TAP Magazine Issue 18

USD 12,00 |

KES 1,500 | CAD 15 | ZAR 150

Issue 18 | 2023

lly Jensen. Dan Aceda. Cyril Afeku. Donald Aryee. Claire Baker. Akumu Fiona. Stoneface Bombaa. Oscar Koome. Eli Mwenda dire. Lilly Bekele- Piper. Emmanuel Agbeko Gamor. Olakunle Balogun. Kenneth Ugwueje. Daniel Adaaja. Amarachi Nina Um dney Omeokachie. Gathoni Ngumba. Kim Fox. Mwafreeka. Rapcha. Ian. Anne Chisa. Tshepo Ntshole- Hall. Lusu . Umba. Kevin e. Phil Chard. DannythatGuy. Gavin Kennedy. Chilu Lemba. Doris Onyango. Paul McNally. Jane Nthanze. Anyiko Owoko. Justin lu Deng. Stanley Muthoka. Muzhinga Kankinda. Alex Boyi . Joseph Nti. Kwame Asante Ofori. Adelle Onyango. Chulu Chansa n Abdallah. Wanjiru Kamau. Molly Jensen. Dan Aceda. Cyril Afeku. Donald Aryee. Claire Baker. Akumu Fiona. Stoneface Bom Ben Cyco .Wanjiru Njiru. Bidemi Adedire. Lilly Bekele- Piper. Emmanuel Agbeko Gamor. Olakunle Balogun. Kenneth Ugwuej uguna. George Nyamita. THE STATE OF PODCASTING IN AFRICA. Pax Thomas. Rodney Omeokachie. Gathoni Ngumba. Kim Fox. Mwa arion Wanyoike. Angela Machua. Damilola Dawson. Kwame Boakye. Tony Doe. Phil Chard. DannythatGuy. Gavin Kennedy. Ch aron Machira. Sinatou Saka. Rutendo Nyamuda. Olwethu Leshabane. John Wulu Deng. Stanley Muthoka. Muzhinga Kankinda ames Smart. Shiv SimanI. Michelle “Shikie” Wanjiku. Maurice Otieno. Senda Ben Abdallah. Wanjiru Kamau. Molly Jensen. Da ances Quarcoopome. Nabuguzi Kiwanuka. Pelontle Buthelezi. Nobuhle Nyoni. Ben Cyco .Wanjiru Njiru. Bidemi Adedire. Lilly Ngako. Zoubida Fall. Tevin Sudi. Qali Id. Joan Meli. Tony Kibet (Kibz). Owen Njuguna. George Nyamita. Pax Thomas. Rodney Om orgia Webber. Ike Orizu. Kevin Mwachiro. Marion Wanyoike. Angela Machua. Damilola Dawson. Kwame Boakye. Tony Doe. Ph vin Wanguku. George Nzwili . G Money. Sharon Machira. Sinatou Saka. Rutendo Nyamuda. Olwethu Leshabane. John Wulu De Modau. Odudu Efe (Fay Fay). Samir Ahmed. James Smart. Shiv SimanI. Michelle “Shikie” Wanjiku. Maurice Otieno. Senda Ben A car Koome. Eli Mwenda. Andile Masuku. Frances Quarcoopome. Nabuguzi Kiwanuka. Pelontle Buthelezi. Nobuhle Nyoni. Ben Adaaja. Amarachi Nina Uma. Diane Audrey Ngako. Zoubida Fall. Tevin Sudi. Qali Id. Joan Meli. Tony Kibet (Kibz). Owen Njugu shole- Hall. Lusu . Umba. Kevin Y. Brown. Georgia Webber. Ike Orizu. Kevin Mwachiro. AFRIPODS. Marion Wanyoike. Angela M Nally. Jane Nthanze. Anyiko Owoko. Justin Norman. Calvin Wanguku. George Nzwili . G Money. Sharon Machira. Sinatou Sak sante Ofori. Adelle Onyango. Chulu Chansa. Mashudu Modau. Odudu Efe (Fay Fay). Samir Ahmed. James Smart. Shiv SimanI. M Aryee. Claire Baker. Akumu Fiona. Stoneface Bombaa. Oscar Koome. Eli Mwenda. Andile Masuku. Frances Quarcoopome. Na beko Gamor. Olakunle Balogun. Kenneth Ugwueje. Daniel Adaaja. Amarachi Nina Uma. Diane Audrey Ngako. Zoubida Fall. Te m Fox. Mwafreeka. Rapcha. Ian. Anne Chisa. Tshepo Ntshole- Hall. Lusu . Umba. Kevin Y. Brown. Georgia Webber. Ike Orizu. K Kennedy. Chilu Lemba. Doris Onyango. Paul McNally. Jane Nthanze. Anyiko Owoko. Justin Norman. Calvin Wanguku. George zhinga Kankinda. Alex Boyi . Joseph Nti. Kwame Asante Ofori. Adelle Onyango. Chulu Chansa. Mashudu Modau. Odudu Efe (F lly Jensen. Dan Aceda. Cyril Afeku. Donald Aryee. Claire Baker. Akumu Fiona. Stoneface Bombaa. Oscar Koome. Eli Mwenda dire. Lilly Bekele- Piper. Emmanuel Agbeko Gamor. Olakunle Balogun. Kenneth Ugwueje. Daniel Adaaja. Amarachi Nina Um dney Omeokachie. Gathoni Ngumba. Kim Fox. Mwafreeka. Rapcha. Ian. Anne Chisa. Tshepo Ntshole- Hall. Lusu . Umba. Kevin e. Phil Chard. DannythatGuy. Gavin Kennedy. Chilu Lemba. Doris Onyango. Paul McNally. Jane Nthanze. Anyiko Owoko. Justin lu Deng. Stanley Muthoka. Muzhinga Kankinda. Alex Boyi . Joseph Nti. Kwame Asante Ofori. Adelle Onyango. Chulu Chansa n Abdallah. Wanjiru Kamau. Molly Jensen. Dan Aceda. Cyril Afeku. Donald Aryee. Claire Baker. Akumu Fiona. Stoneface Bom Ben Cyco .Wanjiru Njiru. Bidemi Adedire. Lilly Bekele- Piper. Emmanuel Agbeko Gamor. Olakunle Balogun. Kenneth Ugwuej uguna. George Nyamita. Pax Thomas. Rodney Omeokachie. Gathoni Ngumba. Kim Fox. Mwafreeka. Rapcha. Ian. Anne Chisa. Ts Damilola Dawson. Kwame Boakye. Tony Doe. Phil Chard. DannythatGuy. Gavin Kennedy. Chilu Lemba. Doris Onyango. Paul M Rutendo Nyamuda. Olwethu Leshabane. John Wulu Deng. Stanley Muthoka. Muzhinga Kankinda. Alex Boyi . Joseph Nti. Kwam Michelle “Shikie” Wanjiku. Maurice Otieno. Senda Ben Abdallah. Wanjiru Kamau. Molly Jensen. Dan Aceda. Cyril Afeku. Don Nabuguzi Kiwanuka. THE AFRICAN PERSPECTIVE. Pelontle Buthelezi. Nobuhle Nyoni. Ben Cyco .Wanjiru Njiru. Bidemi Adedire.

Audrey Ngako. Zoubida Fall. Tevin Sudi. Qali Id. Joan Meli. Tony Kibet (Kibz). Owen Njuguna. George Nyamita. Pax Thomas. Ro own. Georgia Webber. Ike Orizu. Kevin Mwachiro. Marion Wanyoike. Angela Machua. Damilola Dawson. Kwame Boakye. Ton rman. Calvin Wanguku. George Nzwili . G Money. Sharon Machira. Sinatou Saka. Rutendo Nyamuda. Olwethu Leshabane. Joh Mashudu Modau. Odudu Efe (Fay Fay). Samir Ahmed. James Smart. Shiv SimanI. Michelle “Shikie” Wanjiku. Maurice Otieno. Sen Bombaa. Oscar Koome. Eli Mwenda. Andile Masuku. Frances Quarcoopome. Nabuguzi Kiwanuka. Pelontle Buthelezi. Nobuh Ugwueje. Daniel Adaaja. Amarachi Nina Uma. Diane Audrey Ngako. Zoubida Fall. Tevin Sudi. Qali Id. Joan Meli. Tony Kibet (Kib isa. Tshepo Ntshole- Hall. Lusu . Umba. Kevin Y. Brown. Georgia Webber. Ike Orizu. Kevin Mwachiro. Marion Wanyoike. Ange aul McNally. Jane Nthanze. Anyiko Owoko. Justin Norman. Calvin Wanguku. George Nzwili . G Money. Sharon Machira. Sinat wame Asante Ofori. Adelle Onyango. Chulu Chansa. Mashudu Modau. Odudu Efe (Fay Fay). Samir Ahmed. James Smart. Shiv S

a. Andile Masuku. Frances Quarcoopome. Nabuguzi Kiwanuka. Pelontle Buthelezi. Nobuhle Nyoni. Ben Cyco .Wanjiru Njiru. ma. Diane Audrey Ngako. Zoubida Fall. Tevin Sudi. Qali Id. Joan Meli. Tony Kibet (Kibz). Owen Njuguna. George Nyamita. Pax Th Y. Brown. Georgia Webber. Ike Orizu. Kevin Mwachiro. Marion Wanyoike. Angela Machua. Damilola Dawson. Kwame Boakye n Norman. Calvin Wanguku. George Nzwili . G Money. Sharon Machira. Sinatou Saka. Rutendo Nyamuda. Olwethu Leshabane a. Mashudu Modau. Odudu Efe (Fay Fay). Samir Ahmed. James Smart. Shiv SimanI. Michelle “Shikie” Wanjiku. Maurice Otieno. mbaa. Oscar Koome. Eli Mwenda. Andile Masuku. Frances Quarcoopome. Nabuguzi Kiwanuka. Pelontle Buthelezi. Nobuhle je. Daniel Adaaja. Amarachi Nina Uma. Diane Audrey Ngako. Zoubida Fall. Tevin Sudi. Qali Id. Joan Meli. Tony Kibet (Kibz). Ow afreeka. Rapcha. Ian. Anne Chisa. Tshepo Ntshole- Hall. Lusu . Umba. Kevin Y. Brown. Georgia Webber. Ike Orizu. Kevin Mwac hilu Lemba. Doris Onyango. Paul McNally. Jane Nthanze. Anyiko Owoko. Justin Norman. Calvin Wanguku. George Nzwili . G M a. Alex Boyi . Joseph Nti. Kwame Asante Ofori. Adelle Onyango. Chulu Chansa. Mashudu Modau. Odudu Efe (Fay Fay). Samir A an Aceda. Cyril Afeku. Donald Aryee. Claire Baker. Akumu Fiona. Stoneface Bombaa. Oscar Koome. Eli Mwenda. Andile Mas y Bekele- Piper. Emmanuel Agbeko Gamor. Olakunle Balogun. Kenneth Ugwueje. Daniel Adaaja. Amarachi Nina Uma. Diane A meokachie. Gathoni Ngumba. Kim Fox. Mwafreeka. Rapcha. Ian. Anne Chisa. Tshepo Ntshole- Hall. Lusu . Umba. Kevin Y. Brow hil Chard. DannythatGuy. Gavin Kennedy. Chilu Lemba. Doris Onyango. Paul McNally. Jane Nthanze. Anyiko Owoko. Justin No eng. Stanley Muthoka. Muzhinga Kankinda. Alex Boyi . Joseph Nti. Kwame Asante Ofori. Adelle Onyango. Chulu Chansa. Ma Abdallah. Wanjiru Kamau. Molly Jensen. Dan Aceda. Cyril Afeku. Donald Aryee. Claire Baker. Akumu Fiona. Stoneface Bomb n Cyco .Wanjiru Njiru. Bidemi Adedire. Lilly Bekele- Piper. Emmanuel Agbeko Gamor. Olakunle Balogun. Kenneth Ugwueje. D una. George Nyamita. Pax Thomas. Rodney Omeokachie. Gathoni Ngumba. Kim Fox. Mwafreeka. Rapcha. Ian. Anne Chisa. Tshe Machua. Damilola Dawson. Kwame Boakye. Tony Doe. Phil Chard. DannythatGuy. Gavin Kennedy. Chilu Lemba. Doris Onyango ka. Rutendo Nyamuda. Olwethu Leshabane. John Wulu Deng. Stanley Muthoka. Muzhinga Kankinda. Alex Boyi . Joseph Nti. K Michelle “Shikie” Wanjiku. Maurice Otieno. Senda Ben Abdallah. Wanjiru Kamau. Molly Jensen. Dan Aceda. Cyril Afeku. Don abuguzi Kiwanuka. Pelontle Buthelezi. Nobuhle Nyoni. Ben Cyco .Wanjiru Njiru. Bidemi Adedire. Lilly Bekele- Piper. Emman evin Sudi. Qali Id. Joan Meli. Tony Kibet (Kibz). Owen Njuguna. George Nyamita. Pax Thomas. Rodney Omeokachie. Gathoni Ng Kevin Mwachiro. Marion Wanyoike. Angela Machua. Damilola Dawson. Kwame Boakye. Tony Doe. Phil Chard. DannythatGuy. e Nzwili . G Money. Sharon Machira. Sinatou Saka. Rutendo Nyamuda. Olwethu Leshabane. John Wulu Deng. Stanley Muthok Fay Fay). Samir Ahmed. James Smart. Shiv SimanI. Michelle “Shikie” Wanjiku. Maurice Otieno. Senda Ben Abdallah. Wanjiru K a. Andile Masuku. Frances Quarcoopome. Nabuguzi Kiwanuka. Pelontle Buthelezi. Nobuhle Nyoni. Ben Cyco .Wanjiru Njiru. ma. Diane Audrey Ngako. Zoubida Fall. Tevin Sudi. Qali Id. Joan Meli. Tony Kibet (Kibz). Owen Njuguna. George Nyamita. Pax Th Y. Brown. Georgia Webber. Ike Orizu. Kevin Mwachiro. Marion Wanyoike. Angela Machua. Damilola Dawson. Kwame Boakye n Norman. Calvin Wanguku. George Nzwili . G Money. Sharon Machira. Sinatou Saka. Rutendo Nyamuda. Olwethu Leshabane a. Mashudu Modau. Odudu Efe (Fay Fay). Samir Ahmed. James Smart. Shiv SimanI. Michelle “Shikie” Wanjiku. Maurice Otieno. mbaa. Oscar Koome. Eli Mwenda. Andile Masuku. Frances Quarcoopome. Nabuguzi Kiwanuka. Pelontle Buthelezi. Nobuhle je. Daniel Adaaja. Amarachi Nina Uma. Diane Audrey Ngako. Zoubida Fall. Tevin Sudi. Qali Id. Joan Meli. Tony Kibet (Kibz). Ow shepo Ntshole- Hall. Lusu . Umba. Kevin Y. Brown. Georgia Webber. Ike Orizu. Kevin Mwachiro. Marion Wanyoike. Angela Ma McNally. Jane Nthanze. Anyiko Owoko. Justin Norman. Calvin Wanguku. George Nzwili . G Money. Sharon Machira. Sinatou Sa me Asante Ofori. Adelle Onyango. Chulu Chansa. Mashudu Modau. Odudu Efe (Fay Fay). Samir Ahmed. James Smart. Shiv Sim nald Aryee. Claire Baker. Akumu Fiona. Stoneface Bombaa. Oscar Koome. Eli Mwenda. Andile Masuku. Frances Quarcoopo Lilly Bekele- Piper. Emmanuel Agbeko Gamor. Olakunle Balogun. Kenneth Ugwueje. Daniel Adaaja. Amarachi Nina Uma. Dia odney Omeokachie. Gathoni Ngumba. Kim Fox. Mwafreeka. Rapcha. Ian. Anne Chisa. Tshepo Ntshole- Hall. Lusu . Umba. Kevi ny Doe. Phil Chard. DannythatGuy. Gavin Kennedy. Chilu Lemba. Doris Onyango. Paul McNally. Jane Nthanze. Anyiko Owoko. J hn Wulu Deng. Stanley Muthoka. Muzhinga Kankinda. Alex Boyi . Joseph Nti. Kwame Asante Ofori. Adelle Onyango. Chulu Ch nda Ben Abdallah. Wanjiru Kamau. Molly Jensen. Dan Aceda. Cyril Afeku. Donald Aryee. Claire Baker. Akumu Fiona. Stone hle Nyoni. Ben Cyco .Wanjiru Njiru. Bidemi Adedire. Lilly Bekele- Piper. Emmanuel Agbeko Gamor. Olakunle Balogun. Kenne bz). Owen Njuguna. George Nyamita. Pax Thomas. Rodney Omeokachie. Gathoni Ngumba. Kim Fox. Mwafreeka. Rapcha. Ian. A ela Machua. Damilola Dawson. Kwame Boakye. Tony Doe. Phil Chard. DannythatGuy. Gavin Kennedy. Chilu Lemba. Doris Ony tou Saka. Rutendo Nyamuda. Olwethu Leshabane. John Wulu Deng. Stanley Muthoka. Muzhinga Kankinda. Alex Boyi . Joseph SimanI. Michelle “Shikie” Wanjiku. Maurice Otieno. Senda Ben Abdallah. Wanjiru Kamau. Molly Jensen. Dan Aceda. Cyril Af

Molly Jensen

Guest Editor in Chief

Moses (Ras) Mutabaruka Editor in Cief

Winnie Mills

Country Coordinator

Paul Kidero

Photographer / Creative Consultant

Shammer Agila

Video Production / Editor

Gathoni Kang’ethe

Contributor & Production Assistant

Lilian Asimba Copy Editor

Mvoi Kigondu

Magazine Design & Layout

Paul Kisuche Illustrations

Cover illustration by Paul Kisuche @kisuche_ Issue 18 Images provided by the TAP Team, Afripods & contributing podcasters

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THE STATE OF PODCASTING IN AFRICA

W

elcome to The State of Podcasting in Africa! This edition has been a labor of love over the last few months and I am proud to announce that this special edition of TAP Magazine features over 80 contributors across 18 African countries. We have collectively made a huge impact and I believe this will be the largest body of work produced on the podcasting ecosystem in Africa.

We are at the exciting intersection of media, technology, storytelling and audio which highlights the large opportunity the orange economy presents. In this edition, we highlight production, content, marketing, audience, distribution and monetization as well as a section in French for our francophone podcasters and listeners. From podcasters who are just starting out, to advertisers who are curious about how the impact of podcasting can help them open up new revenue lines, as well as radio stations looking to understand digital transformation, this edition will showcase the vibrancy across the continent and the robust opportunity for those looking to understand the digital audio landscape here in Africa.

Today, more than ever, African creators have the ability to own their narrative as well as digitally take up space to tell their own stories that may not have been told before on a global level, specifically not under a western lens.

