The latest Africa Creator Economy Report, released in 2026, found that 28.3 percent of African creators cite brand sponsorships as their primary revenue source, outpacing other methods like direct from streaming platforms, Ad revenues, and others.
In the bustling digital landscape of Africa, where content creation has become a lifeline for many young entrepreneurs, brand partnerships stand out as the top way creators are turning their online influence into income.
This trend is illustrated in Nigeria, where creators like Taaooma, whose real name is Maryam Apaokagi-Greene, have built thriving careers by collaborating with companies to promote products in her comedic skits. Taaooma, with millions of followers across Instagram and YouTube, has partnered with brands such as Guinness and Tecno Mobile, weaving their messages into her relatable content about everyday Nigerian life.
Valued at $3 billion in 2026, this sector is projected to expand to $17.8 billion by 2030, driven by rising social media usage and mobile connectivity. Yet, beneath the growth lies a stark reality: six out of ten African creators earn less than $100 per month from their work, despite producing content that reaches global viewers.
Chapter 3 of the report, “How Are African Creators Making Money,” delves into the various monetisation strategies, highlighting both opportunities and hurdles. It draws from surveys of creators across the continent, revealing that while brand deals lead the pack, diversification is key for long-term sustainability.
Brand partnerships dominate because they offer reliable payouts for creators who have built engaged audiences. In Nigeria, this is evident in the work of Mr Macaroni, whose real name is Debo Adedayo. Known for his satirical sketches critiquing social issues, Mr Macaroni has secured deals with companies like Oppo Mobile and Cowbell Milk, integrating their products into his narratives without losing his edge.
For instance, in one campaign, he humorously depicted everyday struggles while showcasing a smartphone’s features, earning him not just fees but also increased visibility.
The report notes that such collaborations are particularly effective for mid- to high-tier creators, often involving consumer goods, telecoms, and fintech firms. These partnerships can generate millions monthly for top earners, as seen with Nigerian skit makers like Sabinus, who partners with brands such as Boldswitch app, a fintech brand, to create content that feels organic to his comedic style.
Beyond brands, the report explores other income streams. Sales of digital products and services come in second, accounting for 25 percent of primary revenue sources. This includes e-books, online courses, photography presets, templates, and digital art and coaching sessions.
In Nigeria, creators like Maryam Saidu Ibrahim, a private chef known as Chef Maah, exemplify this by offering cooking tutorials and recipes through her platforms for N50,000. With over 350,000 Instagram followers, she has turned her passion into a business, selling digital cookbooks and partnering as a brand ambassador for Rosanna Waress.
The report emphasises that digital sales appeal to creators because they require low overhead and can scale globally, but success depends on niche expertise and consistent audience engagement.
According to the report, these forms of monetisation are especially prominent among creators in Nigeria and South Africa who often combine brand income with self-owned ventures.
Physical merchandise ranks third at 14.2 percent, involving items like clothing, accessories, or branded goods. Nigerian influencer Olamide, who focuses on beauty and skincare, has capitalised on this by launching her own line under Ohlar Casual while collaborating with brands for promotions.
Her story reflects a common path: starting with sponsored posts and evolving into product creation. The chapter points out that merch works well for lifestyle creators, but logistics challenges, such as shipping across Africa, limit its reach for many.
Advertising revenue, surprisingly, lags behind at just 5.8 percent. Platforms like YouTube and TikTok offer ad-sharing programs, but many African creators face barriers. For example, TikTok’s monetisation features are not fully available in parts of the continent, forcing reliance on live gifts or viewer donations.
In Nigeria, where over 400,000 Instagram creators operate, video content dominates, accounting for 41 percent of the market share. Creators like Brain Jotter, famous for his dance challenges and skits, earn from ads but supplement with brand deals to stabilise income. Another report highlights how local platforms like Youfanly have emerged to address these gaps, paying out over N450 million to creators in 2025 through faster payouts and verification support.
The chapter also addresses diversification strategies. Many creators combine multiple sources to mitigate risks. Vagimedee, a Nigerian content creator with 150,000 Instagram followers, mixes sponsored posts, prize-based challenges, and brand partnerships to build a sustainable income.
Her “complete the lyrics” contests, offering cash prizes, not only engage fans but also attract sponsors, showing how interactivity boosts earnings. Recently, launched the ‘Complete the lyrics’ card game.
The report introduces the Audience Anchor Ratio, a new metric to measure audience loyalty and monetisation potential, helping creators assess their fan base’s depth. For Nigerian creators, this is crucial, as 57 percent have fewer than 10,000 followers and primarily use Instagram, where building loyalty can lead to better deals.
Regional variations are another focus.
In Nigeria, the largest market, entertainment content leads with nearly 50 percent of creators focusing on it. Layi Wasabi, a comedian and actor, has leveraged this by partnering with brands for endorsements while expanding into acting. The chapter notes that while Nigerian creators benefit from a vibrant ecosystem, those in other countries face infrastructure issues, like unreliable internet, which hampers growth.
Funding emerges as a major challenge. Most creators self-fund, with 25 percent using personal savings or family support to buy equipment. Only 4.2 percent access investor capital, contrasting with global trends where venture funding is more common.
Looking ahead, the report underscores the need for infrastructure improvements and platform equity. With Africa’s youth driving social media growth (over 385 million active users), opportunities abound. 29 Creators like Tunde Onakoya, who uses his chess content for social impact while securing brand deals, demonstrate how purpose-driven work can attract funding. Yet, the low earnings highlight systemic issues: global platforms profit from African content without equitable returns.
