitor: YouTube.

While Netflix, Showmax, and Prime Video chase audiences with sleek Nigerian originals and aggressive pricing strategies, many Nigerians are opting for YouTube for movies and series.

The reasons are economic, infrastructural, and technological.

YouTube is practical

Streaming services are getting more expensive. Netflix recently raised its Nigerian subscription prices for the third time in less than a year.  According to Punch, the increase follows similar hikes in April and July 2024.

Under the new price, Netflix’s premium plan now costs ₦8,500 a month, up from ₦7,000 ($5.3).The Standard plan jumped to ₦6,500 ($4.1) from ₦5,500 ($3.4).The Basic plan rose to ₦4,000 ($2.5) from ₦3,500($2.2), and the Mobile plan now costs ₦2,500 ($1.6), up from ₦2,200 ($1.4).

Showmax’s subscription starts at ₦3,200 ($2), and its full version at ₦2,500($1.6). Prime Video’s subscription  is ₦2,300, but now shows ads unless users pay more.

In a country where the minimum wage is ₦70,000 and some people spend up to ₦40,000 ($25) on data, these prices are unaffordable for many. According to the World Bank, over half of Nigeria’s 230 million people live in poverty. Streaming, for many, is a luxury.

YouTube works better with Nigeria’s internet reality

In contrast, YouTube meets users where they are by offering what many see as a more adaptive solution. It is free, widely accessible, and critically, allows users to control video quality, download videos for offline viewing, and stream using data-saving options. 

Streaming platforms often load in HD or 4K by default, quietly draining viewers’ data. While both streaming platforms and YouTube require data, YouTube allows users to drop resolution, turn off autoplay, or use data-saving browsers like Opera Mini. Most Nigerians know the drill: download videos overnight using midnight bundles, then watch offline during the day. YouTube supports that. Most streaming  platforms don’t.

To watch videos on YouTube, users only need internet access and data, which is relatively affordable compared to subscription-based services. In a country where mobile is the dominant mode of access, that control makes a difference. Statista reports that Nigeria had 103 million active internet users as of January 2024, with most of them on  mobile, and 107 million users as of February 2025. YouTube’s mobile-first features give it a native advantage. 

Beyond affordability, YouTube offers users vast access to videos. Unlike paid streaming services such as Netflix, Amazon Prime Video, or Showmax, YouTube offers free access to an array of content, from Nollywood films to music, comedy skits, and more. In essence, people pay less for more in contrast with the abundant but still limited content bank of most streaming platforms.

Local content plus local relevance 

Another reason YouTube wins? Relevance.

Where paid platforms lead with Western and high-gloss African content, YouTube gives users content at different quality levels but which, importantly, offer more chances for relatability. 

Additionally, filmmakers and other creators on YouTube publish faster and more frequently than streamers. This is attributed to the fact that the platform gives them direct control over their content, production timelines, and distribution strategies. Unlike streaming services that require lengthy approval processes, high-budget production standards, and executive sign-offs, YouTube removes these barriers, allowing filmmakers and creators to shoot, edit, and upload content at their own pace.

It’s a business, not a bet

Streaming platforms like Netflix often buy out Nollywood creators’ work, offering upfront money but little long-term payoff. YouTube, by contrast, offers Nigerian filmmakers recurring income through its monetisation features. 

Monetisation methods include AdSense revenue, Super Thanks, Super Chat, and channel Memberships, YouTube Shorts Fund, brand partnerships and affiliate marketing. Consistent viewership can lead to sustainable income, especially for those with dedicated audiences.

Streaming activities, including YouTube, have driven record increases in internet spending and data usage in Nigeria. Also, the number of Nigerian YouTube channels earning significant revenue has doubled in recent years, encouraging even more filmmakers and creators to put their content on the platform.

Many Nollywood production houses now use YouTube as both a distribution platform and a marketing funnel, leading fans to paid platforms, merchandise, or exclusive content. It also gives them full control over release schedules, audience engagement, and monetisation strategies, which is something most streamers do not offer.

Production costs are lower, too. Unlike cinema or streaming, YouTube doesn’t require expensive cameras, costumes, or elite production values. As filmmaker Olatunbosun Amao put it in ThisDay: “On YouTube, anyone—literally anyone—can make a film. If it’s good and people like it, you can make way more than you spent.” 

Filmmaker and co-founder of iBAKATV YouTube Channel, Kazeem Adeoti, said the number of full-length movies on YouTube had grown tremendously. Several top actors own YouTube channels to directly distribute their movies to consumers, he said.

Seun Oloketuyi, film producer and founder of the Best of Nollywood (BON) awards, said YouTube had become more appealing to filmmakers as there were no specifications on the types of cameras to be used, the quality of costumes or the language mixes.

So, is YouTube a viable alternative to streaming?

For millions of Nigerians, it already is.

It’s not just about affordability. YouTube offers a tech experience that matches Nigerian habits: offline viewing, lower-res options, platform-agnostic access, and relatable content. It’s entertainment on your terms, not a Silicon Valley subscription trap.

Will streamers disappear? Probably not. But unless they rethink their pricing, data consumption, and distribution models, they may become premium outposts.

*Exchange rate used is $1 to  ₦1,600. 

The renowned Gospel Music Minister Sinach has released a compelling new single, “You Are Good.” This track is a powerful, anthem characterized by its profound praise and heartfelt gratitude, serving as a resonant reminder of the unchanging benevolence of God. The single can now be found on all prominent streaming platforms.

Blending heartfelt lyrics with uplifting melodies, “You Are Good” is a reminder that even in the midst of trials, God’s love and mercy remain constant. Sinach delivers an authentic worship experience, inviting listeners into a deeper reflection of God’s faithfulness.

This song came from a place of deep personal testimony, No matter what we go through, God’s goodness never fails. I wanted this song to be a declaration of that truth.” – Sinach

The powerful single “You Are Good” was captured live during a Night of Worship in Johannesburg, South Africa, bringing forth a refreshing gospel sound intended to resonate widely across generations, various tribes, and different tongues. With its compelling dynamic instrumentation and deeply passionate vocals, the track is already receiving significant notice from both gospel music enthusiasts and prominent worship leaders.

The single, “You Are Good,” is readily available for both streaming and download across a comprehensive selection of major digital platforms, including but not limited to Spotify, Apple Music, and YouTube

For media requests, interviews, or booking opportunities, please contact us via:

• Email: info@sinachmusic.com
• Phone: +234 901 390 5951
• For the Website click here

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