ISSUE 187 | JULY-AUGUST 2026
Licensed by Dubai Development Authority
REWRITING THE RULES
Two women challenging convention, embracing opportunities and forging new paths in the broadcast industry
PRO|INTRO
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GROUP Managing Director Vijaya Cherian vijaya.cherian@cpipromedia.com +971 (0) 55 105 3787
EDITORIAL Editorial Director Vijaya Cherian vijaya.cherian@cpipromedia.com +971 (0) 55 105 3787 Editorial Contributors Kalyani Gopinath Nusrat Ali
WELCOME
Urooj Fatima
One of the privileges of being a member of the IBC Innovation
Sub Editor Aelred Doyle
Awards jury is seeing some of the world’s most inventive projects and collaborations. Each year, the entries offer a fascinating glimpse
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into how companies are rethinking live production, cloud and
Group Sales Director Sandip Virk
remote workflows, AI-driven automation, content discoverability,
sandip.virk@cpipromedia.com
media provenance, immersive viewing and sustainability.
+971 (0) 50 929 1845 / +44 (0) 7516 993 862
FINANCE
Even more inspiring are the projects that look beyond commercial imperatives to address profoundly human challenges.
Finance Executive Yonwin D’souza
In Brazil, a digital inclusion initiative distributed 14m digital TV kits
finance@cpipromedia.com
to low-income families, while elsewhere, AI is helping to close the
DESIGN & PRODUCTION Art Director David Fraser design@cpipromedia.com
EVENTS & MARKETING
sign-language gap across live and on-demand content. Technology is also being deployed to protect people. One cyber-abuse protection service analysed 4.3m social media posts, identifying thousands of abusive messages targeting athletes, coaches and officials, leading to account suspensions and legal
Events Executive Sarah Nathan
referrals. Other projects are confronting the environmental cost of
marketing@cpipromedia.com
streaming, measuring its impact right down to the television, tablet
DIGITAL SERVICES Web Developer Hafiz Muhammad Waqas IT@cpipromedia.com
FOUNDER Dominic De Sousa (1959-2015)
or mobile phone in the viewer’s hands. Beyond addressing immediate challenges, these projects encourage others to question established practices, adapt ideas for their own markets and perhaps create something even better. One breakthrough often provides the spark for the next. The MENA region is also very much part of this movement, developing solutions shaped by its distinct languages, cultures,
PARTNER
audiences and social needs. We see many of these innovations
Maria De Sousa
come to the fore each year at the BroadcastPro Summit and Awards in Dubai, where it is once again my privilege to serve on the jury.
Published by
Nominations are now open for this year’s edition. We invite leaders, innovators, changemakers and disruptors from across the region’s media industry to share their achievements and submit their work
The publisher of this magazine has made every effort to ensure the content is accurate on the date of publication. The opinions and views expressed in the articles do not necessarily reflect the publisher and editor. The published
for recognition. By celebrating innovation, we inspire more of it. Let’s do this together.
material, adverts, editorials and all other content are published in good faith. No part of this publication or any part of the contents thereof may be reproduced, stored or transmitted in any form without the permission of the publisher in writing. Publication licensed by Dubai Development Authority to CPI Pro Media FZ LLC. Printed by Al Bony Printing Press LLC. CPI Pro Media. PO Box 13700, Dubai, UAE. DQuarters, Dubai Media City (TECOM) +971 55 1053787 cpipromedia.com
VIJAYA CHERIAN,
© Copyright 2026. All rights reserved.
EDITORIAL DIRECTOR 1
PRO|CO NTENTS
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UPDATE
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NEWS Al Arabiya Jordan airs region’s first digital news bulletin; MBC and Cenomi Centres launch live media experience; Zee promotes Ali Zaidi to MENA Territory Head; SBA launches AI-powered video library; INVIDI and Google enable addressable advertising on unconnected STBs; and more
ANALYSIS EXTRA TIME, EXTRA VALUE Backed by data from OTT rights-holders from around the world, SSAI company Yospace reveals how momentum shifts in sport shape audience engagement while creating premium advertising opportunities
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COVER STORY KROO CONNECTION Eman Abaza is on a mission to match the right talent to the right role. Through KrooTV, she bridges the gap between professionals and productions, nurtures careers and is an inspiration for women in media
WOMEN IN TECH
PRO - TECH UPDATE
KEEPING CONTENT ON CUE
WHO DECIDES WHAT WE WATCH?
Specialising in library and archiving, Al Mashhad’s Majda Talhoui oversees workflows and metadata that keep content organised, accessible and ready for delivery across platforms, on time, every time
Recommendation systems, ranking models and personalisation engines are actively shaping how audiences find and consume content, says Sunil Joy, Head of Content at evision
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IBC2026 PREVIEW
GUEST COLUMN
FROM INNOVATION TO ACTION
MENA’S MUSIC ECONOMY
Returning to Amsterdam this September, IBC2026 expands its focus on startups, talent and commercial opportunities while tackling the industry’s biggest technological challenges
Elie Chammas explains how music has the potential to become one of MENA’s most powerful cultural and commercial ecosystems, extending well beyond traditional marketing partnerships
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Al Arabiya Jordan airs region’s first fully digital news bulletin Al Arabiya Jordan broadcast the region’s first fully digital news bulletin using a cloudnative production workflow developed by TVU Networks and implemented by Middle East Broadcast Solutions (MEBS), the company’s exclusive MENA partner. The end-to-end news bulletin was produced through TVU Networks’ cloud platform. At the studio level, TVU RPS One connected cameras, mics and other production systems through a simplified configuration.
Live production was managed using TVU Producer, which handled switching, audio mixing, graphics integration and remote collaboration
UNITED MEDIA SERVICES PROMOTES SEIF EL WAZERY TO CHAIRMAN Egypt’s United Media
extensive experience
Services (UMS) has
in sports, media and
appointed Seif El
business management.
Wazery as Chairman of
He is also Chairman
the company, following
and CEO of Estadat
the resignation of
Holding, Chairman of
Tarek Nour. El Wazery
Presentation Sports
was previously Vice
and Vice Chairman
Chairman of the
of Sports United.
Board and Managing
Additionally, UMS
Director, after being
appointed Mohamed
appointed to those
El Saady as Acting
roles in May 2026.
CEO, until a permanent
El Wazery brings
CEO is named.
entirely in the cloud. Remote guests joined broadcasts via TVU Partyline using a web link, while production staff were able to coordinate
and operate from multiple locations throughout the programme. Once completed, the news bulletin was delivered through TVU Channel, enabling simultaneous distribution across both broadcast and digital platforms from a single cloud-based output. MEBS’ Jordan team also deployed a cloudbased Mini Smart MCR to aggregate live feeds from reporters, field crews, regional contributors and external sources.
