Broadcasting
Here are Five Exceptional Rising African Stars that joined Spotify RADAR Programme

Spotify, global streaming gianton Friday announced the latest RADAR Africa artists – joining a global cohort as part of the programme dedicated to driving the discovery of emerging artists across the world. This year’s list of African artists is made up of the haunting melodies of Bloody Civilian, the soulful sounds of Baaba J, the ethereal vocals of Xenia Manasseh, the genre-defying Tyla, and the fierce energy of Ria Sean.
The all female lineup joins last year’s alumni Ayra Starr, DBN Gogo, Black Sherif, Victony, BNXN and Buruklyn Boyz who were all exposed to new fan communities as a result of the programme. They represent a wide range of styles, from the ambient sounds of West Africa to the masterful Amapiano of South African townships, R&B, alternative and the creative Afropop that has been taking the world by storm. What they all share is a commitment to pushing boundaries and forging new paths in their careers.
Since launching in 2020, Spotify’s RADAR programme has continued supporting artists on their paths to superstardom, helping rising talent at all stages of their development and strengthening their connection to audiences. These African artists joining the Spotify RADAR programme represent the very best that the continent has to offer.
“As the music industry continues to evolve, it’s essential to find new ways to support emerging talent and offer them a fair chance at success both on and off the platform. So we are thrilled to welcome Xenia Manasseh, Bloody Civilian, Ria Sean, Tyla, and Baaba J to the RADAR programme. These artists represent the diversity and vibrancy of the African music scene and we are excited to support them as they continue to grow their careers,” says Victor Okpala, Spotify’s Artist and Label Partnerships Manager, West Africa.
From today, Spotify will prioritise the promotion of RADAR playlists, RADAR podcasts, Spotify Singles, and priority releases from RADAR artists across all regions.
About the artists
Bloody Civilian (Nigeria)
Born and raised in Abuja, Nigeria, Bloody Civilian is a genre-defying singer-songwriter and producer with a passion for storytelling. Inspired by her African heritage and a wide range of musical influences, Civilian’s sound is a fusion of alt-R&B and other genres. She began studying music production at the age of 12 and has since self-produced her debut single, How To Kill A Man. Bloody is driven by a desire to empower and elevate African art and history through her music, making her a rising star to watch in the industry.
Ria Sean (Nigeria)
Ria Sean is a rising Nigerian singer-songwriter who combines Afro-fusion, pop, and R&B into her music. With a distinctive and versatile voice, she has collaborated with artists like Leriq, Moelogo, and Adekunle Gold. Her 2020 hit single Lemonade gained international attention, and she went on to release her debut EP Fluid featuring productions from Saszy, Dunnie, and Grammy-nominated producer TMXO. Her sophomore project Love Station features collaborations with Ayra Starr and French-act Yseult. Ria Sean is a rising star to watch in the R&B scene.
Baaba J (Ghana)
Baaba J is a 22-year-old Ghanaian singer and songwriter with a passion for music and film. Her alternative afro music blends indigenous high life, pop, rap, and soul, with a unique sound that has won the hearts of many. Baaba J’s debut EP, Lumumba St., released in December 2020, was the major launchpad for her career. She draws inspiration from her childhood experiences, growing up in a big family in Ghana’s harbour city Tema. Her music speaks to meaningful matters such as culture, love, and identity, and she is on a mission to show the world that Africans, especially African women, have what it takes to take the world by storm with their unique, multi-faceted music.
Xenia Manasseh (Kenya)
This Kenyan singer-songwriter, possesses a captivating voice that brings a refreshing and pure sound to the music scene. Her debut EP Fallin’ Apart, released in 2019, quickly soared to number one on the Kenyan’s R&B/Soul charts and reached an impressive #2 across all genres. Xenia’s talent extends beyond her own music, as she has songwriting credits on notable tracks like Teyana Taylor’s “Wrong B*tch” and “Shoot it Up” ft Big Sean, as well as Vanjess’s Surrender from the album “Homegrown.” She has collaborated with acclaimed artists such as Sauti Sol, Mr Eazi, Tay Iwar, and has contributed background vocals on Burna Boy’s “Time Flies.” With her genre-defining R&B sound, Xenia Manasseh is making waves not only in Kenya but also in the top markets of the US, UK, Germany, and South Africa.
Tyla (South Africa)
Tyla’s music is a fresh take on pop and R&B, blending South African amapiano and innovative production. Her emotionally-rich songs started at a young age and have led to international success with hits like Getting Late. Her new singles, Been Thinking and To Last, showcase her versatility and push her artistry forward. Tyla was determined to unlock what had always been inside her. “Getting Late” was the breakthrough, and her late 2021 song “Overdue” featuring DJ Lag and Kooldrink soundtracked the second-season trailer of Netflix’s South African teen drama Blood & Water, but “Been Thinking” and “To Last” find Tyla in full control of her own story, especially the emotional “To Last.”
Broadcasting
MultiChoice Loses 2.8m Subscribers in Two Years

