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Podcast publishers expand into video to boost growth as advertising investment gains remain slow

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Podcast

Global podcast ad spend will exceed $5bn in 2025 (+7.9%) and $5.5bn in 2026 (+6.5%)
Video podcast consumption is growing. YouTube is the most popular platform
Podcast audiences are more receptive to ads
The US is the world’s largest podcast ad market at $2.4bn

WARC Global Advertising Trends: Podcast media sets sights on video boom

12 February 2025 – Podcasts are growing in cultural and political influence, but growth in podcast advertising spend remains slow. Publishers and platforms are looking to address this by expanding beyond audio, with a greater focus on creators and video content, according to WARC Media’s latest Global Ad Trends report, ‘Podcast media sets sights on video boom’.

Alex Brownsell, Head of Content, WARC Media, says: “Podcasts are having a moment. Fresh from seemingly helping Donald Trump to win last year’s ‘podcast election’ in the US, brands are reappraising the medium through fresh eyes.

“However, ad investment growth remains sluggish, with podcasters trapped in a contest for a slow-growing pool of global audio ad budgets. Publishers and platforms are now eyeing expansion into video, in the hope of further boosting consumption, as well as winning a share of a fast-growing slice of the ad market.”

WARC’s latest Global Ad Trends report ‘Podcast media sets sights on video boom’ highlights the following trends:

Podcast advertising spend growth remains slow

For all its burgeoning cultural impact, podcasts remain caught in a battle to win share of audio ad dollars.

WARC Media forecasts that global podcast ad spend reached $4.8bn in 2024, will exceed $5bn in 2025, and amount to $5.5bn in 2026. However, year-on-year growth is set to slow from 13.2% in 2024 to 7.9% in 2025, and only 6.5% in 2026.

This is markedly down on the expanding investment levels in other emerging channels, including retail media (+14.8% in 2025), CTV (+15.4%) and even DOOH (+14.9%).

Difficulties in scaling podcast ad buys is one oft-repeated complaint among brands. Another is a perceived deficiency in podcast measurement tools.

However, according to WARC’s annual Marketer’s Toolkit survey, more than half of global marketers (55%) plan to increase their podcast ad investment this year. Podcasts ranked fifth highest in intention to invest – behind only online video, influencer/creator marketing, and social media.

Global podcast listenership is growing and remains diverse

The total global audience reach of podcasts has increased from 60.6% in 2020 to 66% in 2025.

Edison Research estimates that 135 million listen in the US each month, equivalent to 47% of all consumers aged 12+. In the UK, Ofcom found the percentage listening to podcasts on a weekly basis has doubled from 10.8% in 2018 to 20.7% last year.

On average, younger cohorts spend more time on podcasts each day than older groups. As of Q2 2024, podcasts’ reach among Gen Z audiences worldwide (68%) exceeds radio by ten percentage points.

In markets like the UAE and Brazil, podcast listenership among all adults has exceeded radio, whereas countries like Germany and China exhibit subdued and downward trends, according to WARC Media and GWI data.

Podcast publishers are aiming to drive growth through video

YouTube has emerged as the most popular platform for podcast video. Viewers watched over 400 million hours of podcasts per month on YouTube’s TV app in 2024. More than 250 million users have streamed a video podcast on Spotify, with consumption most prevalent among Gen Z users: in the first five months of 2024, the younger cohort watched 2.9 billion minutes of video podcast content, up 58% year-on-year. Spotify found a +55% lift in intent for campaigns with an audio and video takeover versus audio-only campaigns.

As brands become more sophisticated in how they incorporate creator content into media plans, it may provide an opportunity for podcast media to escape its audio bubble. However, obstacles include consumers wanting to minimise video and listen to audio only, podcast creators unwilling to embrace video and lose control over monetisation, and perceived deficiency in podcast measurement tools.

The US is the world’s largest podcast advertising market

The US – home to mega-shows such as The Joe Rogan Experience – accounts for nearly half (45.9%) of all global podcast ad spend.

Recent research by WARC and Audacy found that, while podcast listening accounts for 4.5% of all ad-supported US media consumption, the channel only receives 1.0% of total US ad investment ($2.4bn in 2025).

Retail continues to be the category with the highest podcast ad spend in the US, while the US election prompted a slight increase in government and non-profit spend. Food category spend remains low, but is forecast to record the fastest growth in 2026 (+13.2%).

As the medium matures, larger brands are becoming a more dependable source of income for podcast publishers. Top podcast spenders in the US include Amazon, T-Mobile, Capital One and Toyota.

In the UK, podcast ad spend is forecast to reach £110m this year, growing at 12.8%, according to WARC Media estimates. This is a faster rate of growth than in the US, and a sharper incline than forecast for UK spend on search, social media, DOOH and BVOD in 2025.