Africa is a continent of rich orated history, having stories of peoples ancestry previously being passed down from generation to generation through spoken word. Now, with Africa being the fastest growing digital market in the world, it makes sense that podcasting would be a natural fit as podcasting creates a new digital avenue to continue to pass audio stories down while reinforcing the power of one’s voice, the importance for them to be heard and the value of them sharing their stories.

I believe community is one of the most important aspects of life across the continent and there are so many podcasters, people and organizations who are helping to pioneer this industry through celebrating creators and developing infrastructure for the industry to continue to develop. In this edition of TAP, we focused on highlighting as many people in this community as we could and to have a true representation of podcasting here on the continent. I believe the value of African podcasting remains here on the continent and building

solutions and creating opportunities that highlight the problems that creators face here on the ground. With support from North, South, East and West, Africa is currently building a robust podcasting ecosystem that allows African podcasters to create content, share content and monetize their content while creating communal spaces that advocate for creators.

Specifically for Edition 18, we wanted to keep a close spotlight to those here on the ground or those born on the continent to show a true representation of what is happening here. I believe that we live in a time where Africa is no longer consuming the narrative of what is cool, but is creating it and exporting its culture on a global stage. I hope this edition of TAP shows the untapped and limitless potential of storytelling across the continent.

I’d like to extend a special acknowledgment to the entire Afripods team for their hard work and contributions to this magazine edition. Kevin, Gathoni, Angela, Stanley, Calvin, Tony, Kwadwo, Fola, Eric, Mary, James and Michael– you are each instrumental in making Afripods work and I feel privileged to work with what I believe is the very best team in the business of podcasting on the continent. Thank you Ras for considering me as your first guest Editor-in-Chief and to all the readers and podcasters who stepped forward to contribute to this issue. I hope that you all enjoy this takeover on the State of Podcasting in Africa!

We move!!

M O L LY

CEO, Afripods

J E N S E N

Afripods is a free pan-African podcast hosting platform based in Nairobi, Kenya building the largest library of African audio stories on the planet. We are the technical infrastructure of digital storytelling and have created an advertising funnel for audio on demand content with the current ability to categorize content in up to 50 languages. Afripods digitally shares the untold stories from Africa and creates the opportunity for podcasters to take up space, capture opportunities and get paid for work they love to do.

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THE STATE OF PODCASTING IN AFRICA

141 JOSEPH & KWAME

131

145

157 MASHUDU MODAU

DIANE AUDREY NGAKO

151 167

AHMED SAMIR

CHULU CHANSA

ADELLE ONYANGO

9

161 FAY FAY

11 CONTENT & FORMAT 29 PRODUCTION 51 MARKETING 65 AUDIENCE & COMMUNITY 79 DISTRIBUTION 91 MONETIZATION & OPPORTUNITY 109 FRENCH ARTICLES 129 PODCASTING 101

ISSUE 18 | 2023

PODCASTING 101

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THE STATE OF PODCASTING IN AFRICA

13

Podcasting 101: Exploring the Essence, Diversity, & Reach of the Digital Audio Revolution

T

he word “podcast” has become a ubiquitous term in today’s media landscape, with celebrities, businesses, and even your friends hosting their own podcasts.

But what exactly is a podcast? Coined by journalist Ben Hammersley in 2004, the word is a combination of “iPod” and “broadcast.”

In essence, a podcast is a digital audio file that is made available on the internet for downloading onto a computer or mobile device.

Typically organized as a series, new episodes are released regularly, and subscribers can receive them automatically through a process called Really Simple Syndication (RSS) feed.

One of the defining characteristics of a podcast is its on-demand nature.

Listeners have the freedom to access podcasts at any time they desire.

Similar to YouTube, listeners can follow or subscribe to a podcast, ensuring they receive new episodes as soon as they are published.

While podcasts traditionally involve audio content, some have expanded to include video formats as well.

The diversity of podcast genres is vast, encompassing topics ranging from comedy and tech talks to news, business, health, lifestyle, sports, movies, and beyond. There truly is something for everyone in the world of podcasting.

Podcasts come in various formats, each offering a unique listening experience.

These formats include interviews, storytelling, co-hosted discussions, roundtable conversations, and even documentary-style presentations.

ANGELA MACHUA Podcast: Zen Moments

These audio files are published on various hosting and listening platforms such as Afripods, Spotify, Apple Podcasts, Google Podcasts, Anghami, Anchor, and more.

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THE STATE OF PODCASTING IN AFRICA

Investigative Journalism Podcasts

A

n important part of storytelling in journalism is who the story is for. An easy thing to say a very difficult ideal to live by.

For the longest time, Africa was christened as the dark continent, the global powers pointed to the fact that most of the continent is without electricity which made doing business here impossible.

Much later, when the world figured out that Africa has a youthful population, a more endearing term emerged “Africa is rising” replacing the condensing tone “Dark continent” All these stems from a very simple point of view, the world knows how Africans die, how diseases ravage her people, and there’s numerous stories about failures of systems.

These stories were told for the west, not for the Africans within the continent and without.

Investigative podcasts are showing that storytellers can center Africans, tell stories that are hard with empathy. The danger has always been that investigative journalism will not survive the governance systems and that the truth might be compromised given that most countries are under some restrictive regimes.

While all that may be true, there’s another point to consider; stories and pressure from outside has proven not to work. In essence,

stories however important, if they are not told for the people where change can be effected is just but a very good Netfilx series.

A famous Swahili maxim goes like this ‘fimbo ya mbali haui nyoka” translated to a stick that’s far away cannot be used to kill a snake, the good intentions and the experiment of stories outside the borders has run its course. The snake needs a stick that’s close to be dealt with.

In many ways, podcast investigative storytelling is starting to show us the opportunities where we can challenge authorities. As a new medium, we have this window to define what these stories are for our audiences and most importantly keep pushing the line and challenging authorities.

For a long time, we have said journalism needs a backbone, that challenges everything and that stands up to be counted. This needs to go hand in hand with heart. Investigative journalism podcasts with prowess storytelling capabilities will help this continent tell hard stories with empathy to an audience that can actually do something about it.

JAMES SMART Podcast Editor, Nation Media Group

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THE STATE OF PODCASTING IN AFRICA

PULSE Podcast Networks: A Success Story & Lessons for Traditional Media

L

ights, camera, podcast!” The rise of the creator market has taken the African scene by storm, with influencers like Broda Shaggi and Wode Maya inspiring a new wave of content creators to pick up their cameras and hit that record button.

In this digital era, podcasting has emerged as a popular medium for delivering engaging and informative content to global audiences.

Even traditional media outlets like television and radio stations, as well as newspapers, have recognized the power of podcasts to captivate

their audience and extend their reach.

Leading the pack is Pulse, Africa’s innovative media company that knows how to inform and engage the continent’s young audience.

Through their Pulse Podcast Network, they have curated an impressive lineup of shows like Pulse Hot Takes, Terms and Conditions by Pulse, Pulse Everyday People, Women Talk Sex

by Pulse, and The Pod Next Door by Pulse. By delivering high-quality content that resonates with their target audience, Pulse has truly mastered the art of podcasting.

17

Key Success lessons from Pulse Podcast Network: a) Reach on Steroids

3. Invest in Tools and Talent

Podcasts break geographic boundaries, enabling unique conversations to reach a global audience. The Pulse Podcast Network leverages this advantage, connecting with listeners from every corner of the world.

High-quality podcasts require the right equipment, editing software, and distribution platforms. A skilled podcast producer and/ or host can make all the difference in your podcast’s success.

b) Engagement Amplified

4. Stay Consistent

Podcasts provide an intimate and personal connection between hosts, guests, and listeners. Pulse knows that engaging the African youth requires a medium that speaks to them directly. With the rise of visual podcasts and supporting platforms, engagement levels are reaching new heights.

Regularly release episodes to keep your audience engaged and eagerly anticipating each new conversation. Uninterrupted and unhinged discussions will keep them coming back for more.

c) Revenue Streams Galore

Promote your podcast network through creator collaborations, social media, email marketing, and cross-promotion on other podcasts.

Consider budgeting for paid partnerships and promos to kickstart exponential growth.

Sponsorships, advertisements, and premium content are just a few ways podcasts can generate revenue. Traditional media can diversify their income sources and boost profitability by embracing podcasting.

Through the shared success lessons, the traditional Media also stands a better chance into tapping into the myriad advantages of podcasting.

Here is how:

5. Spread the Word

6. Repurpose and Conquer Leverage traditional media’s rich history of content formats and creations. Repurpose and creatively tap into digital audience groups, overcoming the geographical limitations of traditional media outlets.

1. Know Your Audience

Traditional media can thrive in the podcasting realm by embracing these lessons from the success story of Pulse Podcast Networks.

Identifying the target audience is crucial.

Extensive research on their preferences and interests will help create content that truly resonates with them.

Lights, camera, and let your podcasting journey begin!

2. Craft a Captivating Content Strategy

Damilola Dawson & Kwame Boakye Pulse Podcast Networks

Align the podcast’s content with the audience’s interests. Choose relevant topics, invite knowledgeable or intriguing guests, and develop engaging formats and segments.

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THE STATE OF PODCASTING IN AFRICA

Industry Insights

How long have you been in podcasting and why did you start?

I

’ve been navigating the podcast space for about a decade now. Making the transition from radio to on-demand was kind of an accident as my original plans were to develop my audio ideas into syndicated shows but some of them were a little too rad for local radio, hence podcasting.

Much of your brand has been focused on access to information, whether it is through your newsletter “Podcast Related”, your podcast “Into the Podverse”, your research in Nigeria or your pod playlists. Can you tell us a bit about each of these items and why you started them?

I’m a heavy podcast industry news consumer who gets asked a lot of questions by local podcasters. I made the transition from

WhatsApp community updates to a newsletter as I wanted to improve my network as well as amplify local podcast wins.

With the podcast, I wanted to talk to powerful industry players and bring nuance to podcast industry events and innovations.

The playlists are usually fresh weekly episodes of local podcasts and an opportunity to introduce the world at large to what Nigerian audio creators are up to.

Research is imperative as data analytics are key features in measuring audio success.

So, it made sense to try to find out who and where podcast listeners are, what they prefer and how they prefer it served. It’s also useful for potential advertisers, sponsors, or brands to find shows that resonate with their target customers.

19 What would be your best tip to share with someone looking to start a podcast?

If you have an idea that would improve lives and you’re pretty good at storytelling, podcasting may just be the way to go, and you don’t need heavy equipment to begin.

Your phone is a powerful tool for recording and editing audio. There are tons of YouTube videos to help. and Afripods is an awesome platform to host, distribute and even monetize your great idea. Believe, Build and Have Fun! Tony says he’s immersed in the audio culture, both radio and podcasts. He curates podcast newsy bits for the newsletter, Podcast Related, he has a small archive of conversations with folks on radio [The Tony Doe Podcast] and chats with radio managers about re-jigging their programming and marketing formats to include podcast strategies.

Tony Doe

The Tony Doe Podcast

You’ve been innovative in creating a platform and a community around therapy and mental health, how did it all come about?

Phil: Personal struggles with mental health and the life-saving impact of therapy inspired me.

In 2017, we paused the podcast due to my absence and my own difficulties.

I didn’t fully grasp what was happening, but I knew I couldn’t entertain.

Seeking therapy, I encountered surprise and assumptions that men only sought help when mandated.

This realization stuck with me as I continued my journey. When I recovered, we relaunched the podcast and I shared my struggles openly.

To our surprise, listeners responded positively, seeking help and referrals.

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THE STATE OF PODCASTING IN AFRICA

Through connections, we formed a mental health podcast, aiding people worldwide.

Dan: Mental health is often ignored and stigmatized in Zimbabwe and Africa.

It was surreal for our entertainment podcast to delve into these important conversations.

We motivated people to seek help and connected them to life-saving interventions, sometimes just in time.

What is the podcasting industry like in Zimbabwe?

Industry is an interesting word. We don’t think there’s an actual industry - yet.

Podcast culture is definitely growing, and we come across new podcasts every week. However, the business around podcasts is still very limited.

I think there’s only a handful of podcasts including ours who have benefited from paid campaigns.

It is a little frustrating because we have more listeners than most big newspapers have readers out here.

Yet still, we struggle to close advertising deals. We make more money from our Patreon supporters who are amazing!

What are the challenges that you’ve faced as a podcast?

Even for podcast enthusiasts, becoming a proficient producer for our show requires training.

The demands of planning, recording, reviewing, and promoting have become increasingly challenging.

Phil Chard & DannythatGuy 2 Broke Twimbos

Why did you start podcasting?

We began our journey from a barbershop in the outskirts of Nairobi, as an advocacy platform for young men and boys in the wake of increasing suicide rates in Kenya.

We took a positive spin on masculinity and self-development. Since then, we have seen a gradual increase in our audiences from inception.

As our agenda has widened to include telling the stories of highly impactful and innovative black and African people, we have grown our community to over 200,000 people across all platforms.

You had a billboard recently in the UK. How does it feel to get global recognition on your podcast?

We are incredibly honored by this achievement and are grateful to our amazing community, the #Sweetboys and the #Mantalkgirls for their incredible support and Spotify for putting our podcast on the spotlight in this manner.

In Africa, the main challenges we face are consistent access to electricity and fast internet.

We hope that more African podcasts will have similar opportunities.

Additionally, finding time for podcast preparation and recording is a struggle.

How are you able to maintain your podcast when your hosts are in different cities or countries?

Recently, we hired a new show producer, but the process took longer than anticipated due to the specialized nature of the role.

Through our emphasis on collaboration, operational excellence within our teams and the support of Spotify Studios in London.

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Our team focused on building a flexible model which allowed us to shoot on both off-site shoots with an independent contractor and an in-studio with Spotify.

We’ve also been strategic with our content packaging; we’ve been consistent with providing insights and hot take packs and I suppose journalistic coverage.

We then reached out to various talents to maintain the quality of our conversations.

Did you face any challenges or obstacles while starting your podcast?

Eli Mwenda & Oscar Koome

Yes. We faced serious challenges with recording, editing, and publishing. We didn’t have access to or know which microphone and proper equipment that we needed to work in different settings.

Mantalk.ke

What sets your podcast apart from other technology-focused podcasts?

A lot of the success of this podcast has kind of happened by accident but I would point to the fact that firstly, before this whole creator economy became a thing, I was already doing that as a broadcaster in a sense. I had already honed my unique point of view and curiosity and developed the ability to synthesize information and complex ideas and to make an audience of people interested.

We also couldn’t edit, and it was expensive to outsource that work and then it was painful to upload a podcast onto the internet because this was during a time when broadband was not a commonplace in South Africa.

Andile Masuku

Africa Tech Round Up

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THE STATE OF PODCASTING IN AFRICA

Podcasting 101 Tips Why did you start your podcast?

I

started the Palaver Podcast so I could capture the untold African stories and perspectives.

Rather than waiting for external press houses to cover topics of interest and so we could see ourselves I decided to start capturing them myself.”

Frances Quarcoopome The Palaver Podcast

What do you wish you knew before starting your podcast?

There’s a lot I didn’t know. I just dived into the work but had no awareness that as a sole player, there would be some sleepless nights, in the effort to be consistent for my listeners. This is what I wish I knew Nabuguzi Kiwanuka Hash Time

Make us Dream What’s the biggest thing you’ve learned about podcasting?

The biggest thing I’ve learnt is, don’t be afraid to go after the things that call for you. When I started podcasting in 2018 I didn’t know what I was doing and most people around me didn’t even know what podcasts were but it just kept calling me.

I had no idea what my podcast could do for me and for others. It was slow and hard in the beginning but so worth it in the end. The world has a lot to offer you if you allow it. Be patient. Keep improving.

Give 100% all the time. You never know where your journey will lead you.

Pelontle Buthelezi She Brigade Podcast

In this society mic selection isn’t just about achieving high fidelity audio. It’s more about achieving fidelity. As in authenticity. When we make formats, we are making them from the heart. When we apply a transition, we are literally touching people’s hearts.

Therefore, I no longer push for high quality. Quality is important. But 1000 episodes later, what I am pushing for now is a high story. Make us dream.

Make us believe.

To all you wonderful African creators out there.

Head up. It’s your time! Story up!

Dan Aceda SemaBOX

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Glossary of Terms in Podcasting 1. Podcast: A digital audio or video file series that can be subscribed to and downloaded or streamed online.

9. Stream: The act of listening to a podcast episode directly from a podcast platform without downloading it.

2. Episode: A single installment of a podcast, typically featuring a specific topic or guest.

10. Show Notes: Descriptive text, timestamps, and relevant links accompanying an episode to provide additional information or references.

3. Host: The person or people who lead and present the podcast. They guide the discussion and often conduct interviews.

4. Co-host: A secondary host who shares hosting responsibilities with the primary host.

5. Guest: A person invited to participate in an episode to provide expertise, share their story, or contribute to the conversation.

6. RSS Feed: A format used to syndicate podcast episodes. It allows users to subscribe and receive new episodes automatically.

7. Subscription: The act of signing up to receive new episodes of a podcast automatically.

8. Download: The process of transferring a podcast episode from a podcast platform to a local device for offline listening.

16. Podcast Directory: Websites or platforms that aggregate and distribute podcasts, allowing listeners to discover and subscribe to shows.

17. Metadata: Information about a podcast episode, such as the title, description, episode number, and release date.

11. Intro: The opening segment of an episode that introduces the podcast, hosts, and possibly the topic or guest.

18. Transcript: A written version of a podcast episode’s dialogue, often used for accessibility, SEO, or reference purposes.

12. Outro: The closing segment of an episode that wraps up the discussion, provides contact information, and promotes future episodes.

19. Monetization: The process of generating revenue from a podcast through advertising, sponsorships, donations, or merchandise.

13. Bumper Music: Theme music or short musical interludes used to separate segments within an episode or as the podcast’s intro/ outro.

20. Analytics: Data and statistics about podcast performance, including downloads, listener demographics, and engagement metrics.

14. Editing: The process of refining and enhancing the audio quality of a podcast episode, removing mistakes or unwanted content.

15. Hosting Platform: A service that stores podcast files and generates an RSS feed, making the podcast available on various podcast directories.

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The Future of Radio In this exclusive for TAP Issue 18, Afripods shares never seen before proprietary research done by a third party to support the digital transformation of radio in Africa. With a strong audio culture and trusted radio history, this research reaffirms that listeners want audio content on demand. Each market has a sample size of 100 split between men and women between the ages 18-65.

With this information, Afripods has introduced “Broadcast-to-Podcast” technology in over 8 markets across over 100 radio stations and growing. This technology allows radio stations to turn their one time content into evergreen content available on demand.

Editors, producers and talent can leverage this technology to make more money through advertising and reach a new digital audience interested in their shows.

