How Mobile Internet Is Reshaping Digital Entertainment Across Africa

Distinctive local content can strengthen audience loyalty, extend engagement across multiple channels, and create new monetisation opportunities beyond a single platform or format. Technology is lowering barriers to content creation, allowing more creators, publishers, podcasters, and independent production companies to participate. Smartphones allow consumers to participate without a console or dedicated gaming computer, while connecting gaming with social interaction, payments, commerce, and wider media consumption. Gaming revenue is forecast to grow faster than the global market in all three countries, reaching US$698m (R12.7bn) in South Africa, US$133m in Kenya, and US$431m in Nigeria by 2030. Pricing, bundling, advertising-supported models, and flexible content propositions will remain central to market development. Average OTT revenue per subscription in 2030 is forecast at US$76 in South Africa, US$54 in Kenya, and US$42 in Nigeria, compared with a global average above US$100.

For consumers, this evolving regulatory landscape means a gradual increase in protections — clearer terms, better transparency, and stronger safeguards against predatory practices. Issues around consumer protection, data privacy, and responsible spending are increasingly on the agenda. Studies of digital consumer behaviour consistently show that people underestimate how much they spend on small, frequent digital transactions. Players who grasp the underlying odds tend to make better decisions, and a new category of analytical tools has emerged to support them. Mobile money platforms have been crucial enablers here, allowing users to make small digital payments without traditional bank accounts. Streamers, moderators, designers, support staff, data analysts, and marketing teams all benefit.

Users should check whether a platform publishes clear terms, provides contact details and explains how personal data is handled. European users may rely on privacy rules, refund rights and sector specific licensing. Its presence in global search results does not mean the service is available or authorised in every country.

Ultimately, CREATIVE CREDITAI shows how African innovation can support influencer culture and creator economies directly. Ninthly, CREATIVE CREDITAI, listed in the African startup directory, builds an AI-driven financial management and credit assessment platform for creatives. Ultimately, entertainment-tech is not only about front-end apps; it is also about back-end tools like Shamba Records that protect creative value.

• South Africa led with $296 million, but Nigeria posted the highest growth rate at 7.4% CAGR, driven almost entirely by mobile access, with more than 80% of its population connecting to the internet via smartphone.
• A sustainable OTT proposition must balance affordability, differentiation, and monetisation.
• Consequently, artists can prove what they are owed and track how often their works are used.
• Furthermore, if you enjoyed this deep dive into African entertainment tech startups, you will find plenty more stories on our platform.
• It is shaping it — demanding products that are affordable, data-efficient, and increasingly interactive.
• Successful services study these differences instead of treating Africa as one uniform market.
• Tenthly, Storipod appears in lists of emerging African startups to watch and focuses on audio storytelling and podcast-style content.
• European users may rely on privacy rules, refund rights and sector specific licensing.
• However, local innovators now build products tailored to African payment systems, languages, and fan behaviour.

Perspectives from the Global Entertainment & Media Outlook 2026–2030

Moreover, many African celebrities and creators already leverage these platforms to scale their careers. Thirdly, platforms like Shamba Records, CREATIVE CREDITAI, and Storipod focus on the link between creators and their communities. In addition, they integrate with social and messaging platforms to drive last-minute sales or updates. Consequently, they can price better, plan marketing, and design VIP or group offers that match fan demand.

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This wider reach creates questions about jurisdiction, taxation, licensing and consumer protection. Language, payment methods, internet costs and local media habits all influence how people use a platform. The consumers who thrive in this environment are those who approach it deliberately — understanding what they are paying for, how much time they are investing, and what the actual odds and outcomes of their choices are. According to reporting by Reuters, governments across emerging markets are grappling with how to regulate fast-evolving digital services without stifling the innovation and economic activity they generate. This reflects a broader and healthier shift toward informed, calculated engagement with online entertainment — the same analytical mindset that financial literacy advocates have long encouraged consumers to apply to their money.

The Numbers Behind the Shift

The demand, mobile-connected consumers who want accessible digital entertainment. Its gaming market alone reached $153 million and is projected to keep expanding at 6.9% annually through 2029. Recent industry analysis has increasingly pointed to fintech innovation and mobile payment adoption as one of the key forces accelerating Africa’s mobile gaming and digital entertainment boom. The infrastructure that was built for financial inclusion quietly became the infrastructure for digital entertainment, and the industry is only now catching up to what that means. Human oversight remains essential where AI affects content, creative rights, audiences, or brand trust.