Video entertainment company MultiChoice’s woes are persisting with the company continuing to suffer massive losses in revenue and subscribers.
This emerged today when the DStv parent company announced its financial results for the year ended 31 March (FY25).
In a statement to shareholders on the Stock Exchange News Service, the JSE-listed firm says the past two financial years have been a period of significant financial disruption for economies, corporates and consumers across sub-Saharan Africa due to challenging macro-economic factors.
Combined with the impact of structural industry changes in video entertainment such as the rise of piracy, streaming services and social media, this has materially affected the overall performance of the MultiChoice Group, it notes.
Over this period, MultiChoice says the group lost 2.8 million active linear subscribers and had to absorb a R10.2 billion negative impact on its topline due to local currency depreciation against the US dollar.
For the year ended 31 March, the company reveals that linear subscribers were down 1.2 million or 8% year-on-year (YoY) to 14.5 million active subscribers, with the loss evenly split between South African (600 000) and Rest of Africa (600 000).
Although reflecting an improvement on FY24 trends, MultiChoice says this indicates ongoing broad-based pressure across the group’s entire customer base.
Active paying Showmax subscribers were up 44% YoY, reflecting healthy growth and gaining regional market share, it adds.
Group revenue declined by R5.2 billion or 9% YoY to R50.8 billion, mainly due to an 11% decline in subscription revenues (-1% organic) caused by foreign currency and subscriber volume headwinds and the deconsolidation of the NMSIS insurance business from December 2024, it explains.
According to the firm, this was partially offset by inflationary pricing and new product growth (DStv Internet, DStv Stream and Extra Stream).
Trading profit, which declined by R3.8 billion or 49% YoY to R4 billion, was materially affected by the R2.3 billion organic increase in trading losses in Showmax and the R5.2 billion in foreign currency revenue losses, partially offset by a significant outperformance in delivering total cost savings of R3.7 billion.
Adjusted core headline earnings, the board’s revised measure of the underlying performance of the business, shifted to a loss of R800 million (FY24: earnings of R1.3 billion) due to lower trading profit and hedging losses in FY25 (compared to gains in FY24), partially offset by smaller losses on cash remittances from Nigeria.
The group incurred a free cash outflow of R500 million in FY25 (FY24: inflow of R600 million), impacted by lower profitability, higher lease repayments due to timing and partially offset by improved working capital management as well as a 29% YoY decline in capex.
At year-end, the group held R5.1 billion in cash and cash equivalents and retains access to R3 billion in undrawn general borrowing facilities.
A part of the R12 billion term loan was repaid early by using the R900 million upfront proceeds from the NMSIS transaction (ie R1.2 billion, net of tax), says the company.
The group operates in numerous markets across Africa and internationally, resulting in significant exposure to foreign exchange volatility.
Amid the challenges, MultiChoice states that management acted decisively to ensure that the group could withstand these headwinds, focusing on key areas within its control.
It notes that this has meant maintaining a discipline of inflationary pricing, with price increases of 5.7% in South Africa in FY25 (FY24: 5.6%) and an average of 31% in local currency in Rest of Africa (FY24: 27%), which enabled the group to offset subscriber volume pressures and deliver 1% YoY organic revenue growth in the current financial year.
In addition, further efficiencies were implemented to manage costs and cash flows without unduly sacrificing the group’s customer value proposition, it adds.
In this regard, the group delivered R3.7 billion in cost savings, well ahead of management’s initial R2 billion target (and the revised R2.5 billion target set at interims) and almost double the R1.9 billion saved in FY24, the company says.
Broadcasting
Afia TV and Radio Stamps Footprints in Lagos