STARZPLAY JOINS OORO TO EXPAND PREMIUM STREAMING ACCESS StarzPlay has entered into a strategic partnership with ElAraby Group for Trade and Industry to expand access to its premium sports and entertainment content through the Arabiclanguage OORO smart TV operating system, strengthening its presence across MENA and Pakistan. Under
the agreement, the StarzPlay app will be integrated into OORO and will be available on new Tornado, Kajito and Sharp smart TVs. The integration will allow users to access StarzPlay’s portfolio of live sports, films, series and premium entertainment content through a single subscription on OORO.
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JULY-AUGUST 2026
MBC and Cenomi Centres to launch live media experience
Mike Sneesby (L), CEO of MBC Group, with Alison Rehill-Erguven, CEO of Cenomi Centres.
MBC Group and Cenomi Centres have announced a partnership to create what they describe as the Kingdom’s first live media experience integrated into a major retail destination, with dedicated TV and radio studios set to open at Westfield Riyadh.
Under the agreement, Cenomi Centres will establish a dedicated MBC Group presence within Westfield Riyadh, featuring fully integrated television and radio studios equipped with advanced production and broadcasting technologies.
The studios will host several of MBC Group’s flagship television programmes, including Sabah Al Khair Ya Arab and Kalam Nawaem, while MBC’s radio networks will also broadcast live from the venue. Beyond regular broadcasts, Westfield Riyadh will host celebrity appearances, audience activations and special live programmes. The collaboration aims to create new opportunities for advertisers through marketing campaigns that combine premium media content with physical retail experiences and direct audience interaction.
ZEE ENTERTAINMENT APPOINTS ALI ZAIDI AS TERRITORY HEAD FOR MENA Zee Entertainment has
base and position
further expanding
promoted Ali Zaidi to
the platform as a
its Arabic-language
the role of Territory
destination for South
entertainment offering.
Head – MENA. In his
Asian and Arabic
Zaidi brings over 28
expanded role, Zaidi will
entertainment.
years of experience in
lead the growth of Zee5
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He will also continue
broadcast and digital
Global, Zee’s South
to lead the development
media. During his
Asian entertainment
of Zee Alwan and Zee
tenure as Business
portfolio, including Zee
Aflam, and scale the
Head of Zee’s English
TV and Zee Cinema, as
company’s regional
Cluster, he led Zee Cafe
well as the company’s
co-production
and Zee Studio. Most
FAST channel offerings
initiatives. As part of
recently, he was Chief
across GCC markets.
its evolving content
Strategy Sales Officer
Under his leadership,
strategy, Zee5 Global
for Zee’s North Branch
Zee aims to expand
integrated Weyyak’s
and Hindi-speaking
Zee5’s subscriber
content library,
markets cluster.
RED SEA FUND AND FILM ALULA BACK THREE PRODUCTIONS IN EXPANDED 2026 PARTNERSHIP The Red Sea Fund, an initiative of the Red Sea Film Foundation, and Film AlUla have expanded their partnership to support a new slate of film projects scheduled to enter production and filming in AlUla this year, reinforcing their commitment to developing Saudi Arabia’s film industry and supporting regional and international filmmakers. The collaboration will back three productions at different stages of development: Jo of Montreal, Madness and Honey Days, and Soura. Further, it will provide production support through project preparation, engagement of local talent and the expansion of filming opportunities across Saudi Arabia. Parts of all three productions are set to be filmed at AlUla.
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PRO|N E WS
JULY-AUGUST 2026
Al Arabia Cinema, Different Productions wrap Lessa Badri filming Al Arabia Cinema and Different Productions have completed filming for the first season of the new Arabic travel series Lessa Badri, starring Egyptian producer, television presenter and cultural icon Esaad Younes. Filmed entirely in Dubai, the production is Younes’ first long-form travel programme in a four-decade long career. The title, which translates to Never Too Late, follows Younes as she explores Dubai’s diverse neighbourhoods, culinary experiences and vibrant culture. Throughout the series, she meets creators, entrepreneurs, chefs and influential cultural figures, with the
Egyptian icon Esaad Younes stars in the new Arabic travel series Lessa Badri.
programme combining conversation, humour and discovery. The identities of guest participants will be announced closer to the show’s premiere. Designed as a scalable format, Lessa Badri will extend beyond its Dubai debut, with future seasons planned in cities across the region and internationally.
Mazen Laham, CEO of Different Productions, stated: “Lessa Badri is the first project in a long-term collaboration with Al Arabia Cinema. The format works because Esaad Younes carries it, and it is built to keep moving, season after season, city after city. Dubai was the right place to start.” The producers confirmed
that they are currently in discussions with regional and international streaming platforms regarding the exclusive release of the first season. Details of the broadcaster, premiere date and distribution strategy are expected to be announced in the coming weeks. Beyond Lessa Badri, the partnership between Al Arabia Cinema and Different Productions is intended to support a long-term slate of productions. The companies plan to coproduce television series, entertainment programmes, documentaries and feature films for regional and global audiences by combining their creative, production and distribution expertise.
OSN PROPOSES TO TAKE ANGHAMI PRIVATE IN $3.39-PER-SHARE CASH OFFER Anghami Inc has confirmed that it has received a preliminary, non-binding proposal from its controlling shareholder, OSN Streaming Limited (OSN), to acquire all outstanding ordinary shares that it does not already own, in a transaction that would take the music streaming company private. A copy of OSN’s proposal letter has been filed publicly
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with the US Securities and Exchange Commission, as part of an amended Schedule 13D filing. OSN has offered $3.39 in cash per ordinary share. The company currently holds approximately 67% of Anghami’s issued and outstanding ordinary shares and expects to finance the acquisition through equity or funding from its shareholders and affiliated entities. The
proposed transaction would not be subject to a financing condition. In response, Anghami’s Board of Directors has appointed three new independent directors – Nathan Scott Fine, Guergui Saykov Stoyanov and Chiara Marcati – and established a special committee to evaluate and negotiate OSN’s proposal, and assess any alternative strategic
options. The committee has been granted full authority to exercise all powers delegated by the board in relation to the proposed transaction, including appointing independent legal and financial advisers. Any transaction would require a favourable recommendation from the special committee, followed by board and shareholder approvals.
PRO|N E WS
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SBA launches AI-powered digital video library Sharjah Broadcasting Authority (SBA) has unveiled an AI-powered digital video library and artificial intelligence engine that aims to transform decades of broadcast content into an intelligent, searchable archive. White Peaks Solutions SAS (WPS) was the project’s technology partner. The initiative combines a next-generation digital library with a dedicated AI engine, creating an integrated ecosystem for managing large-scale broadcast archives. Designed as a centralised repository, the SBA library enables users to search, preview and license video content produced or
owned by the Authority. The system simplifies access to thousands of archived assets, allowing users to quickly locate and retrieve content. To protect intellectual property, all archived content is secured using digital rights management technology and initially made available as low-
resolution, watermarked previews. Full-quality versions can be obtained through flexible licensing options. The AI engine automates metadata generation, transcription, translation, content recognition and media asset retrieval, ensuring data remains secure within SBA’s infrastructure.