• Discover 10 standout platforms powering music, film, live events and creator monetisation, and see how they are reshaping Africa’s entertainment future.
• Trusted first-party data, effective activation, and credible measurement will become more important as attention fragments across broadcasters, publishers, retailers, streaming platforms, creators, and social media.
• Moreover, they digitise the full journey from discovery to purchase, reducing queues and confusion at venues.
• Moreover, it focuses on low-data usage and easy downloads, which fit users who rely on affordable Android phones and prepaid data.
• According to the GSMA Mobile Economy report, mobile technologies and services now account for a significant share of sub-Saharan Africa’s economy, with smartphone adoption climbing year after year.
• Human oversight remains essential where AI affects content, creative rights, audiences, or brand trust.
• Firstly, uduX is a Nigerian music streaming platform that focuses on African catalogues and local user behaviour.
• These channels can extend engagement before, during, and after an event, connecting physical participation with a wider digital audience relationship.
• How can organisations turn audience growth into long-term value?
• In markets where traditional banking is inaccessible or inconvenient, the ability to top up a gaming or entertainment platform the same way you send money to a relative has removed the single biggest barrier to entry.
• South Africa is experiencing the clearest reallocation of video revenue, with OTT growing while traditional television declines.
• In addition, Mdundo works with local artists and DJs to build region-specific playlists and catalogues.
• Mobile internet access has kept growing over time.
• In addition, remember that every stream, ticket, and subscription helps build a stronger creative ecosystem for the continent.
• Furthermore, these startups sit alongside a wider wave of influencer platforms, creator marketplaces, and community apps.

People Want to Choose for Themselves

In addition, Ticketpro’s tools help customise seating, VIP experiences, and group packages that enhance fan engagement. In addition, fans get easier access to high-quality African content without relying only on global platforms. In addition, Mdundo works with local artists and DJs to build region-specific playlists and catalogues. Additionally, uduX positions itself as a home for African sounds, competing by understanding local taste rather than copying global models.

Ultimately, this data helps them plan tours, releases, and collaborations based on real audience behaviour. Furthermore, local streaming apps integrate with payments such as mobile money and airtime billing. Importantly, the impact of these African entertainment tech startups goes beyond simple app downloads. Ultimately, if you want to track where the next big entertainment-tech player will emerge, follow these hubs closely. Therefore, when you look at future stars in streaming or fan engagement, you often find them in these cities.

What makes Africa’s digital entertainment boom particularly significant is its demographic foundation. But until those frameworks mature fully, much of the responsibility for making sound decisions rests with individual users. As digital entertainment grows, regulators across Africa are working to establish appropriate frameworks. Knowing the numbers, tracking spending, and making deliberate rather than impulsive decisions are skills that transfer directly from informed digital entertainment to sound personal finance. Microtransactions, in-app purchases, and subscription models are designed to feel small and frictionless, but they accumulate. These games have attracted a growing audience precisely because they reward understanding rather than pure luck.

It is shaping it — demanding products that are affordable, data-efficient, and increasingly interactive. This youthful, mobile-native population is not merely consuming digital entertainment passively. Mobile money, for instance, achieved mainstream adoption in East Africa years before similar systems gained traction elsewhere. With one of the youngest populations in the world — the median age in Nigeria is under 20 — the continent represents the future of digital consumption.

A young continent driving global trends

Consequently, it experimented with different pricing models, regional launches, and partnerships to sustain growth. Furthermore, irokoTV’s journey highlights the challenges and rewards of building entertainment-tech from Africa for a global audience. Moreover, it built a global audience for Nigerian films long before most people could access them easily online. Furthermore, Boomplay invests in editorial teams and partnerships to spotlight rising African artists. Furthermore, the platform publishes regular reports on listener trends, giving brands and artists insight into changing tastes. Secondly, Mdundo, based in Kenya and operating across multiple African countries, targets the mass market with simple, mobile-first music access.

CREATIVE CREDITAI (Kenya) – Financing African Creators

The operators and platforms that understand this, and build accordingly are the ones gaining traction. Africa's digital leisure market is not a single thing. But they are engineering and compliance problems, not fundamental barriers to growth. Africa's digital boom is not happening in spite of its consumer base, it is being shaped by it.