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ISSUE 18 | 2023

CONTENT & FORMAT

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THE STATE OF PODCASTING IN AFRICA

C O N T E N T A N D F O R M AT

Building a Sustainable Network for your content Content and community go hand in hand. As a podcast network, it is our content that sets us apart, which in turn is what grows our audience and builds the community we are most proud of and rely on. In 2019, off the strengths of our content and trust for our audience we launched GCR Live, a live podcast event featuring multiple shows, a first on the continent. This was a big swing and the feedback from the community was amazing prompting us to transition to MOSAIC, a fully-fledged podcast festival in 2021.

This growth is testament to our dedicated audience and our team’s continued efforts at creating engaging, informative and entertaining content.

I

n early 2017, Donald and I connected over a shared passion, podcasting. I remember the frantic energy as we went from an idea to recording a test episode and the excitement at being right at the cusp of executing a phenomenal plan. We leveraged our relationships and landed a studio to start recording (thanks Fui!). Having gone through all that work, we recognized there might be others who would be interested in starting their own show and we put the word out within our network. A week later, we had more than 10 people in the studio and together we worked on the creation of three new shows.

A test recording for a 2-person show birthed a podcast network, The Gold Coast Report (GCR). Since then, we have grown from 2 listens to over 1,000,000 and over 20 shows created over 5years.

Values are the mirrors we hold ourselves up to and for us at GCR, sustainability has been at the core of our creation as a podcast network and very much remains in our DNA. In September 2017 we launched ‘GH Pod Week’, which saw a collaboration with other budding Ghanaian podcasters. A recognition of the

fact that there were amazing creators in our space and that GCR does not hold all the keys served as the foundation for building our twoyear podcast incubator program, GCR Labs.

Growing podcasting in Ghana means not only developing our internal capacity as a network but also empowering the wider community with the tools and resources we very much wished we had growing up. GCR subscribes to the quote, If you want to go fast, go alone.

If you want to go far, go together. We want podcasting in Ghana and the wider continent to go much further than we currently dare to dream.

A favourite media trope is when a character attempts to touch the intangible. The shock, fear, and awe that character’s experience while trying to touch the intangible are a few of the things that draw us into their stories.

I bring up the intangible to say a few words about the importance of developing a strong brand identity. For GCR, our brand identity is informed by the values that guide our work.

This extends past our promotional material, show artwork and what our studio looks like.

In an industry that is still establishing itself

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in Ghana and the wider continent, most people interact with our values, the mission, what ‘we are about’ before engaging with us directly or exploring our content. GCR should mean something, and it is the work – seen and unseen – that we put in those feeds into this.

feedback from the community was amazing prompting us to transition to MOSAIC, a fully-fledged podcast festival in 2021. This growth is testament to our dedicated audience and our team’s continued efforts at creating engaging, informative and entertaining content.

Content and community go hand in hand. As a podcast, network it is our content that sets us apart. Which in turn is what grows our audience and builds the community we are most proud of and rely on. In 2019, off the strengths of our content and trust for our audience we launched GCR Live, a live podcast event featuring multiple shows, a first on the continent. This was a big swing and the

As co-founders, Donald and I are very aware that sustainability means GCR surviving beyond us. Nothing like a healthy dose of mortality to get one amped for work, who needs caffeine to jumpstart the day? We are carving out an industry and to succeed it must be one that can generate revenue.

Looking past our shows, the team, and the content, it is the relationships and partnerships

we look to build that will influence how much longer GCR stays chugging along.

Building GCR is a constant process of self-evaluation, balancing present needs with long-term goals, correctly assessing, and meeting the needs of all stakeholders, providing opportunities for direct feedback, and being a supportive and reliable partner. Chale, we move 🏾

🤝

Cyril Afeku & Donald Aryee Gold Coast Report

ISSUE 18 | 2023

listentogcr.com

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Why we Should Focus on Intellectual Property in African Podcasting

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e’ve been seeing a meteoric rise in African podcasts in the past years and the global podcast industry is rapidly evolving as well, we, as African podcasters, have the unique opportunity to develop our own intellectual property (IP) and stand out in a highly competitive landscape. By focusing on creating original stories that are ours, and captivating content that resonates with our people locally and an international audience, we can establish ourselves as leaders in the space and influence the industry. In doing so, we begin to pave the way for diverse monetization opportunities, guaranteed future growth, and better global partnerships.

We need to create and invest more in developing our unique IP, which differentiates us in this globally saturated market, which is crucial for capturing and retaining the attention of listeners. With our distinct voices, styles, and unique stories, we open the doors to highly rewarding sponsorship and/or licensing deals, offer better premium content with subscriptions, sell products that are affiliated with your podcast brands, and more revenue streams than I can mention in this writing.

For us in Africa, it is still a new industry, but it is fast evolving, and adaptability and innovation are critical to succeed in it before we get on the global stage. By focusing on developing creatively unique IP, we future-proof our podcast brands, networks, and creators, laying the foundation for long-term success. Your

podcast if with unique IP will attract the right audience that will be passionate about it and build your community of loyal listeners who will not only amplify your reach but also provide invaluable feedback and insights.

This is an exciting time to embrace podcasting as a medium to tell that one story we know the world will love, to truly express ourselves like no one could, to share valuable knowledge that should not be censored or hidden from history and build communities that will amplify our voices globally. It all starts with us developing our unique own story and owning that IP, we can make our mark in the podcast and creator economy and shape the future of this dynamic landscape. Through our originality, we can inspire, educate, and entertain, while carving out rewarding and sustainable careers in podcasting in Africa.

Together, let’s harness the power of our creativity and stories, invest in ours, and let our voices be heard in the world of podcasting. The opportunities are limitless, and the future is ours to shape as a collective force in the podcast industry.

Ike Orizu Co-Founder & CEO, Jamit

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Queer Love in an African Pod

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started Nipe Story because I wanted to create a platform for African short-story fiction. I’m enthralled by how, through letters, spoken or written, our minds become powerhouses of imagination.

I vividly remember the recording sessions of the first three stories that started the podcast off, not only because I was excited that I was getting this podcast off the ground but also eager to hear the narrators breathe life into the stories. Stories that I had enjoyed reading.

It was also deliberate that queer stories would be part of the fabric of the podcast. They had to be. However, little did I know how big an impact these tales were going to have on me and how badly a platform like Nipe Story was needed for African LGBTQ+ stories. Our existence and how we navigate spaces have been either factual in the form of case studies for reports or news articles or coming out stories.

I had not heard of anything that depicted how hearts galloped in excitement at the prospect of love, when touch tingled, or when raw passion satiates hidden desires and ignites bodies.

Having read Kiprop Kimutai’s story, Dark Well, a while back, this story was an obvious candidate for the first episodes. In December 2017, it was also putting a stamp that Nipe Story was going to place for queer storytelling, with African names, places, expressions, and contexts and recognising the complexity within which our love struggles to exist.

There was also Under the Jambula Tree by Monica Arac de Nyeko. I read this story when it won the Caine Prize in 2007. It was my first insight into African queer love. I was captivated by its daring, yearnings, its safety, fullness and, more so, familiarity. I could picture Nakawa Estate in Kampala. Therefore, to be able to produce Jambula Tree for the podcast was an honour and an acknowledgement of the doors it had opened in the world of African fiction. Nipe Story provides an opportunity to celebrate and propagate our short stories, queer or otherwise.

The American writer and activist Darnell Moore states, “If we create nuanced and accurate cultural portrayals of identity and experience, we have an opportunity to reduce stigma and change perception - impacting everything from HIV to institutional inequity.”

I believe “Nipe Story” is changing perceptions of my community and providing a place where we can imagine queer love or expression in whatever way we want. It is not just my space but our place, for here, our love and who we are is home.

Kevin Mwachiro Nipe Story

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Africa’s new choice of Storytelling

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n Africa, you can’t trail the journey of new media without trailing the journey of storytelling.

The first recorded form of a ‘story’ in Africa was done using drawn images and shapes dating back to the year 5000 BC (Africans were storytelling before this, but this was the first recorded account of it).

Somewhere between 6000–4000 BC, music and dance emerged as a media through which people could express themselves and tell their own stories using rhythm and rhyme. The vastness of languages and sub-cultures led to such a vast array of musical styles and techniques- becoming an anchor for preserving Africa’s stories, preserving their struggle, their history and their hope (even during the height of slavery). As music grew, the continent revisited the use of written text and through 3000 BC to 1900 BC, we had Africans writing poetry and personal accounts.

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multiple expressions and languages within the media is likely to succeed.

Are there advertising opportunities in podcasting?

Absolutely! But it requires new approaches. Firstly, niche advertising is key: while podcast audiences can reach millions, they belong to specific communities and tribes that require engagement around their content ‘nicheness’.

Since then, storytelling has led to the explosion of radio (audio stories), TV (audiovisual stories), blogs (written digital stories), and digital imagery (online animated stories).

Today, storytelling screams to break into the world of podcasting.

Why podcasting?

Well, to answer this question we look at the data and the infrastructure accelerating this media’s growth. The data shows that podcasting holds the mantle in delivering an average of 20% - 25%

listenership in urban areas, with women listening to podcasts three times more than men. In addition, podcasts are accessible if one has a basic smartphone and a data connection.

Given that smartphone penetration is expected to reach 75% by 2025 and the continued decrease in data costs, podcasts are likely to become even more accessible and affordable. This coupled with an estimated 1000 to 2000 languages spread across the continent, means that a medium that allows for

Secondly, audience planning is crucial.

Podcasts allow for data collection and analysis on listener preferences, enabling targeted advertising by specific demographics, geographies, languages, or content markers.

Still confused and unsure: download a podcast. Listen to one. Start one. Share one.

Immerse yourself in the new media and enjoy it. Soon, the advertising ideas will flow through.

Marion Wanyoike

Sources • • • • •

Audio: Britannica. https://www.britannica.com/art/African-music Written Text: https://wendybelcher.com/african-literature/early-african-literature-anthology/ Art: http://www.taneter.org/writing.html#:~:text=Proto%20Saharan%20(5000%20%2D%203000%20BC,to%20at%20least%205000%20BC Mobile penetration: https://furtherafrica.com/2022/07/19/african-countries-with-the-highest-number-of-mobile-phones/#:~:text=The%20survey%20showed%20 mobile%20phone,per%20cent%20respectively%20by%202025 African language: https://alp.fas.harvard.edu/introduction-african-languages#:~:text=Africa%20is%20home%20to%20an,languages%20of%20Africa%20by%20country.

THE STATE OF PODCASTING IN AFRICA

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The Bright Future of Podcasting in Africa

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odcasting has been growing steadily in Africa over the past few years, driven largely by the proliferation of smart mobile phones and the future looks bright for this exciting medium.

Despite the oft-cited challenges of limited internet access and high data costs, there are opportunities that are likely to make podcasting even more valuable to African audiences and further accelerate its growth and adoption as a daily medium.

Arguably, one of the most significant advantages of podcasting is its ability to reach people in remote or underserved areas. Unlike traditional radio, podcasts can be downloaded and listened to at any time, making them a perfect fit for those who have limited access to live broadcasts. In countries where data is expensive or unreliable, podcasting has the potential to be a game-changer since lower bitrates (and thus smaller files) contributes to reduced data charges.

One application that is likely to emerge from this is the development of more podcast networks that focus on, for example, specific regions or languages. By pooling resources and collaborating on content creation, these networks could create a more diverse and engaging listening experience for audiences. This approach has been successful in other regions such as Latin America, where podcast networks have emerged to cater to specific countries and demographics, both locally and in the diaspora.

Another opportunity for podcasting in Africa is the potential for traditional stories to reach larger audiences. Africa has a rich tradition of oral storytelling, and podcasting offers a new platform for this tradition to continue. By sharing stories from across the continent, podcasters can help preserve cultural heritage and create a sense of community across borders.

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There are some interesting lessons that Africa can learn from the growth of podcasting in the United States. For example, one of the most significant drivers of podcast growth in the US has been the development of new formats and genres. While news and current events remain popular, podcasts that focus on topics like true crime, comedy, and personal finance have also gained traction. By experimenting with different formats and topics, African podcasters can find, and grow, new audiences and niches that may be underserved.

The rise of branded podcasts in the US also signals a future opportunity for African podcasters. Brands are increasingly using podcasts as a way to connect with consumers and build loyalty, often through what’s known as Content Marketing. In Africa, where many people have limited access to traditional media, branded podcasts offer a way for companies, NGOs and other organizations to reach their target audiences.

Now if we want to really speculate about some of the less obvious possibilities of how podcasts might have an impact, I’d put my money on two interesting use cases: blended series and community radio training: 1. The “theatre of the mind” is such a powerful phenomenon, that I believe it’s likely we’re going to soon see/hear series that

are a blend or mix of television and podcasts (as distinct from companion podcasts.) Imagine episode one, two and three of a “soapie” are on TV, and then four, five, and six are audio only. Then back to TV for one or two and so on. Once you’ve “met” the characters on the TV episodes, and listened to the story progress on the podcast, I think you’ll have a tough time remembering which episodes you saw and which you heard after a while.

2. Community (parochial) radio should be looking to get all those eager “wannabe” presenters trained to use portable recording equipment and send them out into the community to cut their teeth on interviewing skills, narrative development, and basic editing. These “inters/ apprentices/learners” can then each publish their work on the station’s podcast channel and based on audience growth and feedback, this becomes the pipeline to being a live/onair presenter.

Overall, the future of podcasting in Africa looks to be skewed towards the positive. While challenges such as limited data and internet access remain, there are opportunities that could make podcasting even more valuable to African audiences.

As the medium continues to grow, we can expect to see

new formats, genres, and applications that reflect not only the diverse cultures and experiences of this vibrant continent, but the spirit of innovating over, around, and through, challenges.

Takeaways • Podcasting is growing steadily in Africa, driven by the proliferation of smart mobile phones.

• Podcasting can reach people in remote or underserved areas, making it a perfect fit for those who have limited access to live broadcasts.

• The development of more podcast networks that focus on specific regions or languages can create a more diverse and engaging listening experience for audiences.

• Podcasting offers a new platform for Africa’s rich tradition of oral storytelling to continue and helps preserve cultural heritage.

African podcasters can find and grow new audiences and niches by experimenting with different formats and topics.

Branded podcasts offer a way for companies, NGOs, and other organizations to reach their target audiences in Africa.

Gavin Kennedy

Solid Gold Productions

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How did you come up with the concept for your podcast?

W

e both share a love for documentary style podcasts, and over many months of book club meetings we would dominate the conversation with our podcast preferences, and our idea to start our own!

As we both love adventure, creativity, and getting outside our comfort zone, the idea of the Yes Girls came about organically, and we just couldn’t shake the idea, so we decided to do something about it! It took us about a year and a half to finally take the leap, and thus our podcast was born!

How long have you been podcasting?

Our first episode was released just over two years ago, and we’re still going strong.

What has been your favorite experience and episode to record?

Gosh, there are too many to choose from! Depending on our mood we sometimes feel like the easier ones are more fun, and other times you might catch us in a mood where we embrace how much we challenged ourselves with the difficult ones! I think some highlights for us in terms of how fun and interactive they were including doing baking, with Beldina of Beldina’s

Yes Girls!: Women Empowerment, Saying Yes, Innovation, Audience Building Claire Baker & Akumu Fiona Yes Girls!

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Delicacies, learning barista skills with Martin of Maasai Coffee and Ritesh of Spring Valley Coffee, and doing stand-up comedy, with Brian of Nairobi Comedy Club we brought a bunch of our friends together and had a LOT of laughter! But some of the most challenging would definitely be coding, with Joseph of Mobidev -that was

HUMBLING. That and sound production, with Peddo Brian.

The more technical skills can really have us holed up on our houses for days trying to learn the basics. All our experts are so generous with their time though, and their experts, we’re so lucky that so many have said yes to us!

What has been your biggest challenge that you had to solve during your podcasting journey?

I would say being consistent.

We have to plan ahead a lot, as each episode can take a few weeks of prep and planning and coordinating with experts, between us, and with our producers for the editing.

We’ve set up a good system that works, and being two of us, we can divide tasks in the way that makes most sense to us, according to our skills and interests. We feel lucky to be two of us, as doing this alone wouldn’t be anywhere near as fun or motivating.

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Until Everyone is Free

How important is representation in the podcast space?

How do you envision podcasts will grow in Africa when it comes to local languages?

odcasts give you freedom to express sensitive topics. For instance, if you look at how we worked on Pio Gama Pinto, most mainstream media will not have the audacity to speak about these sorts of topics or revolutionary activities.

Often, you find people from a certain region, who don’t get access to listen to international languages like English for example. As well, some people in urban informal settlements or in rural areas want to talk about issues affecting them using their own languages so there is a need for storytellers from diverse backgrounds to adopt and start sharing stories in a multitude of languages and to build an audience of people who speak these languages.

P

We know what happened to Shiraz Durrani when he wrote about Pio Gama Pinto in a local newspaper. And how after the piece was published, he had to escape Kenya to go to Tanzania and then fly abroad.

Unfortunately, nothing much has changed, if you want to talk about these issues, mainstream media will not even give you access, or the chance.

And this is where podcasts come in handy and bring out all sorts of voices and stories.

For storytellers, the moment you use the local language in areas being affected by a certain topic, the community will want to talk to you and the interaction will be swift and smooth.

Stoneface Bombaa Until Everyone is Free

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How important is representation in the podcasting space?

narratives that reflects the diversity of humanity itself.

epresentation in the podcasting space is of paramount importance as podcasting has emerged as a significant form of storytelling, serving as a platform for diverse voices and narratives.

Storytelling is a fundamental aspect of human nature, enabling us to connect with one another and establish meaningful relationships. It satisfies our innate need for connection, understanding, and empathy. Ultimately, representation in podcasting enhances our collective human experience by weaving a rich tapestry of

At AQ Studios, we currently have 2 shows on air, AfroQueer Podcast hosted by Selly Thiam and Adventures from the Bedrooms of African Women hosted by Nana Darkoa Sekyiamah and Malaka Grant. I work on both shows.

R

Tevin Sudi

AfriQueer Podcast

47 What would be your best tip for anyone starting out in the podcasting space?

Just start! The idea of a podcast can seem intimidating because it is something different from writing a blog/newsletter, or sharing on your personal platforms, but if you have an idea and truly believe in it, just get it going. It can be a steep learning curve, but your confidence does begin to build as you move along in your journey. And if you need help, reach out to people in the space, more often than not people are open and receptive to giving you a hand.

and goes into African women’s experience of pleasure as a political adventure. Umba’s favorite podcast is Its Related I Promise from Jules, Sharon and Sheila, I love that they bring a refreshing perspective of what other young women experience in other parts of Africa. The conversations are very honest and it’s definitely related, I promise :).

Our tip to those looking to start their own podcast is to just start! Your story matters and there is someone out there that wants to hear your perspective, so just start.