Podcast reach in the UK is increasing: a fifth (23.6%) of people aged 15-24 listen to at least one podcast per week, and consumption is highest among 25-34-year-olds (27.9%).

Podcasts are becoming more important to political discourse

Donald Trump triumphed in the ‘podcast election’. His podcast strategy was more effective than that of rival Kamala Harris, achieving greater reach with shows known for delivering better returns for brands. Trump appeared on podcasts with a total average reach of 23.5 million compared to 6.4 million for Harris, and the shows selected by Trump drove 2-3x better results for brands in areas such as site visits, sign-ups and purchases.

According to Edison Research, nearly half (44%) of those surveyed by them said they sourced US election information from podcasts, ahead of cable TV (34%) and platforms like X (33%).

Following the US election result, previously cautious marketers are re-considering their ‘podcast safety’ approach – in particular in advertising against more right-wing content to reach younger male audiences.

Podcast audiences tend to be more receptive to ads

Nearly 40% of listeners say the medium has become “more relevant” in recent years, according to an Acast study. However, as programmatic trading expands into podcasting and the channel expands beyond baked-in host-read ads, other studies have found that two in five (42%) regular listeners skip podcast ads, as they find them intrusive.

Studies have found that episodic buys – that is, ads placed in a single podcast episode on a specific show – tend to outperform ads dynamically inserted throughout shows across a podcast network. In the case of host-read ads, Podscribe research found that, as ad length increases, visitor rates to advertisers’ sites also increase. On average, a two-minute-plus read outperforms 60-second or shorter reads by about 20%.

Read a complimentary sample report of WARC’s Global Ad Trends – Podcast media sets sights on video boom. WARC Media subscribers can read the report in full. A WARC podcast discussing the findings outlined in the report will be available from 25 February.

Global Ad Trends, part of WARC Media, is a quarterly report which draws on WARC’s dataset of advertising and media intelligence to take a holistic view on current industry developments.

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Creative Africa Nexus (CANEX) WKND 2026 opens in Lagos, bringing together leading African and diaspora creatives, investors and policymakers

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The four-day gathering will convene leading voices from film, music, fashion, sport, publishing, gastronomy and business to advance trade, investment and commercial opportunities across Africa’s creative economy

LAGOS, Nigeria, November 5, 2026/APO Group/ –Creative Africa Nexus (CANEX) WKND 2026 has opened today in Lagos, bringing together leading creatives, investors, policymakers, business leaders and cultural figures from across Africa and the diaspora for four days of conversations, deal-making, performances, exhibitions and industry-focused sessions.

 




  

Hosted by the Federal Government of Nigeria and organised by African Export-Import Bank (Afreximbank) through its Creative Africa Nexus (CANEX) programme, this year’s event runs from 5 to 8 November under the theme “One People, United in Culture, Creating for the World.”

The 2026 programme spans film and television, music, fashion, sport, literature and publishing, gastronomy and visual arts, with a strong focus on finance, intellectual property, technology, skills, investment and market access.

Across the four-day programme, CANEX WKND will provide platforms for deal-making, industry dialogue and sector-specific engagement, including the CANEX Deal Room, with the aim of turning creative talent and ideas into stronger businesses, partnerships and commercial opportunities.

That ambition reflects the evolution of Afreximbank’s commitment to Africa’s creative and cultural industries in 2020, subsequently doubling this to US$1 billion before quadrupling the original commitment financing available to US$2 billion.

The expansion reflects Afreximbank’s wider objective of helping African creators and creative businesses build scalable enterprises, strengthen ownership of intellectual property and retain more of the economic value generated by African culture and creativity.

The opening ceremony is expected to feature addresses by Ministers of Culture and Creative Industries across 11 African countries, Dr George Elombi, President and Chairman of the Board of Directors of Afreximbank, H.E. Dr Olajumoke Omoniyi Oduwole, Nigeria’s Minister of Industry, Trade and Investment, H.E. Wamkele Mene, Secretary-General of the African Continental Free Trade Area Secretariat, and H.E. Babajide Sanwo-Olu, Governor of Lagos State among other dignitaries.

The programme will bring together some of Africa and the diaspora’s most influential cultural and industry figures. Participants include Nobel Laureate, writer and playwright Professor Wole Soyinka; Emmy Award-winning actor Uzo Aduba; filmmaker and actor Funke Akindele; actors Richard Mofe-Damijo and Thuso Mbedu; former professional footballers Didier Drogba and Jay-Jay Okocha; alongside leading figures from Africa’s music, film, fashion, sport and creative business sectors.

The event will also include performances and appearances from musicians and entertainers such as Davido, Fally Ipupa, Flavour, Libianca and Charlotte Dipanda, reflecting CANEX WKND’s combination of industry engagement with live cultural programming.

Beyond the headline names, the programme places a strong emphasis on the business of Africa’s creative economy.