Afia TV & Radio has announced its official entry into the Lagos media market, in its commitment to expanding the broadcaster’s footprint, connecting businesses to audiences across Nigeria, and redefining regional media excellence.

Chief Emeka Mba,
Nnamdi Obanya, general manager of Afia TV & Radio, said there is only one digital satellite and one digital station in the southeastern region of Nigeria, which is Afia.
Obanya, stated that: “We are specialists in developing products. A programme on our channel, ‘How Market’, is where we talk to the people in the market to tell their stories and advertise their products on AFIA.”
According to him, “the market world has changed a lot, as the physical market has become a ware house while people are buying digitally.”
Chief Emeka Mba, founder and CEO, stated: “The parley brought together top media buyers, advertising agencies, and communication professionals for engaging conversations around emerging trends, innovation, and future-forward strategies in media planning and buying. The event also served as a platform for Afia TV and radio to unveil its offerings, platforms, and unique value proposition to Lagos-based stakeholders.”
While noting that they are thrilled to bring Afia’s fresh, original, and regional perspective to Lagos, Mba said, “this parley signals our readiness to collaborate, innovate, and deliver impactful results for our partners through data-driven content and targeted reach especially for brands looking to penetrate the southern Nigerian market.”
Equipped with modern broadcast studios, digital-first production capabilities, and a highly experienced team, Afia TV & Radio is poised to make a bold impression on the Lagos media landscape.
The media brand delivers high-quality programming ranging from news and documentaries to lifestyle, business, culture, and entertainment only in south-east but in Lagos, African and beyond, we want to be chief marketing platform of the eastern region, we are the only 24/7 radio station now in Enugu.
Broadcasting
NCC Warns DJs: Playing Music Without License Could Lead to 5-Year Jail Term

Nigerian Copyright Commission (NCC) has warned disc jockeys (DJs) against publicly playing music without proper authorization or a valid license.
NAN reports that John Asein, NCC director-general, gave the warning in an advisory issued in Abuja.
He said the commission’s attention had been drawn to the growing practice of DJs playing music in public spaces without obtaining copyright licences from their approved collective management organisations (CMOs).
Asein said under sections 9 and 12 of the Copyright Act, 2022, only the owner of copyright in a musical work or sound recording has the exclusive right to reproduce, perform, or communicate it to the public.
The NCC threatened to prosecute defaulters in a case that could lead to a N1 million fine or a 5-year jail term upon conviction.
“Engaging in any of these acts without the owner’s authorisation constitutes an infringement under the Act,” he said.
“Such infringement may constitute a civil wrong or a criminal offence under section 44 (7), punishable upon conviction by a fine of not less than N1 million or imprisonment for a term of not less than five years or to both.”
Asein advised DJs to obtain the necessary licences and pay royalties to the approved CMO before performing music publicly.
The NCC director-general added that the commission will arrest and prosecute anyone found violating the law.
“For the avoidance of doubt, the approved CMO for musical works and sound recordings in Nigeria is the Musical Copyright Society, Nigeria (MCSN),” he said.
“The Commission is aware that the Disc Jockey’s Association of Nigeria (DJAN), as the umbrella body representing DJs in Nigeria, has entered into a Memorandum of Understanding with MCSN.
“Under the arrangement, DJAN is authorised to work with MCSN to facilitate the payment of royalties by DJs nationwide, based on the tariff that DJAN had negotiated with MCSN.”
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