Another May, Another Milestone: Nigerian Entertainment sector’s unstoppable rise

As May rolls in once more, reflecting on the past twelve months of Nigeria’s entertainment scene feels like flipping through a high-speed highlight reel. Our music and film industries—the twin titans of popular culture—haven’t just stayed busy; they’ve shattered boundaries and redefined what’s possible, both at home and on the global stage. It’s been a year of explosive growth, bold talent, and a few stumbles along the way. A story that has the world, from Agege to Atlanta, sitting up and paying attention.

At the heart of it all is the unmistakable pulse of Afrobeats, still Nigeria’s most powerful cultural export. Over the last year, our artists didn’t just top international charts—they owned them. In February, the world watched with bated breath and then erupted in celebration as Tems officially clinched a Grammy, a monumental win that cemented her status among global music royalty. But Tems wasn’t alone. Burna Boy, Wizkid, Davido, and Asake continued their global dominance, packing out iconic venues like London’s O2 Arena and New York’s Madison Square Garden.

“Seeing those stadium lights shine for our artists—it’s a validation of the hustle,” says Adaobi, a tech entrepreneur in Lekki who has no plans of leaving Nigeria. “It shows we can build global empires from right here.”

This international momentum is reflected in the numbers. A PwC report projects Nigeria’s media and entertainment industry will generate a staggering $14.8 billion in revenue by the end of the year—a vibrant snapshot of an industry in full bloom.

On the home front, the creative conveyor belt didn’t slow down. We danced to the gritty street anthems of Ayo Maff, now hailed as the Prince of the Street, and the unique soundscape crafted by Tml Vibez. The spotlight also found Qing Madi, who was crowned Next Rated at the 17th Headies Awards in April—a thrilling edition that returned to Lagos, much to fans’ delight. With her debut album on the horizon, she’s the name on everyone’s lips.

And who could forget the poignant moment when the late Mohbad was posthumously awarded Best Street-Hop Artiste for “Ask About Me,” his family accepting the award to a standing ovation? It was a stark reminder of the passion, and sometimes pain, woven into our music. Projects like Rema’s “Heis” (Album of the Year at the Headies) and Asake’s “Lonely at the Top” (Song of the Year) dominated playlists, their impact felt deeply by Nigerians who see their daily lives and aspirations mirrored in the music.

However, the music scene wasn’t without its usual share of drama. Artist-label disputes remained a recurring headline, with whispers of exits and contractual disagreements. A perennial sign of a rapidly professionalizing, yet sometimes chaotic, industry. “It’s the wild west sometimes,” comments a Lagos-based A&R manager, “but it’s also where raw talent gets forged.” Strategic moves are also afoot, with the industry seriously exploring AI at conferences and new independent labels like Andre Vibez’ VMF making their mark.

Meanwhile, Nollywood has been on its own blockbuster trajectory. The industry, which saw its box office revenue surge by a staggering 60% in 2024 to N11.5 billion, has been firing on all cylinders. The queues for Funke Akindele’s Everybody Loves Jenifa, released in December 2024, were legendary, with the film smashing records to gross ₦1 billion in a mere 19 days. It proved, yet again, that local stories, when told well, resonate powerfully. The epic Jagun Jagun, though released in late 2023, continued its victory lap, scooping multiple awards at the 2024 AMVCAs and AMAAs for its stunning visuals and Femi Adebayo’s compelling performance. Similarly, Lisabi: The Uprising, which hit Netflix in September 2024, captivated audiences with its period detail, even as some debated its narrative pacing. We also saw a slate of ambitious projects like Seven Doors emerge, showcasing Nollywood’s growing confidence.

The recently concluded 11th AMVCAs in May 2025 celebrated the vibrancy of Nigeria’s entertainment scene, with *Freedom Way* taking home the award for Best Film. Esteemed veterans Nkem Owoh and Sani Mu’azu were honored with Lifetime Achievement Awards, recognizing their contributions over the years. Meanwhile, new talents like Genoveva Umeh, who won Best Supporting Actress for *Breath of Life*, and Chimezie Imo, awarded as the AMVCA Trailblazer, are quickly becoming household names, signaling a bright future for Nollywood.

“I watch Nollywood from Toronto,” shares Jamal, a self-proclaimed ‘Nigerian by vibe’. “The production quality on films like *Jagun Jagun* is insane now. They’re telling our stories with such flair.” This evolution is further underscored by initiatives like Anthill Studios revitalizing its in-house training programs and the NFVCB’s push for more community cinemas, demonstrating a commitment to sustainable growth in the industry.

And we can’t overlook TikTok. Initially dismissed by some as a Gen Z trend, the platform has emerged as a significant kingmaker. It has become a launchpad for unknown artists like Shallipopi and Odumodublvck, whose tracks went viral before hitting the airwaves. TikTok transcends trends; it serves as a democratizing force and a direct channel to audiences, allowing everyone to become potential content creators—and for some, this has opened pathways to mainstream success.

However, it’s important to note that the journey is not without its challenges. Piracy continues to be a significant issue, despite efforts by the National Film and Video Censors Board (NFVCB) to combat it. While funding for productions is improving, many independent filmmakers and musicians still face hurdles securing necessary resources for top-tier projects. Additionally, ongoing discussions regarding government policies and censorship remind creators that, although the creative space is expanding, it is not without limitations. Artists are becoming increasingly aware of their social influence, often expressing their activism through subtle forms in their lyrics, scenes in their films, or in the collective industry response to significant events, such as the passing of Mohbad.

For Nigerians who’ve left and don’t plan to return, like Funke in Houston, the view is one of pride mixed with a sense of detachment. “They’re doing amazingly well, and I stream all the new music. But my life is settled here. The challenges back home, like basic infrastructure, that’s what made me stay away.” For others who have left but dream of returning, like Emeka in London, “The success is a pull. You see the global recognition and think, ‘Maybe things are truly changing.’ But then you hear about the same old systemic issues, and you hesitate.”

The influence on the next generation is palpable. Young Nigerians see these stars—musicians, actors, TikTok creators—and see reflections of their own ambitions. The desire to “make it” in entertainment is perhaps stronger than ever, shaping career aspirations and, some argue, even societal values.

Looking ahead, the future seems bright, albeit complex. The global appetite for Afrobeats and compelling Nollywood narratives shows no sign of waning. The introduction of advanced AI tools like Google’s VEO, unveiled recently and capable of generating video and audio from text prompts, presents both thrilling opportunities and new questions about content creation and authenticity. Will it empower a new wave of creators or disrupt established norms? The industry is already buzzing.

One thing is certain: Nigerian entertainment is a dynamic, ever-evolving ecosystem. It’s a sector fueled by raw talent, relentless innovation, and an unshakeable belief in its own stories. As it continues to navigate its challenges and seize its global moment, the world will undoubtedly keep watching, listening, and dancing.