On 6 November, a high-level conversation titled “One Market, One Culture: Building the Creative Economy of Global Africa” will examine the steps required to convert the growing global influence of African culture into stronger creative businesses, exports and investment. Speakers include Professor Wole Soyinka; ministers responsible for culture and the arts from Côte d’Ivoire, South Africa and Rwanda; International Finance Corporation representatives; and from Afreximbank.

Financing will also be central to the programme. The Creative Economy Finance Summit, presented by Afreximbank in partnership with the Creative Economy Practice at Co-Creation Hub, will bring financial institutions and investors together to examine how creative-economy transactions can be structured, financed and de-risked.

CANEX Creations Inc. will lead discussions on unlocking investment in African intellectual property, while the CANEX Deal Room and Creative Pitch Sessions will connect creative entrepreneurs directly with financiers and investors considering opportunities across film and television, music, fashion, sport, publishing, gastronomy, visual arts and creative infrastructure. Technology and the changing economics of creative production will feature prominently. Sessions will examine artificial intelligence, authorship and intellectual property; the use of technology to reshape creative businesses; and how African creators can use digital tools to develop globally competitive products.

The CANEX CreaThon, delivered with pan-African technology company Gebeya, will bring creators, developers and innovators together around projects in music, video and gaming, supported by African-built digital tools, mentorship, computing resources and a US$50,000 prize pool. Film and television programming will explore both storytelling and the commercial infrastructure required to take African content to wider audiences. Sessions include “Stories Without Borders: Africa, Hollywood & the Global Diaspora”, featuring former Afreximbank President Professor Benedict Oramah, and “Made in Africa, Watched in Africa”, which will examine research into film distribution, audiences and financing across Egypt, Kenya, Nigeria, Rwanda, Senegal and South Africa.

Sport will form another major strand of CANEX WKND 2026. Discussions will examine athlete development, management, commercialisation and the links between sport and the broader creative economy. Didier Drogba and Jay-Jay Okocha are scheduled to participate in “When Giants Speak: The Business of the Game,” while the weekend will conclude with a Legends Football Match at Onikan Stadium on 8 November. Fashion programming will include masterclasses on building profitable African brands, textile value chains, market access and intellectual property, alongside the CANEX Fashion Show and Awards Night.

In gastronomy, the CANEX Junior Chefs Competition, Africa Jollof Wars Competition and a series of live demonstrations and conversations will explore how African food, ingredients and culinary traditions can become stronger commercial propositions across domestic, continental and global markets. Publishing and literature will feature through the CANEX Book Factory, Book Fair, writers’ workshops, manuscript pitching and the CANEX Prize for Publishing, while visual arts programming will combine exhibitions, collector engagement and practical sessions for artists navigating Africa’s growing art ecosystem.

On 7 November, CANEX WKND 2026 will host a major concert bringing together artists from across Africa and the diaspora, before the programme continues into its final day on 8 November with cultural excursions, gastronomy activities, the CANEX Music Factory Songwriting Camp and the Legends Football Game.

Distributed by APO Group on behalf of Afreximbank.

 




 

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Coca-Cola system invests USD 1.22 million to strengthen water security in Namibia

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Coca-Cola

The initiative represents a nearly USD 25 million investment focused on helping address critical water-related challenges across 20 African countries by 2030

WINDHOEK, Namibia, November 5, 2026/APO Group/ –As Namibia continues to face recurring droughts and growing water demand, the country’s water resources are under increasing pressure. Windhoek is situated in one of the most water-stressed regions in sub-Saharan Africa, where low and unpredictable rainfall, combined with high evaporation rates, continues to challenge water availability and long-term water security.[1]

 




  

To help address these shared water challenges, the Coca-Cola system is investing USD 1.22 million in the //Gam-i Swakop Basin Resilience Project, designed to help strengthen water security and support ecosystem restoration in the Swakop River Basin, a vital water source for the city of Windhoek and surrounding communities.

The //Gam-i Swakop Basin Resilience Project aims to support improved water availability and help strengthen the resilience of the Swakop River Basin through nature-based solutions that support sustainable water resource management across the catchment area.

Implemented in collaboration with the Global Water Challenge (GWC) and World Wildlife Fund (WWF) Namibia, the project includes the construction of two sand storage dams, restoration of 235 hectares of land through the clearing of invasive alien plants, and the planting of 750 trees in river buffer zones and environmentally degraded areas within Windhoek’s informal settlements. In addition, two boreholes will be drilled to support groundwater recharge in the Windhoek aquifer, and a water resilience action plan has been developed.

Through the Africa Water Stewardship Initiative, the system aims to help protect important watersheds and to improve access to water and sanitation in local communities

This work forms part of the Coca-Cola system’s Africa Water Stewardship Initiative, launched in 2024. The initiative represents a nearly USD 25 million investment focused on helping address critical water-related challenges across 20 African countries by 2030.