These channels can extend engagement before, during, and after an event, connecting physical participation with a wider digital audience relationship. Digital engagement is strengthening audience discovery, but it is not replacing the demand for collective entertainment. However, rapid streaming growth does not mean the immediate replacement of traditional television.

This requires trusted first-party data, clear audience definitions, effective activation, transparent media spending, and measurement frameworks that extend beyond impressions and reach A sustainable OTT proposition must balance affordability, differentiation, and monetisation. Copyright, licensing, attribution, source verification, misinformation, privacy, bias, and brand safety will require clear accountability and human oversight. The commercial value of shared experiences therefore extends beyond ticket or box-office revenue. South Africa’s music, radio, and podcasts market is also forecast to grow from R8.0bn in 2025 to R10.6bn in 2030.

Over-the-top (OTT) video is one of the fastest-growing E&M categories in South Africa, Kenya, and Nigeria. By 2030, connectivity is forecast to account for approximately 60% of total E&M revenue in South Africa, 75% in Kenya, and 66% in Nigeria. Kenya’s growth is underpinned by connectivity, digital payments, and online engagement.

• As a result, you get a clear view of the landscape, plus practical signals to follow if you want to invest, collaborate, or build in this space.
• Publishers named above each report are responsible for their own content, which AllAfrica does not have the legal right to edit or correct.
• Ultimately, the top 10 African entertainment tech startups highlighted here show how quickly the landscape is evolving.
• Nigeria records the strongest growth at 22.8% a year, although cinema remains a relatively small category in absolute terms.
• Additionally, Boomplay focuses on African catalogues, offline listening, and flexible subscription options including mobile money payments.
• Additionally, this is not a complete list of every strong company, but it captures key leaders and signals across the continent.
• Increasingly, competitive advantage comes from understanding the audience relationship.
• Ultimately, Boomplay’s growth reinforces the idea that African-built or African-focused platforms can compete with global giants on home turf.
• Locally relevant content and effective discovery can also help services differentiate as consumers gain access to more viewing options.
• Kenya's broader entertainment and media sector grew 7.1% in 2024, outperforming global averages.
• The demand, mobile-connected consumers who want accessible digital entertainment.

How are video and gaming changing audience behaviour?

According to the GSMA Mobile Economy report, mobile technologies and services now account for a significant share of sub-Saharan Africa’s economy, with smartphone adoption climbing year after year. Unlike Western markets where desktop computers led the way, the African internet experience has been mobile-first from the start. Mobile internet access has kept growing over time. It is a collection of distinct national markets, each with its own regulatory framework, payment infrastructure, and cultural preferences.

Mdundo (Kenya) – Mobile-First Music for the Mass Market

Moreover, four main hubs – Nigeria, South Africa, Kenya, and Ghana – anchor much of the continent’s entertainment-tech innovation. Ultimately, Storipod and similar startups expand the definition of entertainment-tech beyond music and film into everyday storytelling. Furthermore, podcasters and spoken-word artists gain a home that understands their needs and constraints. Therefore, Storipod sits at the intersection of entertainment, education, and community building.

• These assets create greater control over how audiences are reached, understood, and monetised.
• Furthermore, the platform publishes regular reports on listener trends, giving brands and artists insight into changing tastes.
• Mobile gaming, casual, social, and increasingly competitive, is expanding rapidly across all three major markets, with esports beginning to attract meaningful investment in South Africa and Nigeria.
• Smartphones allow consumers to participate without a console or dedicated gaming computer, while connecting gaming with social interaction, payments, commerce, and wider media consumption.
• Connectivity is expanding digital audiences, advertising is becoming more sophisticated, and consumers are engaging with content across an increasingly diverse mix of platforms, formats, and experiences.
• Human oversight remains essential where AI affects content, creative rights, audiences, or brand trust.
• As digital markets grow, regulators face the task of protecting consumers without blocking useful services.
• Additionally, Mdundo’s ad-supported model helps keep costs low while paying artists through revenue share.
• In South Africa, connected television is expected to play a more prominent role as smart-TV penetration and streaming adoption increase.
• Additionally, they host local creators who share stories, interviews, and commentary rooted in African realities.