Lusu & Umba Feministing While Malawian

Qali Id

The Qonnect

How do you pick guests or decide what topic to cover on your podcast?

I create content I feel I can’t find anywhere else about young women living in today’s world who have to contend with career, kids, mental health and balancing all of that with a healthy and fun lifestyle. The Fun and Fearless Female of today.

Tshepo Ntshole-Hall The Girlfriend’s Series Podcast

What is your favorite African podcast?

And what tip would you give to people looking to become podcasters?

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49

State of Podcasting in Egypt

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y journey with podcasting in Egypt started before even realizing what a podcast was. In 2010, I was producing a weekly online-based audio show affiliated to an American University in Cairo project. It was an audio-digital series, pre-recorded as live, consisting of episodes that can be accessed online, and isn’t this what a podcast is?

Online radio stations in Egypt emerged as a consequence of the growing popularity and accessibility of the internet in the 2000s. More people gained access to online platforms, as internet penetration grew, and individuals and organizations recognized the potential of using the internet as a medium to reach a wider audience.

This new digital era at the time opened new doors for content creators to share their unique perspectives and voices, something not given much space at that time on mainstream media in Egypt. Around the same time, we saw technological advancements in streaming, which made it easier and more cost-effective to broadcast audio content online.

As podcasting started gaining mainstream acceptance in the Arab region by 2010s, we started to see independent platforms hosting and promoting Egyptian podcasts.

Africa is now estimated to have surpassed 10 million, a substantial growth in a limited number of years, according to a 2022 survey.

It is also a linguistically diverse market, with podcasts being produced in different languages such as Arabic and English.

The podcasting community in Egypt has been expanding, with an increasing number of content creators, independent podcasters, and media outlets producing podcasts. Content creators realized that very fast and started exploring niche subjects and perspectives.

And also, mainstream media recognized this potential and have started producing their own podcasts.

Today, the Egyptian podcasting scene continues to diversify, with more potential monetization opportunities paving the way for a bigger market. Some podcasters already started exploring sponsorships, advertising, or collaborations with brands to generate revenue and sustain their podcasting efforts.

Doaa Farid Podcast Lead & Executive Producer at The National News

In recent years, podcasting in Egypt has experienced an expansion in terms of content and genres, and the podcasting landscape now encompasses a broad range of topics.

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PRODUCTION

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Production 101 Kevin Y. Brown Create Your Life Series

The 3 different stages of podcast production are pre-production, live-production, and post-production.

Pre-production is the work done before recording, live production is the work done while recording your pod and postproduction is when you edit your recordings to arrange them in final publishing format.

My golden rule when it comes to podcasting is that “The real work is in preproduction, the fun is in live -production and the magic happens in post-production”.

Here is a roadmap to get your podcast creation process started:

Plan Episode • Design episode theme and questions in advance of recording or having a guest on your show • Rehearse talking points • Plan for your episode time length • Use a timer for your recording to move through segments and keep time • Print out episode script and questions or use computer during recording

Tech Check • Make sure guest and host turn phone and computer notifications off • Make sure guest and host put phone on silent • Do a sample recording to make sure recording software and mic outputs are working correctly. You also want to check acoustics of environment, recording levels etc • Listen to sample recording before proceeding to real recording • Close unnecessary running programs on devices • Shut off and avoid noise makers (fans, air conditioners, radio/tv, animals etc.)

• Close all extra doors and windows

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Guest Welcome • • • • •

Bring your guest onto the recording platform or into the studio to record Brief your guest on what today’s episode is about and the key points you want to hit Warm up your guest with light playful conversation Review guest intro with guest to make sure there are no mistakes Make sure your guest has on headphones and is using a mic preferably

Record • Make sure guest and host have water available to remain hydrated during the recording • Have a pen & paper to take notes on what guest is saying • Have a pen & paper to take notes on editing points for producer

Organize • Rename and back up audio files in 2 places, preferably on the cloud, computer, or external hard drive.

Edit • Add files to your editing software and edit them to your desired format

Publish • Publish your podcast episode to Afripods or your podcast host

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Key features in a podcasting studio

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I

f you’re just starting out, then podcasting really is accessible to almost anyone, thanks to the leaps and bounds in new technology. Armed with a mobile phone and of course engaging content, all you need is a quiet space packed with soft furnishings (to minimize any background noise or echoes), add some headphones if you have a pair (to check you sound ok) and go for it.

If you’re in it for the long haul, however and need to really engage your listeners to build up a following then you’ll need a professional space to help you out, because then, you can’t compromise on sound quality.

The Podcast Studio at KOFISI 9 in Nairobi is perfect for people who want to push their content that little bit further, and we can support you in your new venture!

Aside from the tech (more on that later), we think that a relaxed and engaging atmosphere is key to getting

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the best out of any podcasting host and their guests. Podcasting should be fun and if people feel rushed or ill at ease, they are never going to give it their best. Our studio is a private, cozy, soundproofed space, and our mics are arranged around a wooden table, so everyone can see one another, inviting natural conversation – almost like you’re having a chat over lunch with friends.

Obviously, a key component to a great Podcasting Space is the quality of the technical equipment. Think mics, cabling and soundproofing inside the room and then an audio interface or sound recorder as well as a laptop as backup to record your output.

Compromise on that and you’ll compromise on the quality of your recording. We’ve got three permanent, directional mics in the soundproofed studio with additional lapel mics if more people are joining. There are headphones for people who want to check if they’re happy with their output, but if you don’t want to wear them, that’s okay. Our sound technician will make sure all your levels are correct. Just let them know you’re ready to go.

Once you’ve recorded the audio (and video if that’s something additional you requested), all the checks are done, and after your final KOFISI coffee, you’re free to get on with your day. We’ll send you the raw clip for you to put together or, if you’ve asked for a little more support from our team, we can edit out the bits you don’t like and send you an edited version which you can then upload onto your chosen platform. You might need Afripods to help you with this part.

It really is that easy if you have the support of a great team behind you and with such low barriers to entry, it’s no wonder that so many brands and entrepreneurs have found success through podcasting.

Georgia Webber Head of Content, KOFISI

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Congratulations on winning your award last year! How did that feel?

Industry

F

irstly, thank you so much. After almost 30 years in the industry, I was thrilled. This was a huge honour for me, especially since it was my first time being directly recognized for my work as a voice actor. I received the APVA Spotlight honour last year and was nominated for two other categories: Promo Voice of the Year and Voice Actor of the Year. Over the years, I have voiced many commercials that have won awards, but the voice actor is often left out of the credits at the event. That’s why I appreciate APVA and other awards events that recognize and celebrate our work and showcase the amazing talent of our fellow voice actors.

What is the intersection between being an audio creative as a voice over artist and a podcaster?

Insights

My approach to being an audio creative differs depending on whether on that task I’m playing the role of voice over artist or a podcaster. As a voice over artist, I’m mostly speaking on behalf of a brand or an organization, following a script that most times, someone else has written. I’m delivering a specific message for them. As a podcaster, I’m creating my own content or improvising on the fly. I’m connecting with my audience as Chilu, in my most authentic form or at least that’s what I aim for. It’s not easy to switch between these two modes while being in the same studio, using the same tools, but I try to adjust my energy and vibe accordingly.

Why did you use podcasting as a vehicle to talk about your experience as an audio creative?

Well, I enjoy consuming podcasts that speak to the things I’m interested in. I get to hear about different ways of approaching issues that I encounter. So, my podcast, The Voiceover Plug has two purposes. One is to answer the common

59 questions I get from aspiring voice artists.

Instead of repeating myself, I can just direct them to the relevant episode. The other is to share my unique experiences as a voice over artist in Africa. There are many podcasts from abroad about our community, but not many from Africa. I now also invite some of my peers as guests on The Voice Over Plug to hear their stories too.

How do you see digital transformation between traditional media and digital media as a media entrepreneur?

That’s a great question. As a media entrepreneur and a podcast creator and investor, I see digital transformation as an

opportunity to reach audiences with content that matches their interests and preferences.

We can produce shows with authentic and engaging conversations that cater to specific communities. My podcast is a great example of this. It’s a niche offering that would not have been possible in the past. Digital transformation has given us more freedom and variety in our media consumption, unlike the old days. However, this also poses some challenges. For instance, how do we make our content easy to find and access? How do we persuade people to pay for a subscription or support the creator if the content is behind a paywall? These are some of the dilemmas we are facing and conversations we are having, while we roll up our sleeves to make the best content we can.

Chilu Lemba The Voice Over Podcast

What is your role at SemaBox? My role at SemaBOX is to keep the studio moving. I am responsible for connecting our creators to the production team and to also create and manage a communication channel that can help everybody be successful. You see production takes collaboration and the best production workflows in the world need management. That’s what I do best and how I contribute to helping everybody find success each day.

How long has SemaBOX been producing podcasts?

We have been in existence since 2020 and since then, hundreds of creators have used SemaBOX to publish over 324 shows and achieve over 69M listens worldwide. Our work has reached over 65 countries majority of whom are in Africa.

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What exactly does SemaBOX do and what’s the benefits of being part of your network?

We realize that for many creators, access to equipment and expertise to create a quality podcast is the biggest challenge. The main aim of SemaBOX is to bridge that gap. We want the creators to focus only on creating quality content and to leave the more technical aspects of content creation (I.e., editing, mixing, and mastering) to us. More importantly, being part of the SemaBOX creator network makes you eligible to SemaBOX Money. This is a service where creators will be able to earn revenue from their content from advertisers who have a relationship with SemaBOX. Finally, SemaBOX has PodEX where we bring together creatives in Kenya’s podcasting space to network and learn from each other.

How much money has SemaBOX attracted for podcasters?

SemaBOX is continuing to improve our business development program for creators. So far 20% of our podcasts have become revenue earning and the total revenues across the titles we produce has just passed the $80,000. This has also seen us find paying gigs for over 150 creators and people working with creators.

Are there any expansion plans in store for SemaBOX? Through the Dada Podcast Incubator, we have managed to expand to Uganda and South Africa. However, I have worked in several countries such as Botswana, Zambia, Lesotho, Senegal, Nigeria, Rwanda, and Ethiopia.

What is your favourite thing about your role at SemaBox and from where you seat, where do you think the industry is headed?

I get to see the evolution of podcasters. I have worked with creators who have come into SemaBOX as timid individuals and seen them morph into industry pro’s, some of whom

have gotten employment opportunities in different fields because of their podcasts. I would like to produce more branded podcasts for organizations and create more scripted podcasts. With the growth of podcasting in Africa I am foreseeing more regional industry events, more masterclasses, and specialised workshops.

Doris Onyango SemaBOX

What’s Crap on WhatsApp was a highly innovative show that captured a lot of attention globally. What was the focus of the show and how do you think WhatsApp voice notes intersect with podcasts?

The show was focused on combating disinformation in Africa. It was a way to report on the toxicity of what happens in WhatsApp groups by using the platform to spread voice note podcasts that debunk the very same “crap” and explain what is correct. Podcasts are technically recorded audio available on demand, so voice notes fit into that category. And maybe what separates them is podcasts are edited and produced and developed beyond the “rawness” of the traditional voice note.

How else do you think that podcasters can use WhatsApp to grow their podcast audiences?

I think they can reach audiences that are still intimidated by the podcasting process and don’t want to venture outside an app that they are comfortable with.

Alibi, an award-winning investigative journalism podcast, was revered as the first Serial in Africa. Why do you feel like the genre is important?

Globally investigative journalism in podcasting has exponentially grown. It’s important that Africa doesn’t get left behind when it comes to combining quality journalism with the audio boom. The continent has a strong and powerful history of radio stations reporting local news and even though there is a great industry

61 around podcasts being fun and niche, there is also a real opportunity to get the investigative journalism that is already happening in Africa to a wider audience through podcasts.

Paul McNally What’s Crap on WhatsApp? & Alibi

Tell us about KaBraZen. Why did you focus on creating the stories of Brazen African women as children’s content specifically?

KaBrazen provides children with compelling stories about Brazen women from Africa. We want children to see themselves in our heroes; instead of Wonder Woman, to have Mekatilili wa Menza, Queen Njinga and other brazen African women on their lips. Our children deserve creative compelling content beyond the range of our typical education systems, content that can act as an access point for challenging subject matter with an immersive experience. It’s music and sounds and the brilliant narrator “Aunty Shishi”, telling these rich complex stories as folk tales that kids love. We want every African child to know these stories, to see themselves for the wonders they are.

How do you see audio content for children growing?

and underserved, especially outside of colonial languages and perspectives. Audio content for kids is not a new thing, because audio books and music for kids did and still exist, but having podcasts focused on kids is new and is globally growing. Here in Africa, it isn’t widespread, and we are here to be the pioneers of that.

You launched at Africa Podcast Festival in 2020. Tell us about that, the importance of collaboration and your partners?

It was extraordinary! That 2020 launch was the culmination of a year plus of development, sweat and tears, and having a partner like APF was wonderful. We got to showcase our work, clarify our vision, and gain a new audience. It created opportunities for us including “The KaBrazen Consortium”: Partnering with APF + the best studio in town ZaKikwetu Productions.

Collaboration enables us to maximize on other company’s strengths and help us focus on what we are truly good at, writing, performing and storytelling. Through the support of the HEVA Ignite Culture Fund, we are releasing season 2 in English + translations into Kiswahili later this year.

Jane Nthanze Project Associate, KaBraZen

The children’s content space is both large

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- South African Production Bubu singer, storyteller, TV host and creative entrepreneur.

Tips She dabbles in a lot but What are your best tips for interviewing guests and what was your favorite interview on your podcast?

M

y best tip for interviewing guests is to go with the flow. Have a set number of questions and overview but allow the conversation to take its own course. Make sure you don’t cut off your guests and their line of thought - allow that to flow and go with the flow.

This provides an absolutely beautiful listening experience.

My favourite interview on my podcast was with Pilani

with so much grace. I loved her advice on how she uses her own priority matrix and a value system to manage all her passion projects. She’s a genius and she really gave me one of my best and most enjoyable interviews!

Anyiko Owoko VIP Access

How do you choose who you will feature as a guest on your podcast and What is one tip you’d give to podcasters just starting out?

Since The Flip is a narrative-style show, I generally choose guests who are relevant to the theme of the episode being produced.

That being said, we’re always trying to feature guests that have deep subject matter expertise.

While it’s not always possible to tell in advance, I’ve found that it’s helpful to focus on people who have already shared their expertise in other forums, whether other interviews or panels or their own writing.

I have two tips: one, record 5-10 episodes before releasing anything publicly, and two, hire an editor to do the technical work that you may not know how to do, so you can publish a higher quality show.

Justin Norman The Flip

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MARKETING

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Marketing for podcasts in Africa

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arketing, according to the Oxford dictionary, is the activity or business of promoting products and services, including market research and advertising. Key words, promoting and advertising, podcasting in as much as we would love to romanticize about it, it is not where traditional media is, my late grandma swore by her Radio and in her later years Television which I still try and recall her watching and can’t quite tell the tale of her doing so, partially because she had perennially bad eyesight.

Enough of campfire stories, podcasting is a new media which some seem to say is spreading like a wildfire in the Sahara, I mean you have seen the reports on wildfires on the continent. Podcasting represents something we have for long seen in the west, freedom of expression and even better another avenue for creators to come close to what God did in six days, create.

Over the last couple of years, I have seen podcasters around Kenya and the continent come up with some really genius ideas on how to capture their audience and also make them aware of what they are getting into, below are some of the tactics they have employed.

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Advertising “I can sell Water to a well” I think Jay Z said that, but really and truly you have got to believe in what you do and tell the masses about it, how else will they know? Unless your podcast is on Roll Royce! They do not advertise. From billboards to paid ads on the various social media platforms all these are ways to capture a target audience that is maybe existent or perhaps unaware of your podcast. The trick lies in the mode of media you pick. This is vital as it could mean you are capturing an audience or just missing out on the return on investment.

As a creator myself, I have had to ask myself what is the aim of what I want to achieve, and, from there, should I acquire a billboard or run a paid ad on Instagram?

Whichever you pick as a podcaster, or a budding creative, be sure to achieve the desired result.

Merchandising World over, musicians make a lot of money by going on tour and selling merch to their fans, it’s like a piece of memorabilia to always

remember that one time you saw Beyonce, oops! (Insert your favorite) In Kenya, we have seen Podcasters go the merch way, The Mics Are Open, Sandwich Podcast, Iko Nini, Legally Clueless, Joyride and many more who have successfully gotten their fans to buy and interact with their merchandise. Hoodies, T-shirts, Mugs, Water bottles, wristbands and much more have been the go-to. As the industry grows, I am certain we will see more out of the world ideas and collaborations for merch. I look at merchandise in two ways, we have it as moving billboards and there is also the support for your favorite podcasters as many see it as a way to be able to monetize their creative work.

Live shows “We are going to do a live show!” music to my ears, this is the newest kid on the block.

Even marketers are now embracing it, they are asking podcasters when is their next live show in an aim to capture the podcast audience and sell their wares! Live shows are actually the hardest in a way, I say this as you have to coordinate with a whole team to make them a success. Doing a live event means spending

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money depending on what you want the outcome to be. As in everything podcasting at this moment there is a steep learning curve but with that said we have seen podcasters on the continent do very successful live events that enable the audience to interact, to be in the same room as their favorite podcasters. In the west, we have seen various podcasters go on tour, would you have ever imagined there would be a time podcasters would go on tour like Michael Jackson did?. Live shows and tours have a lot of potential that is to be maximized on to create movements, communities, and revenue for the creators. As a budding podcaster you should not approach this with fear, you can get a small auditorium where you can invite your community of diehard listeners and grow with them to a hall and stadium, it all starts with a step.

Partnerships We live in a generation where on social media you see a lot of paid partnerships with this and that brand, this is because major and most advertisers are now moving away from your traditional media and shifting to all manner of digital, hence podcasting. Podcasting creates

an opportunity that is prime for not only advertisers but also content creators, imagine a scenario where the biggest male skewed podcast does a collaboration with another podcast that is all about women or one that is all on single mums! These are all different audiences that perhaps did not know of each other, this is called cross promotion, the oldest trick in traditional media but also effective in podcasting. As content creators, just as advertisers do, in one way or another, we all do have an untapped audience.

Ladies and gentlemen, behold those are some of the ways to go about marketing your podcast, simple and not too time consuming but this is not the whole gospel there are many ways podcasters have been able to capture an audience, the world is literally yours.

Calvin Wanguku The Mics are Open

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10 Ways to Market Your Podcast Kevin Y. Brown Afripods

Help your guests promote your show Make it easy for guests to help you promote your show by providing them a post guest packet of social media assets such as video, graphics etc.

Have an email or text strategy Create an email or text message strategy that will give you a direct contact to your listeners and allow you to sell directly to them.

Ask guests for reviews Ask your guests and listeners for reviews and then read them live on your show.

