The potential of Nigeria’s creative industry to contribute to socio-economic growth and development was re-emphasised at the Creative Economy Week 2025, a groundbreaking platform initiated by the British Council in collaboration with the Federal Government, and key stakeholders.

The Creative Economy Week 2025 is a week-long programme aimed at harnessing and nurturing the abundant creativity in Nigeria while repositioning the creative industry as a driver of national economic growth.

Hon. Minister of Arts, Culture, Tourism & Creative Economy, Barrister Hannatu Musa Musawa, who delivered a keynote address at the event in Lagos, emphasised the significant potential of United Kingdom-Nigeria partnerships in enhancing the creative economy, and emphasised that the collaboration will accelerate capacity building and skills exchange to cultivate a thriving creative industry in Nigeria.

“The creative industry in the United Kingdom is very developed. We believe we can also have a thriving creative industry. The government has stepped in to facilitate this essential handshake. With collaboration with the United Kingdom, Nigeria’s creative sector will further thrive. And beyond that, there are a lot of skills.”

In her remarks, the minister noted that raw talent and creativity are abundant in Nigeria, while noting that the collaboration will foster mutual benefits through training, festivals, and exchanges.

The minister concluded, “With the right training and support, Nigeria’s creative sector can not only thrive but also contribute significantly to job creation and economic development.”

Creative Economy Week Nigeria 2025 spanned across five Nigerian cities: Abuja, Lagos, Port Harcourt, Kano, and Enugu, and it will culminate in a landmark London showcase on 11 October. The initiative is designed to identify, nurture talents and creativity in Nigeria. It brought together artists, creative entrepreneurs, cultural hubs, industry leaders, policymakers, investors, and international partners.

The event series showcases the power of creativity and culture as catalysts for inclusive economic growth, youth empowerment, and global connection while spotlighting diaspora voices, strengthening international collaboration, and forging new opportunities for global creative exchange.

During the Week, engaging sessions took place in Lagos. These included discussions on the Women in Film Conference, the Africa Film Finance Forum (AFFF), and presentations focusing on unlocking Nigeria’s Creative Tech and Digital Storytelling Frontiers. Additionally, topics such as the expanding role of music in job creation and market reach were explored, alongside a fireside chat addressing crucial steps for enhancing Nigeria’s creative industry.

In addition, masterclass sessions were conducted on various subjects including, the role of Intellectual Property (IP) in the film industry, SME creative entrepreneurship, and practice management for the film sector. These discussions are pivotal in promoting professionalism and growth within the industry, further driving socio-economic growth and creating job opportunities.

Today, Spotify launched Afrobeats: Culture in Motion, a global project that documents the genre’s evolution over the last five years and the people propelling its forward momentum.

The initiative highlights how Afrobeats has grown from a regional sound into a global cultural force, generating over 240 million discoveries on Spotify worldwide in the last 12 months alone.

The launch is centered on a new Spotify documentary, Culture in Motion, which follows the next generation of Afrobeats artists. This is complemented by an immersive  microsite on Spotify’s newsroom, For the Record, that breaks down the movement across five key pillars using exclusive interviews, expert context, and fresh Spotify listening data.

Key Trends Revealed by Spotify Data

The microsite’s data offers a deep dive into the genre’s remarkable transformation. The sound of Afrobeats is becoming more emotionally resonant, with introspective and emotionally charged vocals now accounting for 38% of global streams.

Its reach is expanding rapidly, with listenership in Latin America growing by more than 180% year-over-year, and streams in Brazil alone are up 500% since 2020.

Female artists are also at the forefront of the genre’s global success, with Tems becoming the first African female artist to surpass 1 billion Spotify streams for a single track.

At the same time, the visual language of Afrobeats is shaping global culture, while fan communities are playing a vital role in discovery, acting as the new tastemakers and driving the genre’s growth in real time.

Nigeria: The Cultural Heartbeat of Afrobeats

In its birthplace, Afrobeats is more than just music—it’s a cultural heartbeat. Over 180 million hours of Afrobeats have been streamed in Nigeria this year alone, with the genre’s passion most evident in the top three streaming cities: Lagos, Abuja, and Port Harcourt.

Nigerian Gen Z listeners connect with Afrobeats on a deeper level, with their top three listening moods for the genre being “whiny,” “island vibes,” and “playful.” 

This passion has also fueled a powerful, community-driven movement that started in Nigeria, with fan-made Afrobeats playlists growing by nearly 3000% in the last decade worldwide.

Notably, a new sub-genre, Afro-Adura, has seen incredible growth with streams increasing over 4000%.

All things Afrobeats can be explored on the dedicated  Afrobeats Destination on Spotify.

“I’ve been looking for the opportunity to go big and showcase my sound to the world, let people hear my experiences and my journey,” Lagos-based singer, Mogueto confessed.

He was born Gbadamosi Ibrahim Gbolahan. Raised in Ibadan, he has been chasing music since secondary school, sneaking headphones into the hostel to practice songs with friends and eventually, moving to Lagos to chase his dreams.

When he stumbled on the Next Afrobeats Star (NAS) auditions while scrolling Instagram, he knew it was the chance he had been waiting for.  he said.

The audition process delivered lessons. “I’m going to actually take the fact that I built the courage to come here, and I did something,  it shows that okay, there’s more that I can do.” Beyond the stage, he also found connections with other artists whose sounds align. “We shared our social media handles, and we’re hoping to make something out of the connection.”

For Hope Kesemen, better known as Specta, the Lagos auditions were about pushing her creativity. A singer-songwriter who also doubles as a lawyer and business owner, she has always found ways to bring humor into music. “When I was in secondary school, I would always just remix songs, make popular songs funny, songs about garri and stuff like that.”

But her path hasn’t been simple. “I come from a family where my father is a pastor,” she explained. “Breaking out of that to explore my creativity has been a challenge. My mother was never cool with it. But I got a little bit of support from my dad, and that little support helped me a lot.”

Then there was Praise Okafor, AKA Rohila, an 18-year-old model and singer who came looking for more than just the prize. Though not her first audition, she said the NAS platform felt bigger and more validating. “The exposure, the cameras, everything makes me feel like this is where I belong,” she said. “Regardless of what happens, my takeaway is to be myself and do what I love.” For her, music is a family affair. “We all sing, like my mom sings. We are living this for her dream, but also for ourselves.”

The Lagos leg of Next Afrobeats Star (NAS) lit up Ultima Studios from September 5 to 8, pulling in hundreds of young talents eager to prove they belong on the Afrobeats stage. For many, it wasn’t just about chasing a $100,000 music deal with ONErpm, it was about testing themselves and finding their place in Nigeria’s most dynamic music scene.

By the close of auditions, it was clear why NAS matters. The talent is abundant, but platforms like this give young voices the visibility, mentorship, and access they need to break through. Next stop: Abuja on September 13 and 14, then Port Harcourt on September 20 and 21.