The financial literacy dimension

Successful services study these differences instead of treating Africa as one uniform market. Digital services do not grow in exactly the same way across the continent. A platform that loads slowly may lose users before its content even appears. A large share of consumers rarely use a desktop computer.

Six African markets pull most continental FDI

Ultimately, BuuPass reflects a wider trend where African startups reuse proven rails to enter entertainment value chains. Consequently, fans get a single, trusted interface for different kinds of tickets, which improves adoption. Moreover, as it grows, the same technology stack can power ticketing for events and experiences, especially where mobility and entertainment overlap. Ultimately, this kind of infrastructure is vital for making African concerts and festivals smoother, safer, and more profitable.

Additionally, Mdundo’s ad-supported model helps keep costs low while paying artists through revenue share. In addition, fans discover new songs and genres through editorial playlists and social features. Additionally, this is not a complete list of every strong company, but it captures key leaders and signals across the continent. Additionally, major events like Africa Tech Festival now include tracks focused on content, media, and creator economies.

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Consequently, listeners discover African voices in technology, culture, comedy, and lifestyle without relying only on global apps. In addition, brands and platforms gain from a healthier, better-financed creator base that can produce more content. Additionally, CREATIVE CREDITAI analyses creator revenue streams and risk, then links users to suitable lenders and products. Additionally, its work with operators and mobile money shows how digital rails can serve multiple sectors. Additionally, Ticketpro integrates with online and retail channels so fans can buy in ways that suit them best.

With an estimated 60 million people engaging with some form of digital gaming or online entertainment daily, the market's scale reflects a population that treats the phone as its primary leisure device. That model maps almost exactly onto what African consumers are now demanding from digital leisure platforms. It is worth being specific about what African users are actually doing online in their leisure time, because the picture is more varied than the headlines suggest. In markets where traditional banking is inaccessible or inconvenient, the ability to top up a gaming or entertainment platform the same way you send money to a relative has removed the single biggest barrier to entry. South Africa led with $296 million, but Nigeria posted the highest growth rate at 7.4% CAGR, driven almost entirely by mobile access, with more than 80% of its population connecting to the internet via smartphone.

Lightweight mobile games, data-friendly streaming, and browser-based services have flourished precisely because they fit these constraints. Entertainment products that succeed in Africa are those optimised for smaller screens, lower data consumption, and intermittent connectivity. For millions of Nigerians, the this breakdown of account security smartphone is not a secondary screen — it is the primary, and often only, gateway to the internet. Understanding this shift matters, because it is reshaping not only how people relax, but how they spend their money. Streaming services, mobile gaming, social platforms, and online communities now occupy hours that were once spent on radio, television, or offline pursuits.

Madagascar tests new passport portal to move applications, payments and tracking online

Additionally, they show that creators can gain more control over their careers by using tools designed for local realities. In addition, Ghanaian artists and filmmakers reach diasporic audiences through platforms like Showmax and Boomplay, extending their impact beyond local TV. Additionally, each market combines strong creative industries with growing tech talent and startup support networks. Additionally, this kind of infrastructure matters deeply for musicians, filmmakers, and content creators seeking transparency.

Additionally, these startups blend culture, community, and code to create fresh digital experiences that match the continent’s creative energy. In many African markets, the smartphone is the main device people use to access the internet. Africa's digital economy is expanding quickly as more people gain access to smartphones, mobile internet and digital payment services. While subscription streaming dominates consumer spending in North America and Europe, African users channel a larger share toward mobile games, social platforms, and increasingly, interactive and skill-based online games. Affordable smartphones, expanding mobile data coverage, and a young, digitally fluent population have combined to create one of the fastest-growing digital entertainment markets in the world. Across Nigeria and the wider African continent, the way people spend their leisure time has shifted dramatically over the past decade.

• In addition, its brand remains a strong reference point for film-focused African startups looking at subscription video services.
• These games have attracted a growing audience precisely because they reward understanding rather than pure luck.
• Get 12 months of access to data and commentary for segments across 53 countries and territories, and access to dashboards and visualisations, including heat maps and comparisons of GDP and growth rates.
• Therefore, when you look at future stars in streaming or fan engagement, you often find them in these cities.
• Connectivity is expanding digital audiences, advertising is becoming more sophisticated, and consumers are engaging with content across an increasingly diverse mix of platforms, formats, and experiences.
• Users need to understand the difference between a platform being accessible and a platform being licensed for their location.
• Furthermore, organisers get dashboards with sales trends, time-of-day patterns, and demographic breakdowns.
• All of that means more people can watch, play, and browse whenever they want, wherever they are.
• This growth is creating a larger market for streaming, gaming, online shopping, financial services and other forms of digital entertainment.