Repurpose your content Turn your podcast into an article that can be shared on other platforms

Use Promo swaps Create an ad for your show and put it on other podcasts and allow other podcasters to run ads on your show as well.

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Make great cover art Research cover art in your niche to see what is working and then make changes to stand out. Here are few hacks: Put a great picture of the host(s) on the cover, Display your show name clearly, cover art colors should align with your overall brand, always include the host name.

Be consistent Publish your content consistently and on the same day of the week or date of the month. Ex: First Tuesday of the month, 15th of every month, every Thursday.

Create digital products Create an ebook , calendar or book of quotes or anything else as a giveaway from your show notes.

Find your tribe Know where your audience is and post, network and promote in those spaces.

Create separate social media accounts for your show Your Podcast should have its own social media accounts to make sure its content is 100% for its listeners. Mixing your podcast socials with your personal page can confuse listeners if they see something outside of what your podcast is about on the page.

Have a call to action at the end or in the middle of your show that tells listeners to subscribe, write a review, follow you on social media or do something that helps your podcast business.

I would strongly advise any podcaster to phase these 10 options into your marketing plan, do not try to do all of these at once because it can be overwhelming. Simply, start with 1 or 2 and build your podcast into a well marketed media outlet.

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Industry Insights

How did you come up with the name of your podcast and who makes up your community?

T

he name the Mics Are Open was created from the fact that we were all radio presenters, and the podcast was going to be our vehicle to discuss all the things that we couldn’t talk about on air.

It’s hard to define who makes up our audience outside of the statistics. I’d like to think it’s just a community of people who want to laugh at the end of a tough week! We are a group of escapists basically.

The Mics are Open is one of the most popular podcasts in Kenya. Do you remember your first advertisement on the show?

The first brand to trust us was Prudential Insurance. We did a series on financial literacy

with them.

Your live show earlier in 2023 sold out at the Kenya National Theater. How many people attended and what did you want your fans to take away from the experience?

The live show was very successful with over 600 people paying to hear us talk nonsense. I think for us, we wanted to create a performative, interactive experience. We wanted our audience to be completely immersed and involved.

Hence, we created a pod booth where they could record their own podcasts. We wanted it to be a visual representation of us behind the mics.

What would your advice be for those looking to monetize their podcast?

Consistency and creativity. Don’t be afraid to

75 approach brands with your ideas. They are looking for non-traditional marketing ideas.

Build it and they will come.

Influencers into Podcasters

G Money The Mics are Open

We went into podcasting because we felt that we would like to tell our story to our audience to hopefully help educate, inspire, and entertain. To provide more insight into a long-term relationship like ours and other relationship dynamics.

How did you come up with the name “The Sandwich Podcast”?

We touch on many topics, mental health, lifestyle, school, working as a Gen Z and all this is given through comedy just like the way a sandwich has different ingredients inside the bread.

Why did you decide to have your first live event?

We saw it as a great opportunity to interact with our community and have fun while we are at it. We kept on meeting them in different social settings, and we were constantly having a great time interacting with them, it ended up being one of the greatest moments we’ve had as a team What is it like being the only woman in the crew, Joan?

I love it! Working with men is very interesting, my cohosts are fun people to work with too.

They make it easy and respect my opinions.

Also, I get the best treatment, almost everything goes my way, I love it.

What is your advice for podcasters who have multiple hosts? What are some lessons you’ve learned?

Form a genuine relationship with your cohosts.

Working with people who share the same values and passion as it makes it easy to work together.

Why did you decide to go into podcasting?

What has been the most significant difference between being influencers on YouTube to becoming podcasters?

We came into the podcasting scene with some help from prior experience on other social media platforms (IG and YouTube). The change has not been very different except that there’s more emphasis on audio than visual content What is it like working with your romantic partner and creating content for your audiences across different platforms?

The upside is that we know each other’s strengths and play to that when dividing tasks and roles. We also generally enjoy creating relatable content together. The not-so-great side is sometimes, if there are disagreements at ‘work’, they follow you home lol.

What have you learned since you started podcasting?

Planning matters a lot! There’s a large untapped audience. Audio visual podcast content can be repurposed for many other platforms.

Shiv Simani & Michelle “Shikie” Wanjiku The Unit Podcast

Joan, Kibz, Owen & George The Sandwich Podcast

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Marketing Tips How do you get people to listen to your podcast?

U

sually, I create a group on Telegram and WhatsApp where I share all about episode releases and podcast information. I then take advantage of my list of followers on social networks and promote my episodes with the Angolan community that lives in Diaspora. I interact with people who listen to the podcast and attend networking events to talk about my podcast to new people.

It should be noted that internet penetration in Angola is still weak, hence my audience comes from Brazil and the Portuguese speaking diaspora.

Pax Thomas Voices & Echos How do you market your podcast?

I market my podcast on an episode-by-episode basis, by choosing to explore topics and ideas that are certain to capture the attention of anyone who comes across it, by using captivating titles, visuals and most importantly, captivating audio content.

The title and the visuals combine to provoke the curiosity of anyone who comes across my content on platforms like Twitter and Instagram. I make sure the actual episode is such that, when they listen, they will be compelled to share it with their network. At key moments in the episode, I also encourage the listener to share it.

I also share quotes and noteworthy snippets from the episodes on Instagram, WhatsApp, and twitter. I use memes and trends to create interest. I use all the tools at my disposal, really.

I find creative ways to collaborate with brands and businesses so that my podcast can reach their audience while also getting paid in the process.

These are the ways I market my podcast. I hope you find these useful to your audience.

Rodney Omeokachie The Young God

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AUDIENCE & COMMUNITY

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The Importance of Community for Podcasters in Africa.

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odcasting can be a very isolating medium to be a part of where many people do not understand what podcasting is. Community plays an integral role in the world of podcasting, offering podcasters valuable space to connect, grow and get support for themselves on their podcasting journey.

While each podcasting community may differ in its specific dynamics, the broader importance of community transcends individual platforms. In this article, we explore the significance of community for podcasters, emphasising its role in fostering collaboration, providing support, and facilitating the overall growth of the industry.

At its core, community creates a space for like-minded individuals who share a passion for podcasting to come together. It serves as a space for podcasters to connect, interact, and engage in meaningful conversations about their craft. By joining a podcasting community, individuals gain access to a network of peers who understand the unique challenges and joys of the medium.

One of the key benefits of community for podcasters is the opportunity for collaboration. Within their podcasting communities, podcasters can find

potential guests for their shows, cohosts for new projects or gain access to peer mentors who can guide them on their podcasting journey. Collaborative efforts not only diversify content but also allow podcasters to tap into each other’s expertise, knowledge, and experiences.

These collaborative efforts can in turn create innovative and compelling content that resonates with their audience while giving access to new audiences from their collaborators. We have seen this happen from events planned by Afripods in Kenya. The Yes Girls used this year’s Africa Podcast Day celebration to get other Kenyan podcasters to participate in videos for their podcast’s social media.

This allowed for each of the podcasters to have a platform on the Yes Girls social media while allowing the podcasters audiences to learn about the Yes Girls.

Support is another crucial aspect in community. The podcasting journey can sometimes be isolating, with hours spent recording and editing in solitude. However, being part of a community offers a sense of belonging and encouragement. Fellow podcasters understand the challenges experienced and provide emotional support, advice, and practical solutions to common problems. Community creates a collective space where wisdom and experiences are shared and can be invaluable in maintaining motivation or ISSUE 18 | 2023

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overcoming obstacles. One of the podcasting communities in Africa that has done an amazing job with this is Naija Podhub. They have created WhatsApp groups for the podcasters in their Nigeria where anyone can write any questions they have or share their wins with the group and get the collective to join them in the celebration or give them solutions to their problems.

Education and learning opportunities are limitless within podcasting communities.

One of the greatest challenges that African podcasters say they have is the lack of educational information on podcasting when they are looking to start. Events, workshops, and hangouts planned by communities allow

podcasters to expand their knowledge, get exposed to new techniques, and discover industry trends. Educational initiatives help podcasters enhance their skills, improve content quality, and allow them to stay up to date with the ever-evolving podcasting landscape. By learning from industry experts and fellow podcasters, they can refine their craft and elevate the overall standard of podcasting within their community.

Networking remains a significant advantage of being part of a podcasting community.

Within the community, podcasters can connect with fellow creators, advertisers, and industry professionals. It also gives them visibility in front of audiences they might

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not have otherwise had access to. Networking opportunities may arise through community events, social media groups or dedicated podcast centered platforms. Building relationships and the exposure garnered from within the community can help podcasters gain recognition and establish their credibility in the industry.

As the podcasting industry continues to grow, evolve, and expand, community also grows in importance. Podcasting communities provide access to resources and emerging opportunities encouraging podcasters to explore new formats, experiment with innovative ideas, and connect with potential sponsors or advertisers.

By actively engaging with the community, podcasters position themselves at the forefront

of industry developments, fostering growth and sustainability.

In conclusion, being actively engaged in a community can help podcasts position themselves in the industry, ensuring growth for their podcasts and allowing them to enjoy long-term success. Embracing the power of community can elevate not only individual podcasters but the industry as a whole.

Gathoni Ngumba Community manager, Afripods

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AUDIENCE (Who you talk to) Larger group of people who engage with you and choose to engage with your content.

Audiences resonate with others.

Audience vs Community To build an audience, you help people.

To build a community, you help people help each other.

David Spinks

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SIMILARITY Audiences are built from being receptive to what is shared and what the group does. Once you have a highly engaged audience, you can build and scale your audience to create smaller spaces of ownership, or communities.

DIFFERENCES • Audiences can be purchased; communities must be earned

COMMUNITY (Who talks to you) Small, highly niched and committed group of people to a particular activity, hobby, shared belief, group, or audience. Smaller group of people who choose to engage with you and participate in creating the space. The deepest form of connection. People who engage in communities feel good belonging to a space with a group of likeminded people who feel encouraged to actively participate.

• Audiences must be engaged with by you, communities engage with you on their own • Audiences can be impersonal, communities are focused on the podcaster and individual • Audiences can be cruel and harsh; communities are supportive and forgiving • You grow an audience, you build a community • Audiences passively consume content; community’s activity contribute and bond • Audiences receive one way communication (“one to many relationships”), communities have two-way communication (“many to many relationships”)

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Industry Insights What were the three things you did to establish podcasting at your institution (The American University in Cairo)?

in Cairo and in Egypt more broadly. The academic part is that it’s held on an academic campus.

y default, teaching audio radio is a contribution. That is one course that we’ve had on the books for some time since prior to my arrival. However, I did pilot and design the university’s first podcasting course, Introduction to podcasting, which officially went on the books in fall 2021.

The course had been piloted for two years prior to that. My colleagues say it’s the first one in the region, but I’m not so sure about that. I haven’t done any research to confirm that.

I felt like there was a need for this community to exist, at least for knowledge sharing opportunities for people who are new to the podcast community and for people who had been around and wanted to share knowledge.

Naturally, that led me to do Cairo Podfest especially since I knew that other Podfest were happening in other parts of the world.

The second thing I’ve done was to start the Ehky Ya Masr podcast. An initiative with my former students because my former students wanted a platform where they could continue to produce narrative nonfiction pieces.

Cairo is an interesting place. Egypt is an interesting place in general. Things are ‘faddy’ quickly and trendy. So, people don’t like to stick to one thing and podcasting has become that thing.

That means I see a lot of people come and go.

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And the third thing is Podfest Cairo. I annually apply for conference planning funding from my university, and we utilize the university’s downtown campus, the Tahirir campus to host the festival.

What is and what led you to Podfest Cairo? And is there any academic connection to Podfest Cairo?

Podfest Cairo is not an academic event, it is an event to cultivate the podcasting community

How do you sustain the community of Podfest Cairo?

Sustaining the community is challenging especially because my hands are already in a lot of pots, but I do my best. I’m committed to bringing the community together annually during Podfest Cairo.

Kim Fox “The Podcast Professor” Podfest Cairo

endasportswear.com

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How do you engage with your listeners and create a sense of community around your podcast?

Audience & Community Tips

What tip would you give to podcasters in Africa?

ur podcast is mostly fan funded. So, as a result, we normally ask fans to sponsor shows and even suggest topics they would want us to explore. We also have LIVE Friday shows that stream on YouTube. We answer fan questions and even engage some with LIVE interviews.

Finally, we have both YouTube members and Patreon members who get exclusive access to some content.

Start where you are and with what you have. Very often whenever people ask about getting into this field they are overwhelmed by the equipment and processes which psyches them out. I believe in starting small and build up. This allows you to build momentum, learn and know if podcasting is really what you want to do. Because this field is a slow burn (for most people) that needs consistency and discipline to push through the mundane- like all great things are created.

Mwafreeka, Rapcha & Ian Iko Nini

Anne Chisa The Root of Science Podcast

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How do you grow your fanbase/audience?

“We, at Its Related I Promise, have grown our audience by having an “Africa-first” strategy, rather than just a ‘Kenya’ strategy, which is where we’re from. That means during our editorial meetings we make sure our topics resonate with the wider continent, allowing more people to consume our content. Our goal is to connect with women in Accra, Joburg, Kigali and all corners of the continent and demonstrate that as urban women from the continent, we’re all basically dealing with the same sh*t/ issues! Be it matters love, sex, career, finances or even just our hair.

How can the podcasting community best support the creators and founders of podcast festivals?

Podcasters must commit and give their time in the organization of festivals. They must promote it to highlight the community. We need them to also participate in the emergence of other podcasters Sinatou Saka Oxo Podfest

The one tip I would give is to be consistent with posting your content. If your audience can count on you then they will keep coming back.”

Sharon Machira It’s Related I Promise

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DISTRIBUTION

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Building products for Africa with the African creator in mind. How Afripods is supporting the podcasting ecosystem.

Molly Jensen CEO, Afripods

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he podcasting ecosystem on the continent is in its early days.

We are in an exciting period of adoption for people who create podcasts, people who want to listen to podcasts and awareness for those learning what a podcast is.

The only way to truly support the young podcasting ecosystem on the continent is by contributing, by breaking down barriers to entry and keeping our feedback loops short enough to directly create solutions that African podcasters want and need.

With Afripods, we are building the largest library of African stories on the planet and the advertising funnel for audio on demand.

The most powerful person in Africa is the storyteller and as a continent with a rich orated history, we have an exciting opportunity to take up space on a global playing field.

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How to choose a podcast hosting platform

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ll podcast hosting platforms have the ability to hold your content and distribute it across multiple listening platforms for your audiences to hear your content. Whether you choose Afripods, Spotify for Podcasters, Soundcloud, Stitcher, Red Circle, Jamit, Teraki or Atunwa, you have a plethora of options when it comes to where you want your content to live.

With Afripods, we are building the home of African podcasting and our focus is the African on the continent and those across the diaspora.

Right now, it is very difficult to get paid via your hosting platform as an African podcaster on the continent.

There currently are not any hosting platforms actively paying podcasters on the continent and Afripods is working to fix that.

We are making it our mission to get African creators paid for their work while seeing them take up as much space as possible.

Your host is where you would be able to insert dynamic advertisements via a pre-roll, a mid-roll and a post-roll and in order to get paid, you have to choose a platform that will pay out to African creators.

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1. Distribution You want your podcast to be available on as many platforms as possible. The beauty of RSS is that you can distribute across multiple platforms and be available wherever podcasts are able to be listened to.

Your hosting platform would be responsible for helping distribute your content across each listening solution for your audience to enjoy.

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2. Statistics Arguably one of the most important features of a hosting platform is your statistics dashboard and your data.

From your data, you’re able to learn when people listen to your podcast, when they drop off, where they are listening, etc.

With data, you are able to create insights that then impact the decisions you make as a podcaster. If you know your listeners are tuned in on Wednesday mornings or Friday evenings, you’ll better be able to serve your niche communities and meet your listeners where they are.

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3. Discoverability How do you find African podcasts? Searchability is challenging for the entire podcasting industry and there are constant innovations to help solve that problem.

For podcasters on the continent, Africa Podfest has an African Podcaster directory, AudApp and Teraki are phone applications, and Afripods have an app as well an online library to help listeners new shows.

The global giants for listening include YouTube, Spotify, SoundCloud, Apple Podcasts, Google Podcasts among others.

Together, we have an opportunity to put Africa’s digital storytelling on the map. It is my belief that Africa will be the largest podcasting market in the world due to the affinity for audio, comfort with radio and that we are the fastest digital growing continent in the world.

I think podcasting may look different in the west than it does here on the continent, but we are rich with opportunity and a culture of people with an innate understanding of community and vibrance for storytelling. Africa is the future and podcasting is here to stay.

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Podcast Data & Listenership in Africa

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odcasting is still a very nascent media genre on the continent. It has the potential to be a trusted source of information and it gives experts an opportunity and space to go a little bit deeper into public interest issues, unlike mainstream media.

Due to its importance and potential opportunities, Baraza media decided to conduct research to learn more about the sector.

We looked across three countries Nigeria, Kenya and South Africa) with over 300 respondents.

Some of the surprising factors were, for example, in Nigeria, most people listen to their podcasts on their laptops. I guess this could indicate some infrastructural challenges in Nigeria, where there is no consistent electricity supply, hence most people preserve their phone charge and use their laptops when plugged into an electrical cable.

Another interesting finding was that people love listening to podcasts that are between 15 to 25 minutes long. This could be because most people listen to podcasts while in traffic, a contributing factor to this is that data showed that most people listen to podcasts in the morning and evening as they head to and from home.

The essence of doing research for us is not only to know where to plug in and assist as an organization. But, also to know how to bring in policymakers from a data-driven point of view. Some of the recommendations we’d like to bring forward are 1. Could the cost of data be lowered so that there’s more pervasive listening of podcasts?

2. Could the infrastructure be improved in terms of internet access?

3. Could there be an opportunity to work with smartphone producers to have the cost of smartphones lowered, so that people can have more podcasting listening opportunities?

Because an ecosystem is not built by an individual or an organization, it’s the responsibility of a collective mind. At Baraza, we also hosted a festival “Africa Media Festival”, where we had everyone within the podcasting and media value chain brainstorm on various ways of mainstreaming podcasting in Africa. The novel ideas and interesting discussions were the tip of the iceberg based on the investment we have seen lately get channelled in the sector by global companies like Spotify and Netflix That’s why, for us leading with research and data, minimizes the chances of failure, especially in an industry that yearns for validation and is faced with various challenges including funding.

Thus, I would urge anyone who is thinking about investing in podcasting or in media to invest in the research and experimentation programs that build on the knowledge and channels that already exist, especially those that hold space for African Voices.

Maurice Otieno Executive Director, Baraza Media Lab

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Podcast Data & Listenership in Africa 2021 Research by Baraza Media & Africa Podfest

Podcast Listeners by location

Podcast Listeners by age

Podcast Listeners by language

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Industry Insights

Why did you start the first pan-African podcasting magazine on the continent?