His Highness Sheikh Sultan bin Ahmed bin Sultan Al Qasimi (C), Deputy Ruler of Sharjah and Chairman of the Sharjah Media Council, at the platform launch with the SBA team.
ASHARQ NETWORK BEGINS BROADCASTING FROM NEW RIYADH HEADQUARTERS Asharq Network
corporations,
developments across
has officially begun
financial markets and
television, digital, radio
broadcasting from its
investment centres.
and podcast platforms.
new headquarters in
The new facilities
Located within the
Riyadh’s King Abdullah
consolidate Asharq
new headquarters of
Financial District
Bloomberg’s
the Saudi Research
(KAFD). The move
editorial, production
and Media Group
aims to strengthen the
and broadcasting
(SRMG), they span
network’s ability to
operations into a single
four floors and
deliver comprehensive,
integrated environment,
accommodate Asharq
multi-platform business
enabling faster
Bloomberg, Asharq
and financial coverage
and more efficient
Discovery, Asharq
from close proximity
coverage of business,
Documentary and other
to key institutions,
economic and political
affiliated platforms.
LUMINE GROUP EXPANDS MEDIA PORTFOLIO WITH DUAL ACQUISITIONS Lumine Group Inc has expanded its portfolio of communications and media software businesses with the completion of two acquisitions, namely, Synamedia’s Video Network Business and US-based Imagine Communications Holdings Inc. The acquisitions strengthen Lumine’s position in video processing, broadcast delivery, live streaming, channel origination software and hardware, AIenabled advertising management and content monetisation technologies. Lumine Group first announced the Video Network Business transaction last month and has now finalised the acquisition, its 16th corporate carve-out. Both entities will operate independently in line with Lumine’s decentralised operating model and long-term buy-andhold investment strategy.
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INVIDI, Google bring addressable advertising to unconnected STBs INVIDI Technologies has collaborated with Google to enable addressable advertising on unconnected set-top boxes (STBs). The companies describe the solution, INVIDI Bridge, as the first of its kind to bring programmatic guaranteed advertising to traditional broadcast environments without internet connectivity. The first deployment will take place in India, with a phased global rollout to follow. “Our collaboration with Google is gamechanging. Our advertising partners in MENA, India
Shahid Butt, SVP – MENA and Türkiye at INVIDI.
and across the globe can now tap into an estimated 400m unconnected STBs, enabling the delivery of programmatic guaranteed advertising to these households. Broadcasters who understand the
immense value of addressability can now finally reach viewers regardless of connectivity limitations,” said Shahid Butt, SVP – MENA and Türkiye at INVIDI. The company also launched INVIDI Fuse to reduce the cost of delivering addressable advertising on internetdelivered live TV. Available globally, it uses client-side manifest manipulation for real-time ad insertion directly in DASH and HLS manifests, reducing high variable server delivery costs.
ADVANCED MEDIA TRADING FIRST SME TO ACHIEVE MAJRA PLATINUM TIER sustainability. The award was presented by His Highness Sheikh Mansour bin Zayed Al Nahyan, Vice President, Deputy Prime Minister and Chairman of the Presidential Court. The Impact Seal recognises organisations The Advanced Media team with the award.
demonstrating excellence in
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Advanced Media
National CSR Fund’s
environmental, social
Trading has become
Impact Seal – Platinum
and governance
the first small- and
Tier, the UAE’s highest
practices and
medium-sized
federal recognition
contributions to
enterprise (SME) to
for corporate social
the UN Sustainable
receive Majra – the
responsibility and
Development Goals.
SRMG MEDIA SOLUTIONS PARTNERS WITH TIKTOK TO LAUNCH INTEGRATED ADVERTISING SRMG Media Solutions (SMS), the commercial and advertising arm of Saudi Research and Media Group (SRMG), has signed a commercial agreement with TikTok allowing advertisers in Saudi Arabia to access TikTok’s advertising solutions alongside SRMG’s extensive media portfolio through a single commercial relationship. SMS will market, sell and manage the platform’s advertising services across the Kingdom. This includes campaign strategy, planning, activation, optimisation, measurement and performance. A unified commercial model will enable advertisers to plan, purchase and execute campaigns across both TikTok and SRMG-owned media assets through a single partner.
See us at IBC booth 10.A31
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P R O | A N A LYS I S
JULY-AUGUST 2026
HOW KNOCKOUT DRAMA CREATED AN ADVERTISING OPPORTUNITY Belgium’s dramatic win against Senegal wasn’t just one of the World Cup’s most memorable matches. It was a masterclass in how twists in sport can unlock premium advertising opportunities. Analysing streaming and advertising data from 14 OTT rights-holders worldwide throughout the tournament, SSAI (server-side ad insertion technology company) Yospace reveals how in-match events shape streaming audiences and advertising opportunities
on during half-time. This meant another opportunity for advertising as viewers continued to trickle in. Viewers stayed on despite a two-goal deficit
The half-time whistle triggered the familiar pattern: a long ad break, a dip in viewership as fans stepped away, and a swift recovery once play resumed. So far, normal. Then the match got interesting. Senegal doubled their lead in the 51st minute, and by the second-half hydration break in the 67th minute the tie looked settled. Typically, viewership falls in the final half-hour, but this match ran counter to that trend. Viewership held firm through the hydration break, which served to a near-peak audience deep in the second half, delivering the most valuable ad break of the match so far. Belgium clawed back a goal in the 86th minute, and their equaliser arrived two minutes and 39 seconds later. The viewing curve, unsurprisingly, jumped sharply as word spread of the comeback and extra time came into sharp view. Extra time = extra ad inventory
Few matches have demonstrated the unpredictability of knockout football quite like Belgium’s last32 clash with Senegal. Trailing 2-0 with four minutes of normal time remaining, Belgium scored twice in under three minutes to force extra time, then won with a penalty in the dying seconds. Steady audience growth through the first half
The audience grew steadily in anticipation of the match, and from the first whistle onward, continued to climb. Senegal’s opening goal in the 24th minute, scored just 12
ahead of the first-half hydration break, gave existing viewers a reason to stay and encouraged a few latecomers to tune in. That hydration break played its part too. New for this tournament, these mandatory three-minute breaks midway through each half effectively split matches into quarters and create additional ad opportunities that simply didn’t exist at previous World Cups, while being short enough to limit audience drop-off. As seen in the graph, the first-half hydration break saw a slight dip in viewership, but much less than comes later
For rights-holders, extra time means more revenue: more viewers stay on, meaning more eyes on the full-time break. There are then two additional periods of premium live content, and an extra ad break after the full-time whistle. Crucially, the audience that might have drifted away at 2-0 was now locked in after a completely unpredictable burst of second-half excitement. The break after this ended saw only a shallow dip, as fans knew there was more to come, and viewership resumed its climb the moment extra time kicked off. The final act was decisive for the viewing figures. A sliding tackle
P R O | A N A LYS I S
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Belgium’s comeback didn’t disappoint in terms of drama or talking points. That’s good news for fans and rightsholders alike PAUL DAVIES, HEAD OF MARKETING, YOSPACE against the Belgian side prompted a VAR review. Belgium was awarded a penalty, but it took a long time to be taken as tensions rose between desperate-to-win players. Despite a significant seven-minute delay, the viewing curve continued to rise as the potential for a match-deciding kick emerged. Eventually, Belgium took the penalty and sealed the deal with a goal. This point in the match saw audience numbers peak, even though in most normal matches they would already be in decline.