Regional partnerships are being signed more frequently. It is influencing trends across the continent. For many people, that conversation is part of the real entertainment.

• Furthermore, organisers get dashboards with sales trends, time-of-day patterns, and demographic breakdowns.
• But until those frameworks mature fully, much of the responsibility for making sound decisions rests with individual users.
• Affordable smartphones, expanding mobile data coverage, and a young, digitally fluent population have combined to create one of the fastest-growing digital entertainment markets in the world.
• As digital entertainment grows, regulators across Africa are working to establish appropriate frameworks.
• Africa's digital leisure market is not a single thing.
• Moreover, four main hubs – Nigeria, South Africa, Kenya, and Ghana – anchor much of the continent’s entertainment-tech innovation.
• Over-the-top (OTT) video is one of the fastest-growing E&M categories in South Africa, Kenya, and Nigeria.
• Issues around consumer protection, data privacy, and responsible spending are increasingly on the agenda.
• Additionally, Mdundo’s ad-supported model helps keep costs low while paying artists through revenue share.
• Consequently, listeners discover African voices in technology, culture, comedy, and lifestyle without relying only on global apps.
• Moreover, it focuses on low-data usage and easy downloads, which fit users who rely on affordable Android phones and prepaid data.
• South Africa’s scale is supported by an advanced communications infrastructure, a sophisticated advertising ecosystem, and high levels of digital adoption.

Media businesses and creators will need to build assets they can control, including intellectual property, trusted brands, direct customer relationships, first-party data, and multiple routes to market. Video is expanding across screens, while mobile is bringing gaming within reach of more consumers. South Africa’s scale is supported by an advanced communications infrastructure, a sophisticated advertising ecosystem, and high levels of digital adoption. In addition, remember that every stream, ticket, and subscription helps build a stronger creative ecosystem for the continent.

• Gaming revenue is forecast to grow faster than the global market in all three countries, reaching US$698m (R12.7bn) in South Africa, US$133m in Kenya, and US$431m in Nigeria by 2030.
• In addition, brands seeking authentic partnerships can work through organised systems rather than ad-hoc deals.
• The phone is often enough, and many people are frequently plugged in.
• Moreover, this raises visibility and helps startups secure strategic partnerships with telcos, media houses, and brands.
• Human oversight remains essential where AI affects content, creative rights, audiences, or brand trust.
• Africa Technology, Media and Telecommunications Industry Leader, PwC South Africa
• That model maps almost exactly onto what African consumers are now demanding from digital leisure platforms.
• Additionally, they fight fraud by generating secure digital tickets and tracking entries accurately.
• Ultimately, Mdundo shows how entertainment-tech can scale by respecting on-the-ground realities, especially in East Africa.
• Consequently, it experimented with different pricing models, regional launches, and partnerships to sustain growth.
• Furthermore, organisers get dashboards with sales trends, time-of-day patterns, and demographic breakdowns.
• Therefore, use it as a starting point to discover more players, trends, and opportunities.
• Digital services do not grow in exactly the same way across the continent.
• These assets create greater control over how audiences are reached, understood, and monetised.

Additionally, irokoTV’s archives include classics and popular hits, giving fans deep access to Nollywood history. Moreover, Showmax invests in local productions and partnerships, which supports regional film industries and talent. Ultimately, Boomplay’s growth reinforces the idea that African-built or African-focused platforms can compete with global giants on home turf. Additionally, Boomplay focuses on African catalogues, offline listening, and flexible subscription options including mobile money payments. Consequently, fans in Tanzania, Nigeria, or Uganda see content that feels local, not imported.