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he launch of the magazine is a fascinating story, largely because it didn’t initially factor into the Podcast Sessions’ strategy. We launched the podcast back in 2020, accompanying it with a lead magnet - a concise PDF entitled “5 Things to Consider Before You Start a Podcast”. The response we received was overwhelming, with our audience eagerly asking for the release date of the next installment.

Seeing as I come from a publishing background with experience working for publications such as ELLE SA and Forbes Africa, I had a well-rounded understanding of what it takes to put together a publication. In July of 2020 we launched our first full issue and since then, we’ve had the privilege of issuing ten remarkable editions spotlighting podcasters across the continent.

As time went on, we recognised the need for our platform to consistently share industry news. We then launched a dedicated podcast

news website tailored for African podcasters.

And then this year we took it a step further and launched a weekly news roundup called, “This Week in Podcasting / African Podcast News”.

In this video take of a traditional newsletter we delve into the week’s top stories, each dissected with a unique African perspective.

How have you seen podcasting change since you started your magazine?

Since our magazine’s launch, the podcast industry has grown and changed in the most amazing ways. Some of the changes I’ve noticed include: 1. An increase in the quality and quantity of podcasts. The focus is no longer solely on the length of a podcast or specific voice - but on its entire production and ability to engage and captivate listeners. Given the variety of successful podcasts across different genres, it’s evident that there’s no one-size-fits-all formula 2. We’re witnessing a growth in live podcast recording sessions. This interactive format brings an additional layer of connectivity ISSUE 18 | 2023

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between podcasters and their audience, making the experience more vibrant and immersive.

3. Podcast distribution platforms are demonstrating increased support for creatives. They certainly all want us on their platforms and seek innovative ways to attract and retain creators.

What trends have you noticed happening on the continent in podcasting?

The most prominent trend in podcasting right now is undoubtedly the incorporation of video.

Content creators are making use of video, not just to film end to end, but in inventive ways to enhance their podcasts, adding another dimension to the audio content.

Another major trend is content repurposing.

From a single podcast episode, creators are creating content to cater to various social media platforms, such as TikTok, YouTube, Twitter, Instagram, LinkedIn and the list goes on. They’re even generating blog posts based on their podcast episodes. This strategy extracts maximum value from each podcast episode, creating a well-rounded and comprehensive content package.

What is your hope for the future of podcasting in Africa?

The future of podcasting, particularly within the African continent, has very exciting opportunities. I foresee a rise in the number of production-centric companies in this industry, along with a surge in substantial podcast sponsorships and partnerships.

We’re going to witness increased international recognition for Pan-African podcasts. This year has already seen monumental strides in this direction. For instance, Mantalk.ke, an

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award-winning Kenyan podcast founded by Eli Mwenda and Oscar Koome, made history as the first sub-Saharan African podcast to produce an entire season in the United Kingdom. The hosts of “I Said What I Said”, Jola Ayeye and FK Abudu, featured on a billboard in London’s Leicester Square. Moreover, Radio Workshop’s podcast, “I Will Not Grow Old Here”, was a finalist at the prestigious Podcast Academy’s Ambies Awards.

an influx of world-class productions, further bolstering the vibrant podcasting scene.

We also cannot forget the incorporation of AI in podcasting to support aspects of production - there’s a lot happening on the AI front and only time will tell what the relationship between podcast creators and AI will look like.

Rutendo Nyamuda Podcast Sessions

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MONETIZATION & OPPORTUNITY

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M O N E T I Z AT I O N

5 Easy Ways to Monetize Your Podcast Stanley Muthoka Afripods

Podcasts can be a hobby or a business, and monetizing a podcast requires time and effort.

Here are five easy ways to monetize your podcast

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1. Advertising Advertising is the most common way to monetize a podcast.

You can sell ad space on your show to companies and brands that are relevant to your audience.

Sponsorships, host-read ads, and programmatic advertising are different ways to do this.

Sponsorships involve working with a specific company or brand to create custom ad spots that run on your show.

Host-read ads are commercials that you read yourself, usually in a natural and conversational tone.

Programmatic advertising involves using an advertising network to automatically serve ads to your audience based on their interests and demographics.

4. Crowdfunding Crowdfunding allows you to use platforms like Patreon, Kickstarter or GoFundMe to raise money from your listeners.

You can offer various incentives like access to exclusive content, personalized shoutouts, or merchandise in return for their support.

Crowdfunding works best if you have a loyal and engaged following. You also need to provide your audience with a compelling reason to support you.

2. Sponsorship from a Network

3. Affiliate Marketing

Joining a podcast network can help you monetize. A podcast network is a company that produces and distributes podcasts, often on a specific theme or topic.

With affiliate marketing, you promote products or services on your show and earn a commission on any sales that are made as a result of your promotion.

These networks can offer sponsorship opportunities to individual podcasters within their network.

You need to find products or services that are relevant to your audience and join an affiliate network or reach out to companies directly.

The benefits of sponsorship from a network include a larger audience base and greater reach, access to recording equipment, editing software, and distribution platforms, as well as guidance and feedback on the content of the podcast.

When you promote the product or service, you provide your audience with a unique affiliate link. If your audience clicks on the link and makes a purchase, you earn a commission.

5. Membership or Subscription Models

Conclusion

Creating a membership or subscription model allows you to offer exclusive content or other benefits to your listeners in exchange for a monthly or yearly fee.

This could include access to bonus episodes, exclusive merchandise, or even live events.

To make a membership model work, you need to provide your audience with high-quality, valuable content that they can’t get anywhere else. You also need to have a loyal following who is willing to pay for your content.

The podcast market is growing rapidly and offers a diverse range of content for listeners.

As more people adopt smartphones and access affordable internet, the demand for audio content will continue to increase.

With the support of local podcast networks and an engaged audience, the podcast industry in Kenya and in Africa is poised for even greater success in the future.

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Celebrating African Audio Creatives: The Power & Potential of Their Stories

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frican Audio Creatives face a lot of obstacles from funding and sponsorship issues, studio space, to production and distribution of content. Nonetheless, they keep navigating through these barriers to put Africa’s audio industry on the map.

From the likes of Adelle Onyango to Suwilanji Siame, these creatives are changing audio entertainment for the better. And their effort has seen a steady growth of the African audio ecosystem. At this point, we can say that the future of Audio Journalism, Podcasting, Voice Acting and Spoken Word Art is bright.

However, these challenges call for an urgent need to motivate dedicated

creatives to keep going despites the problems. One such motivation is the African Podcasts and Voice Awards (APVA).

They come to life through the Association of African Podcasters and Voice Artists (APVA) and its dedicated partners.

The awards are “a support system for leading and aspiring podcasters,voice actors, spoken-word artists, and poets.”

The APVA awards are also a fulfillment of the Association’s mission to enhance the influence of African audio creatives who deserve recognition for showcasing Africa’s audio creativity and exposing Africa’s unique voices to the world.

On that note, 2023 comes with the 2nd edition of the APVA Awards. Nominations began on May 1, 2023. And this year’s awards theme, “Voices of the Future.” is specially chosen to spotlight the new era of audio creativity and innovation in Africa.

Muzhinga Kankinda The Podcast Host

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The Importance of Resources in the African Podcasting Industry

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he ability to create and distribute audio content to a wide audience has opened up a world of possibilities for creators, businesses, and organizations in Africa.

With South Africa, Kenya and Nigeria leading the market, the limit in resources is still a big conversation on the continent.

Podcasting is yet to reach its full potential in Africa but the question is where is it lacking and how can it be fixed?

One of the biggest challenges in the podcasting scene within Africa is access to equipment. With most podcasters starting off using their phones and headsets to record their content, quality is compromised.

The same podcast is to be released on a market that has high-quality podcasts that are mint, making the chances of its growth very slim.

Accessibility to highquality microphones, recording software and editing tools is essential to African podcasters.

The African podcaster’s dream is to see more organizations such as Semabox (Kenya) and Podcast Studio (South Africa) blooming.

Both of these organisations have opened their doors to podcasters in their respective countries and allowed them to walk out with CD-quality audio.

Imagine an African podcast distribution/ hosting platform that allowed listeners to filter podcasts by region, country and genre.

Sometimes you want to find out what the latest news in Ghana is whilst on the go. And other times you want to know which part of Zimbabwe to visit for your holidays.

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through advertising. Do you know what breeds growth?

Competition, the more platforms like these emerge, the larger market and that is how Africa will fully tap into its potential.

As we work hard on getting equipment, curbing the high internet prices and building hosting platforms it is also important for us to invest in the creators themselves.

It would feel like we are putting the cart before the horse if the podcasters lack training, knowledge on marketing and mentorship.

Most podcasters give up because their thought process was that putting out episodes was enough for the to get numbers and start making money, which is very untrue.

At present moment Afripods has seen the light and grabbed the opportunity.

Their platform hosts African podcasts, allows audiences to discover African voices and creates an opportunity for creators to make money

Podcasters need to learn how to create compelling content, and how to monetize and market their podcasts effectively. The Podcast Sessions play a role in providing information such as how to start, podcasting tips and podcasting news through their podcast, website and Pan African magazine.

We also have platforms such as The Podcast Festival and Barazza Media Lab that bring creators together to share their journeys, lessons and the key things to take note of to succeed in the industry.

We need to see more podcasting fellowships and boot camps within the continent so that our creators can set themselves up for success and create podcasts that resonate with their audiences.

In a case where the podcasters are well-equipped and the resources to record exist, funding and sponsorships will be easier to attain.

It is much easier to convince people to drop a few coins into an industry that proves its potential as opposed to a stagnant one. Africa is filled with amazing stories that are yet to reach many parts of the world and so it is to our greatest advantage if we amplify the voices of Africa to the global audience.

Nobuhle N. Nyoni Writer, The Podcast Sessions

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OPPORTUNITY

The Power of African Narratives: A Look at the Growth & Potential of the African Audio Industry Bidemi Adedire Founder & CEO, APVA

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he African audio industry has undergone significant growth in recent years, with a wealth of unique and compelling narratives emerging from across the continent.

One of the most significant drivers of growth in the African audio industry has been the rise of African music. African music has long been celebrated for its vibrant rhythms, unique instrumentation, and powerful vocals, but it has only been in the last few years that it has gained widespread recognition outside of the continent.

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Back to podcasts, one of the most significant trends in African podcasts has been the rise of podcasts that focus on African history and culture.

These podcasts explore the rich and complex history of the continent, challenging Western narratives and offering a more nuanced and diverse perspective on African culture.

perspectives.

African audiobooks offer a unique opportunity to showcase the diversity and richness of African literature, from classic novels to contemporary works. As more African authors embrace audiobooks as a medium for storytelling, the potential for growth in this space is significant.

Another area of the African audio industry that has significant potential is the audiobook space. While audiobooks are still relatively new in Africa, there is a growing demand for audiobooks that reflect African narratives and

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The Role of Technology in Driving Growth One of the most significant drivers of growth in the African audio industry has been advancements in technology.

The technological advancements of recent years have been instrumental in driving the growth of the African audio industry.

Smartphones have become increasingly affordable and accessible to a wider range of people, including those living in rural areas.

This has led to an increase in the number of people who are able to access audio-based content, including podcasts, music streaming services, and audiobooks.

Additionally, social media platforms have provided African audio creatives with a powerful tool for promoting their work and connecting with their audiences.

For example, platforms such as Twitter, Instagram, and Facebook have allowed African audio creatives to build and engage with communities of listeners who are interested in their content.

They can use these platforms to share their latest episodes,

promote upcoming shows, and interact with their fans.

This has not only helped them to build a loyal following but has also allowed them to receive valuable feedback and insights from their listeners, which they can use to improve their content.

The rise of digital audio production tools and software has made it easier for African audio creatives to produce high-quality content.

These tools can be used to record, edit, and produce audio content from virtually anywhere without the need for expensive equipment or studio space.

Thus democratizing the audio industry, allowing more people to enter the field and share their unique perspectives with the world.

As technology continues to evolve, it is likely that we will see even more growth and innovation in the African audio industry in the years to come.

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The Role of African Audio Creatives

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t the heart of the growth and potential of the African audio industry are the audio creatives themselves. African audio creatives have a unique perspective on the world, drawing on their experiences and cultural backgrounds to create compelling and original content.

Through their work, African audio creatives are challenging traditional narratives and stereotypes, shining a light on the complexity and richness of African cultures and experiences. They are using their art to highlight important issues such as social justice, politics, and the environment, as well as to promote African languages and traditions.

African musicians, for example, are inventing new sounds and fusing traditional African rhythms with modern music genres like hiphop and electronic dance music. This musical fusion is garnering a global audience and raising the profile of African music on the global arena.

Podcasters are also building a reputation for themselves in the African audio industry, using their platforms to explore a wide range of issues ranging from entertainment to education to politics. They are creating space for nuanced conversations and diverse perspectives that might not be readily available in mainstream media.

that bring stories to life, from audiobooks to animated shows. They use their skills to make African narratives accessible and engaging to audiences of all ages and backgrounds.

In addition to their creative work, African audio creatives are also contributing to the growth of the industry by sharing their knowledge and expertise. Many are involved in mentoring and training programs that help develop the skills of the next generation of African audio creatives. They are also collaborating with industry organizations and stakeholders to create opportunities for growth and development in the sector.

It is clear that the African audio industry is undergoing a period of significant growth and transformation, driven by the unique voices and perspectives of audio creatives dedicated to showcasing African narratives (especially our culture and heritage), thus transforming the industry and shaping the future of audio in Africa.

With the support of organizations such as the Association of African Podcasters and Voice Artists, African audio creatives are poised to make their mark on the world and showcase the power of African narratives.

Voice actors and radio hosts are not left out, they are playing a vital role in shaping the African audio industry. They are the voices

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Podcast x Radio

125 How do radio & podcasting tie into each other?

for on-demand streaming or downloading.

adio and podcasting are both audiobased platforms, but they differ in terms of content delivery and distribution.

Podcasting has lower entry barriers, enabling anyone to create their own show and distribute it to a global audience via podcast directories and platforms.

Radio refers to traditional broadcast programming where content is transmitted over the airwaves and received by radio receivers. It typically involves a schedule of live shows, music, news, and other prerecorded segments.

While radio and podcasting have distinct characteristics, they complement each other by providing a diverse range of audio content options to listeners, catering to their preferences and convenience

Radio broadcasts are often time-bound, meaning listeners tune in at specific times to catch their favourite shows or listen to live events. Radio stations are regulated by governmental authorities, and their signals have a wide coverage area, reaching a large audience.

Head of Station, Eagle 102.5 FM

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Podcasting, on the other hand, is a digital platform that allows individuals and organizations to create and distribute audio content over the Internet.

Podcasts are usually prerecorded episodes or series, covering a wide range of topics, such as news, entertainment, education, storytelling, and more.

Unlike radio, podcasts offer listeners the flexibility to access content whenever they want, as episodes are available

Olakunle Balogun

Why are Podcasts an interest for Radio programmers and radio station managers?

Podcasts will connect our station to a wider audience across Africa to the World.

It will as well help transform the skills of our journalists to produce digital content away from the usual daily news and programs broadcast.

It birthed a new life for our radio, making it evolve into a digitally relevant medium that thrives beyond a physical radio set.

Podcasting has reinvented our radio station and has allowed closer links to be forged with global listeners, thereby allowing ease of access to radio programs without the constraints of geography.

Podcasting as an add-on to traditional radio has allowed my radio station to explore possibilities in information dissemination, that wouldn’t have been catered for within regular on-air broadcast periods.

Finally, Podcasting has also provided an opportunity to explore creativity via content that may have been impaired by time constraints or the limitations of local broadcasting regulations.

Kenneth Ugwueje

• Director Of Programs, Lagelu FM 96.7 Ibadan • Senior Radio Personality, Splash FM 105.5

John Wulu Deng Top FM- 89.7

How do you see podcasting as part of your station’s digital transformation strategy?

Podcasting has given my radio station a new and digitally acceptable outlook.

How do you see podcasting as part of your station’s digital transformation strategy?

As we investigate how podcasts might increase our audience engagement and awareness for our station and programme, it is progressively

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becoming a component of our radio strategy.

We currently have a podcast for one of our programmes called the Jollof Men Podcast, and thanks to it, we’ve been able to get people interested in learning more about what we do on the radio show even though they typically don’t listen to The Jollof Men show on radio. We were able to perform a live show, and a significant portion of the audience knew about us through listening to the podcast.

Daniel Adaaja Broadcast Journalist/ Podcaster, 101.7 YesFM What are the keys to your station’s podcast growth?

Consistency... We need to be showing up always.

Creativity... We need to be dynamic in our presentations.

Amarachi Nina Uma On-Air Personality, Sports Radio Brila FM

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FRENCH ARTICLES

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Si Maman M’avait Dit D I A N E

A U D R E Y

N GA KO

Diane Audrey Ngako, 31 ans, est ce que nous appelons une entrepreneuse créative, partagée entre son travail comme directrice générale de son agence de communication Omenkart, sa passion pour l’art contemporain avec sa galerie d’art Logmo + Makon , son magasin concept Voodart ainsi que son podcast “Si ma mère m’avait dit”.

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Depuis combien de temps faites-vous du podcast?

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’ai débuté l’aventure en 2018 au sein de mon agence de communication Omenkart. Nous (mon collaborateur Hermann Kom et moi) avions lancé un podcast qui s’appelait “histoire, raconte”.

L’idée était de donner la parole aux anciens pour qu’ils donnent à la jeunesse africaine des conseils pour bâtir l’Afrique de demain.

Notre point de départ était le discours à l’UNESCO en 1960 de l’un de mes auteurs préférés, Amadou Hampâté Bâ qui disait :” Un vieillard qui meurt, c’est une bibliothèque qui brûle.”

Malgré l’intérêt, nous avons eu du mal à mobiliser les anciens qui souvent demandaient à être payés. Malheureusement nous n’avions pas anticipé ce point et nous avons donc laissé les choses tomber. En 2020, je suis revenue avec le podcast “Si Maman m’avait dit” qui depuis a produit 40 épisodes.

Quelle est votre plus grande audience de podcast et quel a été votre plus grand défi lorsque vous avez commencé votre podcast?

Aujourd’hui, nous sommes à environ 340.000 écoutes. Mon audience est un peu partout, en France, au Cameroun, en Côte d’ivoire, en Belgique ou encore au Sénégal.

Pour ce podcast, Si Maman M’avait Dit, je dirai trouver des personnes qui souhaitent raconter leur histoire, libérer la parole. Nos sociétés sont pudiques.

Quels sont quelques-uns de vos podcasts africains préférés?

Les trois qui me viennent à l’esprit : Entrepreneur State Of Africa, Conversation privée ou encore Point Com. D’après vous, quelle est l’opportunité dans l’espace du podcast francophone?