The final whistle brought the customary sharp drop-off and the additional closing ad break. But because peak attention held right to the very last kick, that post-match break was served to a far larger audience than it would otherwise have had. The demands placed on ad tech
Matches like this one illustrate the demands the 2026 tournament is placing on streaming and advertising technology. Extra time can’t be scheduled in advance; hydration breaks shift with the referee’s whistle; a seven-minute VAR review can push an ad break well past its expected slot. Advanced prefetch, used alongside dynamic ad insertion, ensures that every one of those unpredictable opportunities is monetised seamlessly at scale, whether the break arrives in the 22nd or the 125th minute. It works by pacing ad requests slightly ahead of a break, giving the adtech ecosystem more time to respond and enabling demand partners to compete without being
overwhelmed by sudden traffic spikes. This helps deliver the highest technical fill rates and maximise the value of each ad opportunity, all while functioning within a seamless viewing experience. Belgium’s comeback didn’t disappoint in terms of drama or talking points. That’s good news for fans and rights-holders alike. And with a peak audience delivered at the death, four in-play ad breaks served to a fully engaged audience and 35 minutes of unplanned bonus content, it was a win for advertising too. PAUL DAVIES IS HEAD OF MARKETING AT YOSPACE.
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KROO CONTROL She is the driving force behind KrooTV, building a talent and crew network that connects broadcasters with the people who power productions across the Middle East. KrooTV founder Eman Abaza shares her journey with Vijaya Cherian When a last-minute production request lands, someone has to pull together a crew, secure the right talent and make it all work – sometimes across countries, languages and time zones. In the UAE, that someone is Eman Abaza. From industrial engineer to media entrepreneur, she has spent the past few years guiding talent and crews to meet broadcasters’ needs across the Middle East. “I am an industrial engineer who began my career with one of the leading construction companies in the UAE, where I achieved significant milestones in supply chain management and quality control,” Abaza explains. But when the company shuttered its Abu Dhabi office, she took time to focus on her young daughters and pursued her passion for physical education, earning a diploma as a fitness trainer and gym instructor during Covid. However, the media element was always part of the home. Growing up in a household where her father was a TV actor and scriptwriter, and with a husband deeply entrenched in sports production, Abaza’s exposure to the industry was constant. These early influences, combined with her analytical and organisational skills, led her to help production teams find the right people for the job. “During Covid, many people lost their full-time jobs while others discovered
that freelancing offered more flexibility and balance with family life. For me, it was the right moment to establish KrooTV with minimal exposure,” she says. Several factors encouraged this step: her genuine interest in media and broadcasting, the supportive ecosystem in the UAE that fosters learning through connections, seminars and events, and the ease of setting up a business locally. “I had always wanted to build something of my own, and the opportunity to create a venture that also connects with my husband’s field made it even more compelling.”
We prioritise local professionals in the host country, particularly Arabicspeaking talents with additional languages, as the MENA region has many highly skilled individuals who are often underestimated EMAN ABAZA, FOUNDER, KROOTV
To further develop her career, Abaza recently obtained a Higher Diploma in Entrepreneurship and Innovation from the American University of Beirut. “I believe that understanding innovation in business is essential to building and sustaining KrooTV, turning it into a growing and sustainable enterprise.” She explains that her approach always begins with understanding client needs and preparing flexible solutions to ensure successful productions. Acting as a mediator between international clients and regional crews demands nuance: bridging cultural context, language and expectations is just as vital as matching technical skills. “Our goal is to place the right talent in the right role, while also ensuring that the talent enjoys working with us by being treated fairly, paid on time and respected in every agreement. Our talent allocation process always begins with the client’s requirements and preferences. We prioritise local professionals in the host country, particularly Arabic-speaking talents with additional languages, as the MENA region has many highly skilled individuals who are often underestimated. We also work with European talents based in the region or engaged through our international partners, ensuring flexibility to meet client needs.” Abaza has collaborated with major names such as NEP, NO15
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JULY-AUGUST 2026
Eman Abaza with faculty at the American University of Beirut, where she completed a Higher Diploma in Entrepreneurship and Innovation.
MOBO, IMG, Dentsu, Oranda, GCC Federation and MDL Beast. It all started with just “supporting a close circle of friends and connections, later transforming this into a proper registration process … Today, both creative and technical professionals can register in our database, where their information is verified and maintained for future projects. We also closely monitor event calendars and proactively approach clients to anticipate their needs. Matching the right talent to the right job requires careful categorisation, and while this takes time, it ensures better delivery. The best camera operator for a football match, for instance, is not necessarily the person we would assign to follow a live concert stage performance.” Five years into the business, Abaza has honed a clear approach to client management. “For new clients, we recommend gathering exact requirements, timelines and expectations, often through detailed event-by-event research. While this 16
sometimes means asking many questions, it ensures we deliver precisely what is needed. With regular clients, we now have a strong understanding built over multiple events, and we strive to keep the same team members when positive feedback is received, strengthening both
Our goal is to place the right talent in the right role, while also ensuring that the talent enjoys working with us by being treated fairly, paid on time and respected in every agreement EMAN ABAZA, FOUNDER, KROOTV
on-ground and managerial relationships.” Abaza ensures she has a trusted network of talent ready for last-minute requests, drawing on experience to overcome logistical challenges. One challenging deployment came when an international artist performed in Saudi Arabia for the first time during peak season, when football and entertainment events overlapped. Flights could not be arranged in time, so a senior producer drove nearly 500km from Riyadh to ensure representation on the ground. “This experience highlighted how critical timing is in production, but also how adaptability and commitment are essential when the business does not always allow the luxury of perfect planning.” The Middle East is shifting toward freelance and flexible talent models, says Abaza. “From a talent perspective, especially in the UAE, freelancing offers greater flexibility, freedom to choose projects based on personal schedules, and the ability to balance family and
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The fact that all of these clients have returned to us at least once is a strong indicator of the trust we have built and our commitment to developing long-term relationships EMAN ABAZA, FOUNDER, KROOTV work life. On the client side, projectbased hiring provides more freedom, less long-term commitment and the option to adjust teams as needed. This shift is reshaping how broadcasters build their teams, moving away from year-round employment toward agile, project-driven collaborations.” She agrees that there are still gaps in specialised roles, such as cricket coverage or advanced camera
JULY-AUGUST 2026
operations like Skycam. “Where we see room for growth, we encourage our talents to join workshops and continuous training. At the moment, we are in discussions with high-level partners to establish local hubs that will help elevate standards and develop stronger talent pools. Entities in Bahrain, Jordan, Saudi Arabia and the UAE have already expressed interest in collaborating, and we hope to announce professional development programmes soon. We see this as an opportunity not only to strengthen our business but also to support the growth of talent across the region.” Leading a technically demanding, operationally complex business as a woman comes with its own lessons. “I have seen this role as a privilege. It has encouraged many female talents to join our pool. Of course, challenges have arisen over the past five years, particularly with demanding schedules and international clients requiring late-night or early-morning calls. Coming from another field, I also faced the challenge of learning and speaking
Media is a family affair for Eman Abaza, pictured here with her husband Ammar Hina, a veteran of the sports production industry.