• Firstly, uduX is a Nigerian music streaming platform that focuses on African catalogues and local user behaviour.
• The pace of change varies by market, requiring businesses to manage both established and emerging channels simultaneously.
• In addition, Ghanaian artists and filmmakers reach diasporic audiences through platforms like Showmax and Boomplay, extending their impact beyond local TV.
• Moreover, it focuses on low-data usage and easy downloads, which fit users who rely on affordable Android phones and prepaid data.
• This growth is creating a larger market for streaming, gaming, online shopping, financial services and other forms of digital entertainment.
• Therefore, when you look at future stars in streaming or fan engagement, you often find them in these cities.
• Video is expanding across screens, while mobile is bringing gaming within reach of more consumers.
• Dive into our Global Perspectives report for key findings and insights into the global E&M industry.
• Ultimately, the more creators adopt entertainment-tech, the stronger Africa’s cultural influence becomes globally.
• It is shaping it — demanding products that are affordable, data-efficient, and increasingly interactive.
• By 2030, 5G penetration is forecast to reach 86.8% in South Africa, 51.6% in Kenya, and 35.3% in Nigeria.
• Payment fragmentation remains a genuine challenge, M-Pesa dominates East Africa, but MTN Mobile Money, Opay, and Palmpay each serve different markets, meaning platforms that want continental reach need to integrate multiple payment systems.

Connectivity is expanding digital audiences, advertising is becoming more sophisticated, and consumers are engaging with content across an increasingly diverse mix of platforms, formats, and experiences. Pricing, advertising-supported models, bundling, and flexible propositions can help services reach wider audiences without relying exclusively on subscription growth. Streaming, social media, short-form video, and audio services increasingly help audiences discover films, artists, events, and cultural experiences. Payment fragmentation remains a genuine challenge, M-Pesa dominates East Africa, but MTN Mobile Money, Opay, and Palmpay each serve different markets, meaning platforms that want continental reach need to integrate multiple payment systems. Locally relevant content and effective discovery can also help services differentiate as consumers gain access to more viewing options.

How can organisations turn audience growth into long-term value? Increasingly, competitive advantage comes from understanding the audience relationship. The pace of change varies by market, requiring businesses to manage both established and emerging channels simultaneously.

• Specifically, the following ten African entertainment tech startups stand out for their impact on streaming, ticketing, and fan engagement.
• Users should check whether a platform publishes clear terms, provides contact details and explains how personal data is handled.
• Furthermore, Boomplay invests in editorial teams and partnerships to spotlight rising African artists.
• Digital services do not grow in exactly the same way across the continent.
• Over-the-top (OTT) video is one of the fastest-growing E&M categories in South Africa, Kenya, and Nigeria.
• Distribution, however, remains concentrated among platforms that influence content discovery, audience access, advertising delivery, and creator revenue.
• In addition, Ghanaian artists and filmmakers reach diasporic audiences through platforms like Showmax and Boomplay, extending their impact beyond local TV.
• Additionally, these startups blend culture, community, and code to create fresh digital experiences that match the continent’s creative energy.
• By 2030, connectivity is forecast to account for approximately 60% of total E&M revenue in South Africa, 75% in Kenya, and 66% in Nigeria.
• Moreover, as it grows, the same technology stack can power ticketing for events and experiences, especially where mobility and entertainment overlap.
• Africa's digital boom is not happening in spite of its consumer base, it is being shaped by it.
• These assets create greater control over how audiences are reached, understood, and monetised.
• Nigeria records the strongest growth at 22.8% a year, although cinema remains a relatively small category in absolute terms.

Innovation Hubs Powering African Entertainment Tech Startups

Therefore, Africa’s entertainment-tech story is not just about apps; it is about power shifting toward the people who make and love the culture. Furthermore, if you enjoyed this deep dive into African entertainment tech startups, you will find plenty more stories on our platform. Consequently, these tools help emerging stars move from viral clips to sustainable careers with predictable revenue. Furthermore, South African Amapiano producers and DJs rely on streaming data and fan insights to target new cities and audiences.

Every hour spent on these platforms feeds data into local ad networks, payment systems, and content studios. Operators in Nigeria, Kenya, Ghana, and Egypt often watch the South African market because it can signal wider regional trends. The Reserve Bank has supported faster payment systems such as PayShap, which have helped a lot. The infrastructure that M-Pesa built for financial inclusion did not just change how Africans manage money.

Connectivity is expanding Africa’s digital audience, while advertising is becoming central to how that audience is monetised. Nigeria combines a large population with rapidly expanding digital audiences, advertising investment, and entertainment consumption. Furthermore, as more hubs mature and funding flows into content, creator economies, and fan engagement, new players will join this list.