Le podcast présente donc un potentiel

énorme sur le continent africain, même si le développement est encore hétérogène selon les pays et les langues. La tradition orale, le succès de la radio et des réseaux sociaux sont autant d’atouts qui lui prédisent un bel avenir en Afrique.

Comment faites vous la distribution de vos podcasts à votre audience et quels éléments considérez-vous lorsque vous décidez cela?

Je passe par Anchor la plateforme de Spotify qui via ses différents flux basculent cela aux autres plateformes.

Maintenant avec votre expérience, quel conseil donneriez-vous à quelqu’un qui commence un podcast aujourd’hui?

Just do it. Je crois que nos histoires méritent d’être racontées. Je dirai aussi à ceux qui veulent se lancer qu’ils n’ont pas besoin de toucher tout le monde et qu’avoir un public niche c’est aussi très bien.

Vous demandez à tous vos invités « Qu’auriez-vous aimé que votre mère vous dise ». Pour conclure cette interview, qu’auriez-vous aimé que votre mère vous dise?

Ahahaha, c’est marrant cette question. Je ne m’y attendais pas. Je crois que dans l’épisode d’introduction de la saison 2 du podcast, j’en parle. À l’époque, la question du couple m’intéressait, vivant au Cameroun, ayant une culture française mêlée à une éducation camerounaise, je peinais souvent à trouver ma place. Je crois que cela évolue au fil du temps, de ce qu’on apprend, comprend et des situations auxquelles nous faisons face. Je crois qu’à date, ma maman m’a tout dit. Elle me dit souvent de l’écouter car après je vais aller dire partout “Si Maman m’avait dit”.

Twitter : @voodart LinkedIn + instagram : @dianeaudreyngako

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Zoubida Fall

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olof Tech », « You be You », « Duo d’attaque », « L’envol du rossignol », « The Kebetu Talk », « Le cercle d’influence », « Conversations Féminines »… Quelques exemples parmi tant d’autres. Produits au Sénégal, ou par des sénégalais. Les podcasts locaux se multiplient et gagnent en popularité auprès d’un public, de niche certes, mais de plus en plus large et diversifié.

Ces auditeurs sont intéressés par le Sénégal autrement, loin des clichés mainstream habituels.

Entendre de nouvelles voix et de nouveaux points de vue s’engageant sur des sujets sociaux et politiques importants comme dans « the Kebetu Talk » Accéder à une meilleure compréhension sur des sujets techs en wolof avec « Wolof Tech » dans un langage accessible Discuter de et autour du football autrement dans le « duo d’attaque » (Re)découvrir la musique, le parcours de chaque artiste ou groupe Sénégalais avec « l’Envol du rossignol » et « l’Envol » Chercher et trouver un écho dans sa quête personnelle d’accomplissement de soi avec « You Be You » Trouver et aller à la rencontre de femmes inspirantes dans « Conversations Féminines » Il existe une variété de podcasts au Sénégal et les bourgeons d’un écosystème, en attendant une réelle industrie,ils se mettent en place petit à petit. Cet écosystème composé de podcasts indépendants tente de créer un modèle local ou d’adapter aux réalités locales les modèles

déployés ailleurs. Je reste convaincue que nous nous devons chacun de participer à ce que j’appelle « raconter NOS histoires par NOS voix depuis NOS centres ». Il existe de la place pour cela et le podcast est un des moyens les plus accessibles pour une population à majorité illettrée.

Formidable outil et espace de liberté, le podcast établit un lien unique et fort entre un host et ses auditeurs.

Sinatou Saka Si Maman m’avait dit, Conversations féminines, wolof tech sont des podcasts prometteurs.

Lorsque nous avons lancé Oxopodfest, notre volonté était de créer un espace d’échange entre podcasteurs du Bénin, du Sénégal, de la Côte d’Ivoire ou encore du Cameroun. C’est donc ce que nous avons fait en pensant à un festival en deux temps. Une formation avant les débats pour s’outiller mais surtout créer de l’émulation dans l’écosystème et mettre en lien et un deuxième temps de masterclass et d’ateliers. Ce festival a prouvé que nous étions capables de nous organiser, de faire entendre de nouvelles histoires, d’utiliser un format innovant et ainsi constituer une communauté.

Aujourd’hui,Oxopodfest est une plateforme où vous pouvez rejoindre des pairs de votre pays et de pays voisins, nous mettons en lumière nos podcasteurs dans des événements comme aux Rencontres Ohdio de Radio Canada et nous essayons de mener une réflexion sur la monétisation de ces contenus nouveaux.

C’est aussi pour moi l’occasion, de remercier Afripods, une plateforme bienveillante qui nous ouvre les oeillères sur les pays d’Afrique de l’est ou du sud et je tiens également à saluer le travail incroyable de Melissa et Joséphine qui ont ouvert la voie avec Africa Podcast festival.

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Alex Boyi Aujourd’hui, on parle de podcasts ici et là, on a l’impression que tout le monde ou toute organisation a créé ou est en train de créer un podcast ou plusieurs.

En me référant à ChatGPT4; en mai 2023, il y aurait plus de 2 millions de podcasts actifs touchant sur divers sujets et produits en plusieurs langues.

Pour donner un exemple avec le podcast Parole; l’idée est de connecter les Africains entre eux et l’Afrique au monde, tout ceci se fait au travers du partage des expériences professionnelles C’est pour cela que j’ai décidé d’intituler mon podcast, Parole, car il s’agit de donner une voix à tout ce monde qui n’est pas assez entendu ou pas du tout; tout en nous inspirant.

Et c’est à ce sujet que je souhaite vous partager quelques défis auxquels je fais face depuis que j’ai débuté mes podcasts, Parole et Sporteve, en 2020.

Parlant français et anglais (ainsi que ma langue maternelle, le Kirundi); j’ai depuis le début fait face à ce que je pourrais décrire comme une timidité des francophones à vouloir et pouvoir partager leurs parcours professionnels. Il est vrai qu’au début, les personnes que j’ai invité n’avaient pas une notoriété internationale mais il n’empêche qu’à leurs niveaux, je reconnaissais une histoire qui pouvait toucher plus d’une personne.

Ma patience a payé car j’ai su expliquer la raison de mon podcast Parole, qui à ce jour, a plus de 80 épisodes en ligne et plus de 20 épisodes à venir avant la fin de l’été 2023.

J’ai compté 30 épisodes en français et je sais que si je n’avais pas insisté; le nombre serait à moins de 10 épisodes.

Derrière la langue française, il y a également les différences culturelles qu’elles soient au Sénégal ou au Burundi ou au Canada et en Belgique.

Interviewer un Africain de l’Ouest et celui de l’Est comporte également des défis car dans certains pays, la liberté d’expression ne reste qu’une utopie. A quoi bon échanger sur la plateforme si ce n’est pas pour partager quelque chose d’intéressant?

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AKIBA STUDIOS

@akiba_studios

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Sincerely Accra J O S E P H N T I & K WA M E A S A N T E

O F O R I

JOSEPH & KWAME ON WHY ORIGINALITY & CONSISTENCY IN PODCASTING IS KEY Podcating is a digital phenomena that is slowly taking up the online content space and supplanting radio.

In Ghana for instance, podcasts have become quite a common source of entertainment among millennials as they commute to and from work. Among the many podcasts, is Sincerely Accea .

Hosted by Joseph Nti and Kwame Asante Ofori this popular Ghanaian podcast is based on urban life in the national capital Accra. Episodes alternate between vox pops and in-studio interviews, predominantly in English with an occasional blend of Pidgin, Twi and Ga. The podcast is fast-paced and colourful, featuring a mix of personalities with exciting and varying discussions driven by current opinions and pop culture.

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Please introduce yourselves and share the story of what inspired you to enter the podcasting world

What do you think is the most important thing to consider when growing your audience?

y name is Joseph Nti and I am Kwame Asante Ofori. We are the creators of the Sincerely Accra podcast. Joseph serves as host and Kwame serves as the producer. We generally like to describe ourselves as storytellers. The first time Joseph and I heard about podcasts was when I first got introduced to “Serial”, a limited investigative podcast series. After listening to the complete first season, I was intrigued but I didn’t think much of it until I got invited to be a guest on a podcast that was hosted by The Gold Coast Report (GCR) network. Because Kwame and I already had a working relationship creating different things, I brought the possibility of us having our own podcast to him, and we came up with Sincerely Accra podcast.

Engagement is key. Whether it’s replying to social media comments, helping them out with answers to questions they have about the podcast or simply putting your ears to the ground to give them what they want, it’s always important to let your listeners know you hear them.

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Who would you say is your primary audience?

Our primary audience are young Ghanaians and people interested in Ghanaian life and pop culture between the ages of 18 and 35 living anywhere in the world.

What are some effective ways that you’ve used to engage and connect with your podcast audience?

We both listen to a lot of podcasts and always try to learn something from them. For us, it’s the “What Twitter Said” segment where we read popular tweets about our last episode.

The “Listener Letters” as well where we read and advice our listeners on their dilemmas sent to us via Twitter Dm’s and shoutouts.

These segments make our listeners feel seen and appreciated. Twitter spaces is also another opportunity where we speak to our listeners in real time and get their opinions on our episode topics.

Your podcast is part of Gold Coast Report network. Why did you decide to participate within a network structure and what support has that provided you?

Both of us have full time jobs. We knew from the jump, having worked on other creative ventures, that we would need help to be consistent at this podcasting life and GCR being the premiere podcast network in Ghana was the one to hold us down. They are very helpful and always on the lookout for opportunities that could elevate the show. It helps us to get stuff done easier. Teamwork and all.

When did you know that you had “made it” with your podcast?

We would say 2019 at Afronation. We kept getting recognized for the podcast. It was so wild because these were both Ghanaians living in Ghana and others living in the diaspora.

What advice would you give to someone starting a podcast today?

Nugget advice would be to be Original and make consistency your key thing. It gets tough but just don’t stop, remember the goal, and stay creative!

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Legally Clueless A D E L L E

O N YA N G O

ADELLE ONYANGO: GROWING LEGALLY CLUELESS FROM A PODCAST TO A FULL-ON BUSINESS Adelle Onyango, a renowned radio presenter and producer in Kenya with over a decade of experience in broadcast journalism, embarked on her podcasting journey in March 2019.

What started as a podcast has since evolved into Legally Clueless Africa, a thriving new media company that amplifies African stories, upskills individuals, and promotes community wellness.

With a podcast primarily targeted at Africans aged 18 to 35, Adelle’s captivating storytelling resonates strongly with African women and women-identifying persons.

However, her vision extends beyond merely building a brand, as she is focused on creating a space that generates long-term impact and sustainability.

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How long have you been podcasting and who is your biggest podcast audience?

I

started podcasting in March 2019 so it’s now a little over 4 years. My podcast is listened to primarily by Africans from the age of 18 to 35.

This audience group is split into subsets with a bias to African women and women-identifying persons.

What was your biggest challenge when you started your podcast?

I really can’t say I had any distinct challenge with the podcast. Not because they weren’t there but with over a decade in broadcast journalism, I was very equipped to navigate any challenges.

What I have found challenging is building my business.

Legally Clueless Africa began as a podcast but is now

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a fully-fledged new media company with content pillars, workshops, events and soon, a shop. This has been challenging because it’s many things at once.

Many moving parts. But I have learnt to trust my team, delegate and not try to do everything by myself.

You have been very hands on in the process of building your podcast. What is the production process like and what tools do you use to do so?

I do manage the production of most of our audio content. When we have an advertiser or campaign, I do have a producer who handles jingle & tag production.

We are constantly recording stories for the podcast so pre-production is constantly on-going. What is added weekly is the host’s bits of each episode and this I record myself in my home office. We produce 4 audio episodes per week. 3 go to our content partner Trace FM, and 1 goes online for streaming.

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How did you build your brand?

I am not a brand, as Adelle Onyango. I am an individual who happened to be on radio for 10 years. Legally Clueless Africa isn’t a brand, we are a new media company whose mission is to amplify African stories, upskill Africans as well as promote the wellness of our community. I say this to explain that we do not approach what we do as building a brand, nor when we look at our vision and mission, we are very clear about the kind of space we are creating and what success looks like.

These days everyone is focused on building a brand and not on longevity, sustainability and most importantly to us, impact.

How did you leverage your podcast into becoming an international speaker and a full service media company?

I actually do not leverage Legally Clueless Africa to become a speaker. Please remember I had 10 years’ experience as a radio presenter and producer before starting LCA, I was also doing extensive advocacy work as well as running my own non-profit. Most of my speaking engagements are based on either my expertise in terms of communication, entrepreneurship or my advocacy work on women’s rights and Pan-Africanism.

In terms of building a business, we began as solely a podcast however, we took the decision in 2021 to start our video series, then we began our tour series, we then built our curriculum on sustainable content, started our events and the business just expanded naturally. I think it’s important to have a vision & mission, even while you only have a podcast as it can grow to be something bigger with a lot more moving parts.

Many of your interviews are quite personal and you have been vocal of your mental

health history, challenges and successes.

How do you create a safe environment for your guests and what is your best interviewing tip?

I meet my storytellers where they are. I never tell them who to be or what to say. That is an often ignored point as many decide what is interesting about their guests and restrict them to just that. You need to truly see your guest and give them agency over their stories or contribution. We also never chase clout so we will never sensationalise a story and I think people truly connect with stories that are absolutely real.

Many interviewers/hosts do not do enough prep before a show. Some do not prepare at all. Even the seemingly spontaneous great shows are always prepped. For us at LCA, each episode has a detailed prep sheet that must be filled before recording and is filled afterwards. There is a method to the madness and sometimes hosts forget that.

How do you get brands to work with you and advertise on your platform?

I pitch. 90% of my work as an entrepreneur is pitching. I am constantly drawing up angles for specific campaigns or products and then I pitch relentlessly. I remember pitching once for close to a year for a specific global brand that we wanted as a seasonal partner for one of our shows. There is no easy route around pitching.

You’ve got to make your value known to the specific partners you would want to work with.

What is in the future for Legally Clueless and when is your next tour or live event?

Legally Clueless Africa has grown beyond my wildest dreams. From a podcast to a full-on business. We are going deeper into the wellness industry through manufacturing of products for our shop.

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We will be announcing an amazing partnership soon that will create another safe space for our audience. We have a masterclass coming up built on our sustainable content curriculum.

Finally, our group therapy sessions will continue running every second month, all through 2023. I really am proud of the space & platform I’ve built. I hope through my story, others can dare to dream, dare to be.

What advice would you have for podcasters starting out today?

Remain consistent. Learn how to edit audio or a skill related to your podcast.

Keep your overheads low. If you have a co-host, make sure you have a working contract between you two. Re-invest a percentage of revenue earned back into the business. Do not blow it all.

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Africana Woman C H U L U

C H A N S A

AFRICANA WOMAN: PRESERVING THE UNTOLD STORIES OF THE AFRICAN WOMAN African women have often been overlooked by history and history books. In real sense, women just like their counterparts, have played a pivotal role be it in history, technology or any other sector.

For decades, when told, women’s stories have mainly been riddled with double standards that often position them as “helpers”.

Enter Africana Woman, a podcast platform seeking to change this narrative by offering African Women a platform where they can tell their stories in their own words

The podcast seeks to retell the narrative and ensure that African women are not forgotten. The impact of this platform goes beyond just the storytelling aspect; it serves as a cathartic experience for the women involved, allowing them to share stories they may have never spoken aloud before.

In this insightful interview, we speak with Chulu Chansa, the visionary founder of Africana Woman. Chulu takes us on a journey back to the origins of Africana Woman, sharing how the idea emerged from her experience with the Young African Leaders Initiative (YALI).

She also speaks about founding Zedpod, a community of podcasters in Zambia and how over the years a vibrant podcasting community in Zambia has grown

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How did the name Africana Women come about?

I

n 2017, I was part of the Young African Leaders Initiative (YALI) program, and after it ended, I was discussing with two friends from the program about how we could share the knowledge we gained with others.

That’s when the idea of Africana Women was born. Initially, we planned to start a blog and address issues from the perspective of modern African women. However, life happened, and the idea didn’t progress.

In 2019, during a healing journey, I wanted to start writing again and remembered the blog we had started.

With the permission of my friends, I took up the name and relaunched Africana Women as a blog and later as a podcast.

What is the mission of Africana Woman?

The mission of Africana Woman is three-fold. Firstly, it aims to address the historical exclusion of African women from mainstream narratives.

Women’s stories have often been ignored or overlooked in history.

By telling our own stories, we

ensure that African women are not forgotten.

It is important to showcase African female role models and highlight their contributions to history. Secondly, Africana Woman provides a platform for African women to share their stories in their own voices.

This can be a cathartic experience for the women involved, as many of them may not have had the opportunity to share their

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stories before.

Finally, Africana Woman seeks to inspire and empower women by showcasing what is possible. By featuring successful African women podcasters and their achievements, we encourage others to dream bigger and not limit themselves.

What was your inspiration behind ZedPod, the community for Zambian podcasters?

When I started podcasting, I didn’t want to do it alone. Podcasting can be a solitary experience, so I wanted to create a community around it. I researched and found other African women podcasters who were targeting similar audiences.

overwhelming. Initially, we expected maybe 1020 podcasts to join the community. However, within a week of putting out a call on Twitter, we had 70 podcasts in Zambia interested in joining.

It was surprising to see such a large number and realize how many people were working on podcasts in isolation.

The lack of means to bring podcasters together had made them feel disconnected. Discovering the vibrant podcasting community in Zambia has been inspirational.

Why do you think a community of podcasters is important in Africa?

Community has played a significant role in my journey, and I believe it is essential for podcasters in Africa.

From my experience, being part of a community of podcasters has shown me what is possible for myself and others.

One day, while chatting with another podcaster from Zambia, they expressed the need for a community specifically for Zambian podcasters.

Seeing the achievements of fellow podcasters, such as Adelle Anyango and Sandra Chuma, has inspired me to dream bigger and not limit myself.

Since no one had started it yet, I took the initiative and founded ZedPod, the Zambian podcast hub.

How was the idea of ZedPod received?

The response to the idea of ZedPod was

The community provides a space for learning, collaboration, and support. It allows podcasters to share experiences, resources, and ideas. In Africa, where podcasting is still in its early stages, having a community is crucial for fostering growth, innovation, and collective success.

You recently went on a tour with your podcast, Africana Woman, and had sold-out events in two cities. Why did you decide to take your podcast on tour?

The motivation behind taking Africana Woman on a tour was twofold. Firstly, I noticed that my podcast was more popular outside of Zambia than within the country. I wanted to change that and increase awareness of podcasting locally.

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Secondly, I wanted to physically connect with my audience and create an opportunity for face-to-face interactions.

By going on tour, I aimed to introduce podcasting to new audiences, explain the benefits of podcast listening, and raise awareness about the power of women’s stories.