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the lingo of broadcasting and TV production. Being on the ground and observing the work first-hand helped me adapt quickly, while attending industry events such as CABSAT and IBC, along with daily research and reading, strengthened my knowledge.” Although women’s influence in the industry has grown, challenges remain, she admits. “Not all positions in this industry are equally suited for women. Some roles are extremely demanding, physically intensive and time-consuming. Here male professionals often take the lead, and that is greatly appreciated. On the other hand, many women have built highly successful careers in areas such as production organisation, executive management, scheduling and as producers.” Through all this, balancing motherhood and business requires constant planning. “The key has always been careful organisation, which allows me to manage responsibilities while still being present for my family. The journey is demanding, but the feeling after successfully delivering each project is deeply rewarding.” Looking ahead, she envisions a regional talent academy to elevate professional standards across MENA. She is preparing for hybrid workflows, remote production and the careful integration of AI into operations. “While the region is still in early stages, globally this model is expanding, and we are preparing by developing engineering expertise alongside production crews.” Abaza’s work serves as a bridge connecting talent, nurturing careers and expanding what women and the Middle East workforce can achieve in media. “I consider it a privilege to have been in the UAE for the past 16 years, where the environment fosters talent and encourages us to think boldly, dream bigger and continue growing,” she concludes.
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JULY-AUGUST 2026
MASTERING THE MEDIA LIFECYCLE As Assistant Manager in Media Management at Al Mashhad, Majda Talhaoui oversees the library and archiving workflows that support the broadcaster’s TV and digital operations. She speaks to BroadcastPro ME about her journey into media management and the evolving role of content management in today’s broadcast environment
On any given day, Talhaoui is working with the systems and processes that sit behind Al Mashhad’s broadcast and digital output. Playlists, archives, metadata structures and content logs determine how quickly content can be found, prepared and delivered when required. Talhaoui, who specialises in Library and Archiving, oversees the movement of content from ingest and production through to distribution and long-term preservation, working closely with editorial, production, engineering and digital teams to ensure assets are managed efficiently and remain available when needed. “The objective is to support the full media lifecycle, from ingest and production to archiving and multiplatform distribution,” she notes. 22
From finance to broadcasting
Talhaoui hails from Morocco, but she spent much of her childhood in Canada, where she studied finance, before moving to Dubai with her husband, who also works in media. Here, she found an opportunity with a television station in Dubai Media City. That role introduced her to different areas of broadcasting, giving her first-hand experience of the processes involved in getting content to air. Over three years she moved between departments, but the one that sparked her interest most was library management. What began as an interest in how content was organised gradually developed into a deeper understanding of the systems that enable media operations to function. “I had a strong
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interest in media and the processes behind content management, and over time I developed a genuine passion for technology, recognising its critical role in optimising workflows and improving efficiency.” In 2022, Talhaoui joined Al Mashhad, which was preparing to establish itself as a new regional broadcaster. The move allowed her to further develop her expertise while contributing to the workflows supporting an expanding multiplatform operation. “I was looking for an environment where I could continue to grow while contributing to a forward-thinking media landscape. Al Mashhad stood out for its integrated vision, bringing together broadcast and digital platforms.” Managing content across multiple platforms
Today, that experience underpins a role that spans the entire media lifecycle. Much of Talhaoui’s day-today work centres on ensuring that Al Mashhad’s media management systems support the demands of a multi-platform operation. This includes monitoring workflows, maintaining metadata accuracy and working closely with different teams to resolve issues that could affect content availability or delivery. A key part of her responsibility is ensuring consistency across these workflows. “It becomes just as important as speed,” she remarks. The value of that preparation becomes most visible when content is urgently required. Breaking news, last-minute editorial requests and rapidly changing priorities can place pressure on both people and systems. At those moments, the preparation behind the workflow becomes critical. Talhaoui recalls an urgent request during a live operation when 24
I focus on setting clear expectations, maintaining strong communication and enabling the team to respond effectively to changing priorities MAJDA TALHAOUI, ASSISTANT MANAGER IN MEDIA MANAGEMENT, AL MASHHAD
previously archived material was needed almost immediately: “We were under pressure to prepare content for live environments, where every detail, from metadata accuracy to timing, became critical. With a well-structured metadata system in place, I was able to locate and release the required material within minutes.” Experiences like these reinforce her belief that effective media management is built long before content is requested. She adds that
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these high-pressure situations also strengthen discipline and resilience, reinforcing the importance of staying calm, assessing problems quickly and responding decisively without compromising operational standards.
