There is a peculiarity to the Nigerian creative economy that is easy to observe but hard to fully explain. The country exports culture at scale.
Its music dominates streaming charts from London to Toronto. Its films fill cinemas in diaspora communities across three continents. Its digital creators build followings that run into the tens of millions.
And yet, for most of the people doing this work, wealth has remained frustratingly elusive. The numbers exist, the audiences are real, but the financial returns have never quite matched the cultural weight.
Damilare Adeyemi and Alese Ayomide Salban have known each other for more than fifteen years, childhood friends whose paths through Lagos’s creative and professional worlds eventually converged around the same frustration.
Salban, who studied marketing, had grown tired of watching the Nigerian creator landscape narrow itself into a seemingly endless loop of short-form comedy skits.
Adeyemi, who holds a Master’s in
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