The tour included live events in three cities and an online version to engage the global community of Africana Woman listeners.

What were some of the challenges you faced during the tour?

One of the main challenges was not knowing what to expect in each city we visited. As an online-focused platform, we relied heavily on the local community to guide us.

Despite the preparation, there were unforeseen situations that required quick thinking and adaptation. Another challenge was the issue of “African Time,” where guests arrived late, assuming the event would start behind schedule.

Maintaining consistent standards of customer service across different locations, especially where it may not be a priority, was also challenging.

What advice would you give to a young podcaster looking to start their own platform?

My advice would be to start. Often, we make excuses about not having the right equipment, resources, or funds.

However, I started my podcast with just a phone, and it has since become an awardwinning podcast.

Don’t complicate things by thinking you need to be on specific platforms or have certain resources.

Use what you have and start where you are.

Podcasting is still young in Africa, and there are no set rules. Be creative, experiment, and adapt to your circumstances. Don’t limit yourself and let go of excuses. Just start.

What has building Africana Woman and recording over 116 episodes taught you about yourself?

Building Africana Woman and recording numerous episodes has taught me that I have a great capacity for empathy and holding people’s stories. Many of the stories shared on the podcast are not light, and it requires delicacy and compassion to guide individuals through sharing their experiences. I have discovered my ability to create a safe space for others to open up and trust me with their stories.

What is the one question you always ask your guests, and what is the most common answer you receive?

The one question I always ask my guests is, “What are you rooted to?” The most common answer I receive is “God.”

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The MASHSTARTUP Podcast M A S H U D U

M O DA U

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MASHUDU MODAU ON LEAVING A LASTING IMPACT IN ENTREPRENEURIAL ECOSYSTEM THROUGH PODCASTING In a world captivated by the triumphs of entrepreneurship, Mashudu Modau, the founder of The MashStartUp podcast, sought to explore a different narrative—one that delves into the raw and honest experiences of starting and growing a business.

With a mission to provide aspiring entrepreneurs with a deeper understanding of the entrepreneurial journey.

The MashStartUp podcast has become a beacon of knowledge, offering practical advice, and fostering a supportive community.

But the journey hasn’t been all rosy! With a fair of its own challenges and lessons on the way, Modau hopes that the podcast is guiding light for aspiring entrepreneurs, enabling them to navigate the entrepreneurial landscape armed with knowledge, resilience, and a supportive network.

We had a quick sit down with Modau and here is the interview excerpt:

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Please introduce yourself and share what was the purpose and mission behind The MashStartUp Podcast?

the Podcast address these challenges through its interviews and discussions?

M

I think those challenges are not much different than other entrepreneurs. Access to capital, access to resources and access to markets come up a lot.

Traditional media have always been more welcoming of victory laps as entrepreneurial content but there’s a deep need for more context and honest discussion on the real journey of being an entrepreneur.

Recently we’ve shifted our podcast focus to guests who can give very practical advice that our community can take back into their business and apply in some small way.

y name is Mashudu Modau and I’m the founder of The MashStartUp podcast. I started the podcast to answer a simple question; what would happen if more entrepreneurs were learning from the most honest version of the process people go through when they start or grow a business?

People are discovering how much more challenging the journey is and how far you may need to go to succeed.

From a more practical side it’s a lot of challenges on building a team, finding the right investors, and getting the growth that’s expected of startups in the African context.

This is the metric of success for the growth of the podcast - how many people have been meaningfully impacted by the platform we’ve built or the people who form part of this community for their growth.

That reality should not come as a shock, with the right ecosystem of resources and practical advice people can learn what it might take early You have been known as a catalyst for so many new podcasters and helping them get started. on in their entrepreneurial journey.

How do you help provide resources for up-andcoming podcasters and what would you suggest How did you start your podcast and what for those who are looking to enter the space? is the best tip you received that helped you along the way?

We’ve built the African Podcast Library (https://africanpodcastlibrary.com/) to help I started my podcast on Anchor as a weekly share our own passion for African podcasts update on what it was like to work at a startup and then moved over to hosting and syndicating but also a podcast guide that includes tools and videos to go through that process in a on major platforms with interviews with close structured way. friends who were entrepreneurs.

The best tip I received I would say was focusing on a community and making sure your podcast was serving a deep need that community had.

What are some common challenges that African entrepreneurs face, and how does

Things have gotten simpler now with more technology and platforms making it easier to start. You also don’t need all that equipment either. The best mic is the one you have, the most important thing is starting and having a clear intention why you are doing it.

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What’s the most important thing that you learned at the beginning of your podcasting journey?

You must both ignore and understand the data and numbers. Ignoring the overall listener numbers early in your journey helps you not judge yourself or possibly give up because it’s not a big enough audience. Understanding the numbers is interpreting certain numbers and how they may lead to a developing community.

Metrics like your retention rate may show you’re building a meaningful community of people who want to deeply engage with your content. Focusing on community leads to longterm sustainability.

What is a tip you’d give to aspiring podcasters?

Find your community and then help them find each other. If you want to harness the true power of podcasts they need to be driven and anchored in community. These are the people who buy into the mission of the podcast, advocate for the content and help build sustainability of the platforms.

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Naija Podhub FAY

FAY

NAIJA PODHUB: COMMUNITY IS AN INTEGRAL PART OF PODCASTING For many podcasters, a Podcast Community is a farranging topic. Most people go into podcasting because they’re interested in communicating with others, telling stories, sharing experiences and on the eighth episode…. booom! Podcast Fade!

While we agree it’s not so easy to connect with a podcast community, with all the planning, scheduling, scripting, recording, editing, and other stuff on your plate.

On the flip side, promoting a show to your audience is hard without a community, so it’s a vicious cycle.

Not only do you need a community of podcast aficionados who are avid podcast listeners and interested in your topic, but also you need a community of fellow podcasters who can provide support, answer your podcasting questions, and understand your challenges.

If you get both of these nailed down, it’ll really help with your podcast growth and sustainability.

We sat down with Fay Fay of Naijapod where she shared about the Naija Podhub and why as a podcaster you need to be part of a community or network to excel!

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What is Naija Podhub?

O

ur platform facilitates relaxed and insightful discussions about the podcasting industry in Africa and Nigeria, focusing on the existing challenges and potential solutions.

Through these conversations, we gain valuable insights into the types of experts we should engage for webinars and workshops. We strive

to provide valuable events and workshops that benefit all members, regardless of their level of experience in podcasting.

Additionally, we connect our members with platforms such as Afripods, where their content has a higher probability of reaching the intended target audience. Once a year, we also organize the “Power of Storytelling” competition, fostering healthy competition

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Furthermore, we provide members with discount codes and complete access to trends and information related to grants and sponsorships, which we have access to.

Within our group chats, we engage in daily activities that serve as sources of inspiration for podcast topics and ideas.

This, however, is merely scratching the surface of our endeavors. We aspire to undertake more impactful initiatives for the betterment of the podcasters within our community.

How large is your community?

Our community encompasses a significant number of members throughout Nigeria and the diaspora. Approximately 1,500 podcasters.

Why do you feel community is important to podcasters?

Being part of a podcasting community creates opportunities for knowledge sharing, enabling podcasters to enhance their skills and stay updated with the latest trends.

Networking within podcasting communities can lead to guest appearances, crosspromotion, and partnerships which expands a podcaster’s reach and audience. Feedback from fellow podcasters and engaged community members is valuable for refining content and building a loyal fan base.

Based on your work with podcasters, what have you seen as the strategies that have helped the growth of individual podcasters in your community?

Consistent and High-Quality Content is one of the most successful strategies I have ever seen.

It never fails.

Additionally, podcasters need to actively

promote their shows to reach new audiences.

This includes leveraging social media platforms, guest appearances on other podcasts, cross-promotion and utilizing email newsletters or blogs to connect with potential listeners.

Engaging with listeners through interactive discussions and encouraging them to leave reviews or ratings on podcast directories can also boost visibility and attract new followers.

How do you see the Nigerian podcasting community growing in the future?

The future is now, the growth is somewhat geometric I must say. The world is vastly becoming digital and almost all sectors are turning towards the digital angle.

Podcasting is taking over. There is no limitation to what the content can be, and most interestingly it’s built in a way that everyone can walk into their interest spaces and just shut the door.

What trends do you see in Nigeria for podcasters?

The desire to provide more to their listeners is not just a passing trend but a genuine hunger among podcasters. Podcasters are no longer producing episodes mindlessly; instead, they have become more deliberate and intentional in the stories they wish to share.

They are gradually recognizing that delivering enhanced content requires investing additional time in constructing each podcast episode. This includes tasks such as thorough fact-checking, conducting research, ensuring high audio quality, selecting appropriate music, and more.

By prioritizing these elements, podcasters aim to give their audience a richer and more fulfilling listening experience.

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What would be your advice for someone looking to start a podcast community in their space?

Starting a podcast community in your space requires careful planning and execution. Some strategies and tips that can help: 1. Define Your Purpose and Goals Clearly define the purpose and goals of your podcast community. What is the primary focus or theme? What do you hope to achieve by creating this community? Having a clear vision will help you shape your community’s identity and attract like-minded individuals.

2. Identify Your Target Audience Determine the specific audience you want to target with your podcast community. Are you focusing on a particular niche or interest?

Understanding your target audience will help you tailor your content, activities, and communication to their needs and preferences.

3. Foster Interaction and Engagement Encourage interaction and engagement among community members. Provide platforms for discussions, such as social media groups, forums, or online communities. Organise virtual events, Q&A sessions, or live interviews to facilitate direct engagement with your audience. Encourage members to share their own experiences, insights, and ideas.

promotion, or guest appearances on each other’s podcasts. This not only strengthens relationships within the community but also expands the reach and visibility of individual podcasts.

6. Offline Events Consider organising offline events, such as meetups, workshops, or conferences, where community members can connect and network face-to-face. These events can provide valuable opportunities for learning, collaboration, and building relationships beyond the digital space.

7. Seek Feedback Actively seek feedback from your community members. Regularly ask for their input, suggestions, and ideas for improvement. This demonstrates that their opinions matter and helps you tailor your community to better serve their needs.

8. Be Patient and Persistent Building a podcast community takes time and effort. Be patient and persistent in your efforts, especially during the early stages. Consistently provide value, engage with your audience, and adapt your approach based on feedback and evolving needs.

4. Offer Support and Resources Provide resources, tools, and support to help aspiring podcasters within your community. In this regard it really depends on your capacity.

5. Collaboration Opportunities Foster collaboration among community members by encouraging joint projects, cross-

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What’s your backstory and how did you start storytelling and podcasting?

I

’m Ahmed Samir Ead, the host of the Superbly Scientific Podcast in Arabic and former host of Egycology on YouTube.

I’ve always been interested in teaching and education. In my third year of undergrad, I started my YouTube channel called Egycology, a scientific show to make science accessible to people. It gained popularity, reaching a million subscribers by 2019. Then, Hebah Fisher of Kerning Cultures Network approached me to turn it into a podcast.

Initially, I was hesitant because podcasting was a different market, and I was invested in YouTube. But when Covid hit, I decided to take the leap.

How was the transition from YouTube to Podcasting and working with a production house?

Transitioning to podcasting was made easier by the amazing support of Kerning Cultures.

They’ve been the best production company I’ve worked with. Finding my voice as a host, distinct from my YouTube persona, was crucial.

After some iterations and script writing, we launched the first season and achieved great numbers.

Encouraged by the success, we continued with a second season, which performed even better.

Now, we’re working on the third season, while I also plan to return to YouTube in the future.

Balancing everything can be challenging, but I’m grateful for the opportunities.

with fellow scientific podcasters, but there are still very few. I encourage others to start their own podcasts and create more content. The lack of options for listeners is disappointing.

What was your process and format for starting a podcast?

The process is multifaceted. My experience on YouTube helped me understand the production process. First, I spend a lot of time developing the character and persona of the host. I consider their traits, whether they’re nice, mean, funny, or boring.

I aim to make them relatable, just like Marvel did with their characters. For example, my host loves coffee and often takes a sip while asking the listener to do the same. Shawarmas are another relatable aspect in the Arab world that creates a bond. Developing this persona takes time.

Once the persona is defined, I focus on scriptwriting. Having the voice of the host in mind makes it easier to translate scientific content into that voice. Scriptwriting is a meticulous process that involves multiple iterations and feedback from the Kerning Cultures team.

Once the script is finalized, the production process begins. I stand in front of a microphone, speaking alone at night, and have a good time with it. I always strive to make it relatable and ensure that the listeners feel connected to the goofball behind the mic.

Who are some other science podcasters we should know?

The two most important aspects are developing the host and show persona and honing scriptwriting skills. A good script leads to a good episode.

The science podcasting space is still small, and it’s hard to find others in the niche. I recently attended a podfest in Dubai hoping to connect

Improvisation can be incorporated during the reading process, adding funny or engaging elements. However, in scientific content,

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scripting is crucial for credibility. It’s important to have accurate information and references for listeners to validate and delve deeper into the subject if they wish.

How do you define your podcast format and engage with your audience?

It’s a fun monologue-style podcast where I sit in front of a mic and talk about scientific stuff. I don’t overhype it, but that’s what it is.

I aim to inform and engage listeners through storytelling in an entertaining style. Oh, and the host is pretty funny too!

Who is your primary audience?

My primary audience is primarily youth in the Middle East, aged 18-34. However, I’m fortunate to have listeners of various ages and backgrounds. It’s well-suited for anyone interested in science, arts, or politics. I make the content relatable and accessible to all.

Have you thought about translating your podcast into other languages?

I would love to, but I’m currently overwhelmed with work and don’t have the resources to do it myself. However, I welcome anyone who wants to translate it into other languages, like Swahili. Collaboration is always appreciated.

Why do you think your podcast has been widely received? How do you engage with your listeners?

Two things: relatability and the lack of competition. I make the host relatable, willing to make a fool of myself for the sake of connection.

Also, there’s a dearth of alternative options, so people appreciate the informative and productive use of their time. I’m grateful for my amazing listeners and their support.

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What has been your biggest lesson from podcasting so far?

I’ve learned to use my voice effectively and engage with the audience. It has also improved my teaching skills and awareness of tone. Having a production company has been invaluable, and I’ve realized how much I love what I do.

Additionally, podcasting is harder than it seems, but the challenges are worth it.

What’s a mistake you’ve made or something you could have done differently?

It’s hard to pinpoint a specific mistake, but one thing I could have done differently is to anticipate the level of difficulty involved in creating good content consistently.

It’s a challenging process, but I’m learning and adapting along the way.

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In your TED Talk; The Force of Light, you mention that “An idea can do much more than you can imagine”. How does this relate to you as a person and what you do?

Ideas have incredible potential that goes beyond individual impact. I believe in inspiring others and nurturing their growth. I want my listeners to surpass me and my students to become better engineers than I am. As an individual, I will eventually be forgotten, but the ideas I share can endure and make a lasting impact.

When I started my YouTube journey, I intentionally avoided being the face of the channel. I wanted the focus to be on the ideas, not the person. In my podcast, I never mention my name, emphasizing that it’s about the idea of translating science and making knowledge accessible. It’s humbling to receive messages from people whose career paths have been influenced by my episodes. It’s the power of the idea and the concept of contributing to a better society that drives me.

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What are your thoughts on incorporating video into podcasts?

Instagram, making them hesitant to venture into a completely new avenue.

Personally, I haven’t explored video podcasts much, as I prefer to remain anonymous even in my podcasting journey. I value the idea that people don’t know what I look like.

It takes time for people to shift their mindset and realize the potential of podcasting. The process of going from a home screen to accessing podcast content requires more steps and can deter some potential listeners.

However, for many content creators, being visually present in their podcasts is important for marketing and establishing a personal connection with the audience. In the Middle East and North Africa region, visual content tends to resonate more with audiences.

So, for those who have the resources and inclination, incorporating video elements into their podcasts can be a fruitful strategy.

How do you perceive the podcasting ecosystem in Egypt and its future?

However, as more people discover and appreciate podcasts like mine, I hope it will inspire others to take the brave leap into podcasting.

It’s a gradual process of inspiration and exposure, but the future holds great potential for growth and positive change.

Are there any exciting trends you’ve noticed in the podcasting space?

Currently, the podcasting scene in Egypt is relatively weak. While there are some entertaining podcasts, there is a lack of informative and structured content.

In Western podcasts, true crime has consistently been a popular category. Humans have a fascination with mysteries and seeking answers, which is why true crime shows and supernatural topics tend to captivate listeners.

Many content creators are drawn to the success of visual content on platforms like TikTok and

Personally, I don’t let trends dictate my content creation. I focus on what I’m passionate about

173 and believe will be helpful. While trends can be both good and bad, as they can attract more listeners but also lead to expectations, I prefer to stay true to my interests and provide valuable episodes even when they don’t align with the latest trends.

As a creator and educator, what changes would you like to see in the podcasting space?

From my perspective as a creator and educator, I would love to see more people join the podcasting space and contribute their unique perspectives and knowledge.

It’s important to have a diverse range of voices and topics. I hope to inspire others to embrace podcasting as a medium for sharing ideas and information.

Additionally, I would like to see more support and resources for podcasters, especially in regions like Egypt. Building a strong and vibrant podcasting community requires time, inspiration, and the recognition of its potential for positive change.

Many podcasters are now doing live recordings and turning their podcasts into events. Is that something you would ever consider with your personality?

(Laughs) I would probably hide backstage and speak from a mic. Being in the spotlight is not really my thing.

You mentioned the challenges of monetizing podcasts and how most podcasters, including yourself, still have day jobs.

How have you been able to monetize your podcast, and what advice do you have for others in the same position?

situation, where we need more podcasts to gain recognition, but we also need money to create more podcasts. It’s not an easy solution.

However, I personally don’t rely on my podcast for income. I do it because I enjoy it and believe in creating valuable content. The key is to expand the podcasting market, make it more recognizable, and attract advertisers.

We need more people dedicated to connecting podcast production companies with advertising companies to create more funding opportunities. It’s important to support podcasters financially so they can focus on their craft and contribute to the industry’s growth.

If you could go back and give advice to a 19 or 20-year-old version of yourself starting a podcast, what would it be?

Start earlier and don’t overthink it. Recognize that success takes time and a lot of hard work.

We often only see the successful outcomes, not the failures and struggles that many face along the way. So, starting early and staying persistent is key. Remember your original goal and make sure it’s something sustainable and fulfilling. Stay humble and never forget your journey. You may face tough times, but always remember why you started and enjoy the process. If you’re not having fun, there’s no point in doing it.

Why do you do this? What is your “why”?

Lighting up the darkness.

Currently, it’s difficult for self-made podcasters to make money from their podcasts, especially in a small market like ours. The main revenue streams for podcasts are sponsorships and advertisements, but that requires a well-known podcasting industry. It’s a chicken and egg

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