“Because water challenges are local, our approach to water security is focused on local action and collaboration,” said Alfred Olajide, Vice President of East and Central Africa Operations at Coca‑Cola. “The Coca‑Cola system remains focused on helping to promote water stewardship, increasing water use efficiency, and treating and returning safe water to communities.”

Henry Friedrich, General Manager of Coca-Cola Namibia Bottling Company (CCNBC) added: “As part of the Coca-Cola Beverages Africa group, we have a responsibility to assist those who face water scarcity and to help protect local water resources where we operate, especially in places with the biggest challenges. Through the Africa Water Stewardship Initiative, the system aims to help protect important watersheds and to improve access to water and sanitation in local communities.”

WWF Namibia Country Director, Dr Juliane Zeidler, said: “Water is one of Namibia’s most precious and increasingly vulnerable resources. This project is an opportunity to demonstrate how investing in healthy ecosystems can deliver tangible benefits for people, while also helping communities become more resilient to future climate pressures. We hope the lessons and partnerships developed through this initiative can inform similar approaches elsewhere in the country.”

“Collaboration is essential to addressing shared water challenges effectively. Coca-Cola and its authorised bottlers continue to work with governments, businesses, and civil society organisations to design and implement strategic interventions,” concluded Olajide.


Distributed by APO Group on behalf of Coca-Cola Beverages Africa.

 

 




 

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‘Power, Protect, Purchase’: Africa Made It unveils blueprint to capture USD 34B in GDP and accelerate African industrial sovereignty

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Africa Practice research shows that Africa exports up to 98% of its raw cotton overseas and captures only 2% of its total value while incurring a USD 35 billion annual trade deficit

African culture, design, and storytelling influence global fashion, music, and media like never before

LAGOS, Nigeria, November 5, 2026/APO Group/ –Africa Made It (https://AfricaMadeIt.co/), the continental movement driving Africa’s industrial sovereignty, today officially launched its campaign, “Power, Protect and Purchase,” at the CANEX weekend in Lagos, Nigeria. Aimed at unlocking USD 34 billion in annual GDP contribution through a structural transition from unprocessed raw cotton exports to end-to-end local garment processing, the initiative seeks to turn Africa’s vast natural wealth into sovereign, self-sustaining economic power.

 




  

Africa Made It is driven by a consortium of leading pan-African organisations, advocacy groups, and media organisations who are positioning Africa as a global investment hub. Its flagship campaign, spotlighting the fibre-to-fashion value chain, presents a clear roadmap for continental industrialisation: securing competitive energy power for local industrial mills, enacting policy measures to protect emerging domestic manufacturers from unfair foreign imports, and rallying African consumers to purchase locally manufactured apparel. Together, these three pillars ensure that value created from African resources remains on African soil.

 

Africa Practice research shows that Africa exports up to 98% of its raw cotton overseas and captures only 2% of its total value while incurring a USD 35 billion annual trade deficit.  Building the continent’s domestic processing capacity in spinning, weaving, and sewing locally produced cotton will sustain nearly two million permanent industrial jobs and inject approximately USD 33 billion directly into domestic household incomes every year, in addition to a recurring contribution of USD 34 billion to the continent’s GDP.

 

While these figures reveal the immense macro-economic potential of the value chain, the true heart of this transformation lies in its human impact. Industrial wages and local lint purchases leading to increased capital circulation in rural communities can drive community micro-economic vitality and contribute to rural poverty reduction. Additionally, formal employment opportunities can expand drastically for women, as they currently make up between 70-90% of garment factory workers on the continent.

 

Realising this vision and changing the lives of millions of people requires a deliberate combination of targeted investments, supportive trade policies, and consumer mobilisation. A USD 1.8 billion capital allocation toward critical structural enablers for garment transformation is the foundation for bridging Africa’s missing middle in the fibre-to-fashion value chain.

 

Marie Wilke, editor-in-chief of the Africa Made It magazine, said, “African culture, design, and storytelling influence global fashion, music, and media like never before. Yet, without domestic manufacturing infrastructure, Africa’s creative authority yields very little economic return. Linking raw cotton harvest directly to local processing ensures that the intellectual property, commercial margins, and industrial jobs remain on the continent. It is time to wear our power.”

 

To learn more about the potential of Africa’s fibre to fashion value chain, watch the campaign video (https://apo-opa.co/4BKAIvY) or read the Africa Made it (https://apo-opa.co/4zvA5VF)magazine (https://apo-opa.co/4zvA5VF). Access the campaign website and resources in English (https://apo-opa.co/4zvA5VF) and French (https://apo-opa.co/4zrK8e2).

Distributed by APO Group on behalf of Africa Made It.

 

 




 

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