that combines on-premise broadcast systems with cloud-based services. Her role is not to manage each technology in isolation, but to ensure that these systems support a reliable and efficient content workflow. In the Al Mashhad environment, robotic tape libraries provide the foundation for long-term archiving, while AWS infrastructure supports OTT platforms and web services. Brightcove powers video-on-demand and streaming workflows, while LucidLink supports remote collaboration and disaster recovery readiness. “It allows our infrastructure to evolve in line with operational and technological advancements.” Maintaining this balance requires close attention to storage, workflow design and system integration, with each affecting how quickly content can be retrieved, processed and delivered across platforms. Owing to the increasingly large volume of content entering the system every day, Talhaoui sees automation as essential to maintaining efficiency. “Watch folder-based workflows can trigger ingest into the MAM system, generate proxy files and route content to the relevant teams, reducing delays and simplifying operational handling. Retention management has also benefited from automation, with content deletion processes aligned with predefined policies and archiving requirements.” The next chapter: AI
Building resilient workflows
The workflows Talhaoui manages rely on a technology environment designed to support the full content lifecycle. Managing content across multiple platforms requires her team to work across an infrastructure
The same thinking also shapes how Talhaoui views emerging technologies. Artificial intelligence is beginning to reshape media management, and she believes successful adoption depends on understanding where these tools can
add genuine operational value. She particularly highlights AI-powered metadata generation, speech-totext transcription, translation and content enrichment, which she believes will improve how quickly and accurately content can be discovered and reused. “The priority is to strike the right balance between innovation and control. These technologies should optimise operations while maintaining strong editorial oversight. As content libraries continue to grow, tools that improve indexing, discovery and enrichment could become increasingly valuable, provided they remain aligned with operational requirements.” Leading the operation
As workflows become more integrated, Talhaoui believes the success of any media management operation ultimately depends on the people working within it. Managing content workflows requires coordination across multiple departments, and communication is a key part of keeping those processes aligned. With content moving across multiple platforms almost around the clock, responsiveness is an essential part of daily operations. “I focus on setting clear expectations, maintaining strong communication and enabling the team to respond effectively to changing priorities.” Talhaoui also believes in leading by example, fostering a proactive mindset and encouraging collaboration across departments. By anticipating potential issues early and maintaining open communication, she aims to create an environment in which challenges are resolved before they become operational problems. 25
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Representation matters, but real impact comes from influence, leadership and the ability to drive change MAJDA TALHAOUI, ASSISTANT MANAGER IN MEDIA MANAGEMENT, AL MASHHAD
JULY-AUGUST 2026
“In this kind of environment, everyone contributes to the success of the workflow,” she says. “Good communication is just as important as good technology.” Having established herself in a technical role, Talhaoui has also witnessed the gradual increase in opportunities for women across media technology. She has also seen more women move into technical and managerial roles, bringing both operational expertise and strategic perspective.
“Like any demanding industry, challenges are part of the journey. I approach them as opportunities to grow and strengthen both my technical and operational skills.” She believes progress has been driven increasingly by expertise, performance and leadership, rather than gender, and hopes the conversation eventually shifts away from gender altogether towards recognising the value that diverse perspectives bring to solving increasingly complex operational challenges. “Representation matters, but real impact comes from influence, leadership and the ability to drive change. The goal is to reach a point where women in technology are a natural and essential part of the industry.” Looking ahead
Although much of Talhaoui’s career has been built through hands-on operational experience, she acknowledges the influence of experienced colleagues and leaders who helped shape her approach to challenges and development. “I believe guidance, whether formal or informal, plays an important role in long-term professional growth. I try to reflect that in the way I support and work with others.” For those considering a career in media technology, she says that while technical knowledge is important, curiosity, initiative and a willingness to keep learning are what enable long-term success. “Seek opportunities, take initiative and step outside your comfort zone. It’s about staying curious and embracing change. With dedication and persistence, there are real opportunities to grow and make a difference,” she concludes. 26
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ALGORITHMS ARE THE NEW BROADCASTERS Sunil Joy, Head of Content at evision, discusses attention, visibility and the quiet structure of modern media
There was a time when the question of what people watched had a clear answer, and more importantly, a clear authority behind it. For much of the last century, media functions operated within a clear structure. Broadcasters controlled distribution, programming teams set schedules and audiences engaged with content in specific 28
time frames and spaces. Prime time was not just a scheduling choice but a system that focused attention, created shared cultural moments and established visibility hierarchies. In this set-up, success depended heavily on placement. Content that secured a slot in these limited windows had the chance to reach a larger audience, while content outside
them faced challenges. The system worked because it was restricted; scarcity allowed attention to be directed, gathered and measured predictably. That basic logic has changed, not just due to disruption but through gradual growth. The rise of platforms, the digital shift in distribution and the democratisation of content creation have blurred
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In a world where content is widely available, the key issue is no longer whether content exists but whether it is seen SUNIL JOY, HEAD OF CONTENT, EVISION
the lines that once defined media. Content is no longer limited to specific channels or time frames. It exists in an alwayson, multi-device world where consumption is ongoing rather than scheduled. In this scenario, scarcity has shifted to abundance. The amount of available content now surpasses any individual’s
ability to navigate it meaningfully. The industry’s challenge is thus no longer access but orientation. In this shift, algorithms have taken on a crucial role; recommendation systems, ranking models and personalisation engines are now the main ways in which content is found and consumed. Their impact goes beyond merely helping users discover content; they actively shape that discovery. By examining behaviour patterns – what is watched, how long it is watched, when attention wanes, what drives ongoing engagement – these systems build a dynamic model of user preferences. This model guides what is shown next and the process is continuous and iterative, creating a viewing experience that seems intuitive but is actually highly controlled. The algorithm does not just react to demand; it predicts and influences it. The impact of this change becomes clearer when viewed against the scale of modern content production. New material is being created so rapidly that completeness is no longer a meaningful idea and platforms host libraries that grow faster than they can be explored, while user-generated content adds another layer of volume that is both unpredictable and
limitless. In this environment, the idea of choice fundamentally changes. Viewers are not simply picking from a limited selection; they engage with a curated set chosen by systems that filter and prioritise based on estimated relevance. What appears on a screen is not a true representation of what is available, but of what has been selected to be visible. This difference is crucial because it shifts control within the media value chain. Traditionally, influence existed at the points of creation and distribution. Studios decided what to produce, and broadcasters determined how to share it. Today, much of that power lies in the discovery layer, a layer that uses algorithms to decide the order, proximity and repetition of content within user experiences, and here is where visibility is assigned. Content that is regularly shown gains traction, while content that is not remains nearly invisible. The result reflects not just content quality or audience desire, but also systemic positioning. In areas with diverse cultures and languages, such as MENA, the importance of this layer increases. The content ecosystem in these markets is complex, combining local productions, regional imports and global programming. Audiences move fluidly across languages and genres, challenging traditional categories. In this context, discovery is not just about matching content to preference but also involves creating coherence amid diversity. Algorithms must consider a wider array of factors, such as cultural context, viewing habits across demographics and the balance between local relevance and global appeal. A platform’s effectiveness is therefore increasingly based on its ability to intelligently sort through 29
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this complexity. As this situation evolves, the industry’s long-standing focus on content as the main source of competitive edge begins to shift, and while investing in highquality programming is still vital, it no longer guarantees visibility or audience engagement. Content exists within a system that determines exposure, which follows its own logic, and a title’s success depends not only on its inherent qualities but also on its placement within recommendation pathways. This introduces a further level of unpredictability that creators and distributors cannot fully control. Success hinges on fitting within discovery mechanisms, rather than solely on content quality. This shift has major implications for media strategy. Decisions can no longer focus only on what content to produce or acquire; they must also consider how that content will operate within algorithm-driven environments. This involves understanding the conditions that affect content visibility, the behavioural trends it is likely to meet and the contexts that maintain viewer engagement. These factors require a blend of editorial insight, data analysis and technical skill, and the lines between these areas are increasingly blurred, reflecting the connected nature of modern media systems. The wider outcome of these changes is a redefinition of broadcasting. Traditional broadcasting involved sending content to a wide audience through centralised channels, and its strength lay in its reach and its capacity to create shared experiences. 30
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In its current form, broadcasting has shifted from transmission to selection; algorithms do not provide the same signal to all viewers, as they create tailored streams based on specific behavioural patterns. Despite this fragmentation, the basic function remains: a choice is made about what is shown, in what order and how often. Attention is directed, but through a decentralised and very personalised approach. In this way, the role once held by broadcasters has not vanished but has transformed. It now exists within systems that operate at a level and scale previously impossible. These systems do not eliminate the need for content or platforms; they reshape the conditions for their success.
