Not too long ago, keeping up with new films in Nigeria meant stopping by a roadside vendor, buying a disc from Alaba traders, or waiting for a favourite movie to show on cable television. Music moved the same way, copied onto CDs, memory cards or shared through Bluetooth and Xander. That system has not vanished entirely, but it no longer drives how most people consume entertainment. Today, films, series, songs and even live shows reach audiences through streaming platforms and social media, delivered straight to mobile phones.

The change is closely linked to internet access. Figures from the Nigerian Communications Commission indicate that active internet subscriptions in the country now exceed 150 million, with the vast majority connected through mobile networks. Smartphones have quietly become the main screen for entertainment. People watch episodes during long commutes, stream playlists while working, and catch up on trending videos late at night. Viewing is no longer tied to a living room or a fixed schedule. It happens anywhere there is data and a charged battery.

International companies recognised this shift early. Netflix made its service available in Nigeria in 2016 and has since acquired and funded several local productions. Showmax, backed by MultiChoice, expanded its catalogue with Nigerian originals and regional hits. On the music side, Spotify officially launched in Nigeria in 2021, joining Apple Music and Audiomack in a market already fuelled by a young, online audience.

The impact on Nigerian music has been dramatic. Streaming data released by major platforms consistently shows Nigerian artists ranking among the most listened to African acts worldwide. Afrobeats now travels far beyond radio play or physical sales, reaching global audiences through playlists and algorithm-driven recommendations. For top performers, digital royalties and international streams have become a major source of income, replacing older revenue channels such as CD sales and ringback tones.

Social media doubles as an entertainment hub

Streaming culture in Nigeria does not exist separately from social media. In many ways, the two have merged. Platforms such as YouTube, TikTok and Instagram now function as round-the-clock entertainment channels, offering everything from short skits and music videos to livestream conversations and full-length content.

Music promotion shows how powerful these platforms have become. A song can explode in popularity after a dance challenge goes viral online, long before radio stations begin heavy rotation. Filmmakers release trailers on social media to gauge interest, while comedians and lifestyle creators build massive audiences without any traditional broadcast support. For many young Nigerians, scrolling through feeds has effectively replaced channel surfing.

Demographics reinforce this trend. Nigeria has one of the youngest populations in the world, with a median age of about 18 years, according to national and international population data. This generation grew up with mobile technology and adapts quickly to new digital habits, spending significant time online for both information and entertainment.

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While this is a positive outcome, it has also dealt a significant blow to traditional cable television. MultiChoice’s DSTV, long the dominant subscription service in Nigeria, has faced slower subscriber growth and rising churn rates as more viewers cut the cord in favour of on-demand platforms. Analysts note that the convenience of streaming, combined with lower data-driven costs for short-form content and local productions, has made cable packages less appealing, particularly for younger audiences who prioritise flexibility and access across multiple media.

Limits that still shape the experience

Even with rapid growth, streaming in Nigeria operates within real constraints. Mobile data remains expensive relative to average earnings, and electricity supply is unreliable in many areas. These factors influence how people consume content, often encouraging shorter sessions and favouring quick videos, skits and music clips over long films or series.

Industry observers also point out that smart televisions and fixed broadband connections are not yet widespread. Most viewing still happens on phones using prepaid data bundles. This helps explain why Nigeria’s streaming culture leans heavily toward mobile-friendly formats rather than the long-form viewing common in countries with stable home internet.

Despite these challenges, the shift away from discs and scheduled broadcasts is unmistakable. Entertainment in Nigeria has moved into a digital ecosystem shaped by subscriptions, algorithms and constant sharing. Streaming is no longer just an alternative to traditional media. For millions of Nigerians, it has become the main way to watch, listen and stay connected to popular culture.

Cynthia Nwanonyiri