In a world where content is widely available, the key issue is no longer whether content exists but whether it is seen. Visibility becomes the main currency, and those who control its distribution gain a critical position. What emerges is not a simple replacement of one model with another, but a more complex rearrangement of the media landscape. The structures that used to direct attention have been replaced by systems that constantly adjust it. These systems are dynamic and evolve based on data, behaviour and strategic goals. Their influence is widespread and often hidden, moulding the way media is consumed in ways that are not always obvious. In this context, saying that algorithms are the new broadcasters becomes meaningful, as it describes a new function rather than serving as a metaphor. The authority to determine visibility and hence what is consumed has shifted. It no longer rests solely with those who create or distribute content, but with those who design and manage the systems that enable its discovery. SUNIL JOY IS HEAD OF CONTENT AT EVISION.
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IBC2026 SETS THE STAGE FOR MEDIA’S NEXT CHAPTER IBC2026 returns to the RAI Amsterdam from 11-14 September with an expanded exhibition, new opportunities for startups and talent, and a conference programme addressing AI, sports, shifting business models and the changing relationship between broadcasters, platforms, creators and audiences
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IBC2026 will bring the global media, entertainment and technology community back to the RAI Amsterdam from 11-14 September, with around 45,000 attendees from over 170 countries expected to take part. The exhibition will span more than 45,000sqm across 14 halls, with the number of exhibitors expected to reach approximately 1,300 by the time the show opens. The organiser reports strong demand across the exhibition, particularly in Future Tech and Content Everywhere, both significantly ahead of last year’s space bookings. Alongside the technology launches and demonstrations traditionally associated with IBC, the 2026 edition places greater emphasis on helping companies translate innovation into practical applications and commercial opportunities. New initiatives targeting startups, entrepreneurs, emerging talent and creative businesses will sit alongside an expanded networking programme and a three-day conference examining the issues reshaping the industry. “As the media and entertainment industry continues to evolve, the IBC community increasingly wants not only to discover new technologies, but also to exchange knowledge, address challenges, share expertise and connect with others around the topics that matter,” said Michael Crimp, CEO of IBC. “From Future Tech Ignite and the Accelerator Programme to IBC Exchange and the Conference, IBC2026 is designed to help industry players turn ideas into action and unlock opportunities.” Future Tech gains momentum
Following its 2025 launch, Future Tech returns with an expanded remit and a deeper strategic partnership between IBC and EIT Culture & Creativity, part of the EU-backed
European Institute of Innovation and Technology. At the centre of the expansion is Future Tech Ignite, a new initiative intended to connect startups, entrepreneurs and emerging technology companies with the wider media and entertainment industry. More than 50 startups are expected to participate through a dedicated Startup Zone and Ignite Stage. The latter will host four days of sessions covering emerging technologies, talent and skills development, entrepreneurship and creative innovation. EIT Culture & Creativity will serve as Innovation Partner for Future Tech Ignite, which will also host the third edition of the IBC Talent Programme. Bringing together professionals, employers, educators, industry bodies and emerging talent, it will consider how changing technologies and working practices are affecting skills requirements across the sector. AWS, Microsoft, Google, HP, AMD and Shure are among the technology companies supporting Future Tech this year. The IBC Accelerator Media Innovation Programme will remain a central part of the zone,
with EIT Culture & Creativity as Innovation Partner and Google returning as headline sponsor. Networking is also being given a more structured role through IBC Exchange, a new premium-pass experience. Its Braindate Lounge, located within Future Tech, will enable delegates to book curated one-to-one and small-group conversations around specific topics. The format is designed to encourage more focused exchanges between people facing similar challenges or exploring common areas of interest. Exhibitors expand their presence
Several established exhibitors are increasing their footprint at IBC2026, including AJA, Avid, Bestview, Egripment, EVS, Fonn Group, Kupo, MediaKind, Nanlite, NEP, Prime Focus, Riedel, SNS, Sony, TVU Networks, Twelve Labs and Vizrt. Accenture, Adobe, AWS, Blackmagic Design, Canon, Grass Valley, Microsoft, Oracle, Panasonic, Ross Video and Videndum are among the other major media technology companies returning to Amsterdam. 33
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Google will again have a significant presence within Content Everywhere, while DJI returns to the show floor with a major exhibit in Future Tech targeting the creator economy. South Korean wireless communications specialist LaON Technology is also returning, following an absence from the exhibition. IBC2026 has additionally secured a growing number of first-time stand bookings. Norwegian camera technology company Muybridge will be the show’s largest new exhibitor, presenting its work in camera systems and sports production. Other newcomers include Avion, Barco, Chengdu Vistelen, CREE8, Dropbox, Edgenext, Evoto, Leica, Rakuten, Scaleway, Shade, Suite and TVUP. The increased participation reflects the continued importance of IBC as a platform not only for product launches and technology demonstrations, but also for customer meetings, partnerships and international business development. Conference turns its attention to implementation
Running from 11-13 September, the IBC Conference will be organised 34
JULY-AUGUST 2026
around three central themes: Shifting Business Models, Transformative Tech and People & Purpose. It will bring together broadcasters, streamers, sporting organisations, technology companies, creators, platforms and brands to consider how developments in AI, audience behaviour, advertising, content distribution and monetisation are changing the media business. “The IBC2026 Conference reflects an industry that is no longer asking what advances are coming, but how to put them to work,” said Sally Watts, Content Manager at IBC. “Across AI, sport, the creator economy, advertising, news, trust in content, audience behaviour and monetisation, this year’s programme brings together the people defining M&E’s future and inspires debate around the questions the industry needs to address now.” AI beyond the promise
AI will run through much of the conference, but the focus will move from broad predictions to the ways in which the technology is already being deployed. The opening session, Disrupt, Innovate, Create: How to Embrace AI, will feature Particle 6 founder and CEO Eline van der Velden alongside the company’s virtual AI ‘actor’, Tilly Norwood. The keynote will examine the influence of generative technology on writing, production and performance, as well as the questions it raises around originality, authorship and human creativity. A CTO panel featuring senior technology leaders from Olympic Broadcasting Services and Canal+ will consider how AI is reshaping the business of media. Alex Charalambides, SVP and CTO of CNN, will lead a keynote on the future of news production and delivery, while speakers from Respeecher, Bertelsmann and ITN
IBC2026 is designed to help industry players turn ideas into action and unlock opportunities MICHAEL CRIMP, CEO, IBC will present practical applications of predictive, generative and agentic AI. Netflix VP Production Anna Mallett will examine how international collaboration, virtual production, cloud-based post-production and AI-assisted processes are changing production for the streaming era. Mahesh Bhalerao, YouTube Regional Director of Product Partnerships, will explore how broadcasters and digital platforms can work together to reach viewers and generate new sources of growth. Sport at scale
Live sport remains one of the media industry’s most technically demanding and commercially valuable sectors, and will be a major component of this
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year’s programme. Speakers from FIFA, Liga Portugal, Olympic Broadcasting Services, UEFA and the Women’s Super League will discuss developments in sports production, media rights, data, artificial intelligence, fan engagement and distribution. The sessions will consider how sports organisations and their technology partners can meet growing demand for more personalised, interactive and real-time viewing experiences while producing and distributing events reliably at scale. Creators, brands and new centres of influence
The growing influence of creators, social platforms and brands will form another strand of the conference. Media commentator Evan Shapiro will present The Creator Economy Rules before moderating a panel featuring BBC Studios Digital Brands, Snap, Tubi, Sidemen Entertainment and Meta. The speakers will examine how creator-led businesses are affecting established media models and whether creators are emerging as a new media elite. A separate session, Brands as Media: Reinventing the Relationship between Content and Advertising, will explore how brands are moving beyond conventional advertising to produce content, participate in culture and build communities around their products and values. Industry consolidation will also be addressed by Claire Enders CBE, founder and CEO of Enders Analysis. Her keynote, Too Big to Compete? Media Consolidation in 2026, will look at how partnerships, acquisitions, divestments and consolidation are being used by media companies seeking greater scale. Trust, discovery and the all-IP future
With media increasingly distributed across connected platforms, the
conference will examine how companies can help audiences discover relevant content while maintaining trust in what they see. Choice, Curation and Context? What Do Audiences Want, From Where and How? will bring together speakers from Samsung TV Plus, ITV and Warner Bros. Discovery to discuss content discovery, personalisation and engagement. Television’s Great Rewiring: Strategy, Policy and Audience Enjoyment in the All-IP Era will consider the commercial, regulatory and audience implications of the transition from traditional broadcast infrastructure to IP delivery. Content security and authenticity will take centre stage in Security, Authenticity and Provenance: How Can We Trust the Content We Have Now and in the Future? Speakers from LaLiga, Globo and Google will explore measures to authenticate media and protect content in an era of synthetic
material and misinformation. Meanwhile, in Technology Fit for the New Era of Broadcasting, representatives from EBU, JioStar and Crunchyroll will examine the infrastructure and technology choices required to serve increasingly fragmented audiences. The IBC Technical Papers Programme will return with peerreviewed research spanning AI-assisted production, coding, XR, multiview experiences, television distribution, dynamic media facilities, indexing, security and content provenance. Taken together, the exhibition and conference point to an industry attempting to move beyond experimentation. AI, cloud production, creator-led media, personalisation and IP distribution are no longer peripheral developments. At IBC2026, the discussion will centre on how these technologies and business models can be deployed responsibly, profitably and at scale. 35
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JULY-AUGUST 2026
ELIE CHAMMAS
The most successful partnerships increasingly involve genuine co-creation
The music economy is MENA’s next great marketing opportunity For years, traditional measures of marketing success have centred around familiar metrics such as reach, impressions, frequency and share of voice. While those measures still matter, they are no longer enough on their own. Today’s media landscape is more fragmented, meaning the brands creating the greatest long-term value are not simply reaching audiences, but actively participating in culture. That shift is reshaping the relationship between brands, platforms, creators and communities. Traditional sponsorships and media buying are giving way to deeper forms of collaboration where brands contribute to the ecosystems people care about rather than simply advertising around them. Within MENA, few cultural ecosystems offer as much untapped potential in this context as music. At a global level, this shift is already underway. Recorded music revenues reached $31.7bn in 2025, with MENA among the fastest-growing regions, recording 15.2% growth in 2025 following 22.8% growth the year before, according to IFPI’s Global Music Report 2026. These figures reflect a broader reality: music is increasingly being treated as a measurable growth channel. Artist partnerships, original content, sonic identities, live experiences and fan communities are 36
becoming long-term brand assets. In MENA, however, many brands still approach music primarily as an activation opportunity rather than a strategic environment for sustained investment. This is despite the region having all the core ingredients: a new generation of artists shaping culture identity, highly engaged audiences, thriving fan communities, fast-growing live entertainment markets and streaming platforms deeply embedded in local culture. What’s missing in many cases is a fundamental shift in mindset. Music in MENA is an entire economy. Artists, labels, live events, fan communities, streaming behaviour, creators and brand investment are all interconnected, with each influencing the others. Brands that approach it as a short-term line item risk missing the broader system it operates within. The most successful partnerships increasingly involve genuine cocreation: brands working alongside artists to create original content, platforms helping connect talent with audiences in more meaningful ways, communities shaping the experiences and conversations that emerge. In this model, every participant contributes value and every participant benefits from the outcome. Importantly, this approach creates something that traditional advertising often
struggles to achieve – relevance that endures beyond a campaign cycle. Platforms have a distinct role to play in enabling this, particularly those with genuine regional roots. What MENA-native platforms can offer that global players cannot is cultural trust, an Arab-first identity and artist relationships built over years. Combined with regional production capability and media reach, these create the conditions for brands to move beyond advertising around music and start participating in it, in ways that are credible to the audiences they are trying to reach. Consumers today filter out messages that feel transactional. They respond to brands that show up consistently in the spaces they care about and contribute meaningfully to the experience. Cultural participation has become as important as audience reach. For brands across the region, the opportunity is clear. Music should no longer be viewed as a distribution channel but as a long-term cultural and commercial environment, one in which artists, audiences and brands co-create value. Those who embrace this shift early will not only achieve visibility within culture, but relevance within it. ELIE CHAMMAS, HEAD OF ADVERTISING & BRAND STUDIOS AT ANGHAMI
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